This document provides information about television game shows from several perspectives: - It outlines different genres of game shows including quiz, puzzle, and dating shows. - It discusses how game shows aim to entertain broad audiences while also targeting some shows at specific demographics. - It examines audience motivations for watching game shows based on uses and gratification theory, such as diversion, social interaction, and vicarious experiences. - It considers factors like presenters, online content, and competitions that can increase a show's appeal to modern audiences. - It notes that game show formats are inexpensive for institutions to produce and can be profitable to sell internationally.

1. Autumn – Spring 2016-17
Television Game
Shows

2. • They are a staple ingredient of television programming and schedules.
• Often set in TV studios in front of a live audience, they have the element of
competition at their core.
• There are several sub genres, all of which are appropriate for Unit 1 purposes
• According to Wikipedia sub genres include: activity oriented, dating, panel
games, puzzle oriented and quiz shows.
• Students should engage with a range of programmes across sub-genres.
• Reality television shows, although having many similar conventions (and often
a ‘game element’ to them), differ as they usually have a focus on ‘talent’ or
real-life/work scenarios and therefore should not be used in the study of
Television Game Shows.
Television Game Shows: Mapping out the territory

3. • Many Game shows are targeted towards a broad, mainstream audience
• Game shows seek primarily to entertain their audience but they can offer
gratifications such as providing information and social interaction
• Mainstream television programming seeks to entertain old and young
audiences, males as well as females and members of all economic/ social
classes
• Some game shows have a more clearly defined niche targets.
Audience

4. • Many Game shows rely on audiences playing along with the game at home
• Quiz shows and puzzle shows encourage audience engagement
• Some quiz and puzzle shows offer competitions to generate more audience
interaction
• Action game shows encourage audiences to support a specific contestant or
team and so the audience become invested in the result of the game
• Dating game shows allow audiences to judge the contestants and make
‘selections’ for themselves or critique the selections made by contestants.
Audience

5. • According to Bulmer and Katz Uses and Gratification Theory audiences make
media selections based on the type of gratification they seek (other U&G
theorists are available)
• The primary gratifications Bulmer and Katz identified are:
-Diversion
- Escapism, Passing time, release of tension
-Personal Relationship
-Using the media to fulfil the need for companionship
-Using the media to form social/para-social relationships
-Surveillance/ Cognitive Needs
-To view others’ experiences
-to acquire information, knowledge or understanding
Audience

6. • In more recent studies looking at entertainment media a range of gratifications
were identified including:
- Mood Management
- Sensation seeking
- Vicarious experiences
- Downward social comparison
Audience

7. • It is worth noting that different people may get different gratifications from
media products
• The inclusion of new media based elements can add to the type of gratification
available
• Audiences could use the more interactive elements of game shows and use
them as a basis of socialisation e.g. two-screen viewing
• Audiences may seek self-identification and/or status in the more participatory
aspects of game shows
Audience
Activity 2
• Choose two of the game shows you identified
in the starter activity – choose examples from
different sub-genres
• What types of gratifications do they offer –
and how?

8. • Some game shows target very specific audiences
• The audiences may be identified by basic demographics such as:
- Age
- Gender
- Social/ Economic class
• Can you think of specific examples of game shows that target very specific
audience?
Audience

9. • Most game shows, however, tend not to differentiate the audience in these
ways
• Different types of game shows will appeal to audiences through their personal
interests and the personality types of the audience
• Values and Lifestyles audience categories can be useful when considering the
types of person the game show is targeting – and this can be generalised in
terms of the sub-genres of game show
Audience

10. • Innovator. These consumers are on the leading edge of change, have the highest incomes, and such
high self-esteem and abundant resources that they can indulge in any or all self-orientations. They
are located above the rectangle. Image is important to them as an expression of
taste, independence, and character. Their consumer choices are directed toward the "finer things in
life."
• Thinkers. These consumers are the high-resource group of those who are motivated by ideals. They
are mature, responsible, well-educated professionals. Their leisure activities centre on their homes,
but they are well informed about what goes on in the world and are open to new ideas and social
change. They have high incomes but are practical consumers and rational decision makers.
• Believers. These consumers are the low-resource group of those who are motivated by ideals. They
are conservative and predictable consumers who favour local products and established brands. Their
lives are centred on family, community, and the nation. They have modest incomes.
• Achievers. These consumers are the high-resource group of those who are motivated by
achievement. They are successful work-oriented people who get their satisfaction from their jobs
and families. They are politically conservative and respect authority and the status quo. They favour
established products and services that show off their success to their peers.
• Strivers. These consumers are the low-resource group of those who are motivated by achievements.
They have values very similar to achievers but have fewer economic, social, and psychological
resources. Style is extremely important to them as they strive to emulate people they admire.
• Experiencers. These consumers are the high-resource group of those who are motivated by self-
expression. They are the youngest of all the segments, with a median age of 25. They have a lot of
energy, which they pour into physical exercise and social activities. They are avid consumers,
spending heavily on clothing, fast-foods, music, and other youthful favourites, with particular
emphasis on new products and services.
• Makers. These consumers are the low-resource group of those who are motivated by self-
expression. They are practical people who value self-sufficiency. They are focused on the familiar -
family, work, and physical recreation - and have little interest in the broader world. As consumers,
they appreciate practical and functional products.
• Survivors. These consumers have the lowest incomes. They have too few resources to be included in
any consumer self-orientation and are thus located below the rectangle. They are the oldest of all
the segments, with a median age of 61. Within their limited means, they tend to be brand-loyal
consumers.
Audience – Values and Lifestyles (VALS)

11. • There are lots of lifestyles identified but at first it may be more straightforward to just consider four
difference audience types:
- Thinkers
- Makers
- Experiencers
- Achievers
Audience
Thinkers. These consumers are the high-resource group of those who are motivated by ideals. They
are mature, responsible, well-educated professionals. Their leisure activities centre on their homes,
but they are well informed about what goes on in the world and are open to new ideas and social
change. They have high incomes but are practical consumers and rational decision makers.
Makers. These consumers are the low-resource group of those who are motivated by self-expression.
They are practical people who value self-sufficiency. They are focused on the familiar - family, work,
and physical recreation - and have little interest in the broader world. As consumers, they appreciate
practical and functional products.
Experiencers. These consumers are the high-resource group of those who are motivated by self-
expression. They are the youngest of all the segments, with a median age of 25. They have a lot of
energy, which they pour into physical exercise and social activities. They are avid consumers, spending
heavily on clothing, fast-foods, music, and other youthful favourites, with particular emphasis on new
products and services.
Achievers. These consumers are the high-resource group of those who are motivated by achievement.
They are successful work-oriented people who get their satisfaction from their jobs and families. They
are politically conservative and respect authority and the status quo. They favour established products
and services that show off their success to their peers.

12. • Contemporary audiences do not always watch television game shows on
television
• It is common for game shows to be made available for streaming after the
initial broadcast as well as on YouTube and other online sites
• Online sites can provide additional content – behind the scenes footage,
interviews, previously unseen footage
Audience

13. • Additional audience appeal can be created by:
• The choice of presenter
• Use of the ‘red button’
• Break bumpers
• Competitions
• Twitter
• Other ideas?
Audience

14. • Institutions like game shows as they are relatively cheap to produce
• Sets and props are reused
• Members of the public do not charge a fee
• Crew costs are relatively small
• Multiple episodes of studio based game shows can be films back-to-back in
front of the same audience
• Gameshows often attract large audiences
Institutions

15. • Some channels specialise in game shows – for example Dave; Challenge TV
• Game Shows’ repeated format create their own brand
• They can create more interest and appeal by offering different approaches to
the brand. This could include:
• Celebrity Specials
• Seasonal Specials
• Hybrids and Spin Offs – something for you to consider for your own show
Institution
• www.dave.uktv.co.uk/tv-guide
• www.challenge.co.uk/tv-guide

16. • Successful gameshow formats are sold all over the world
• This can create an important income stream for the creators of the format
• The globalised nature of some gameshow formats seems to indicate that
audiences all over the world find game shows appealing and they share similar
tastes
• Presenters will change as will some of the set-design etc. But the format of the
game will stay the same
Institution
• Different broadcasters have different target audiences
• The scheduling of gameshows also relates to the target audience
• The gameshows each channel broadcasts reflects the demographics they
usually appeal to

17. Activity First thoughts
What conventions would you expect to find used in a TV Game Show, using
the following heading:
Mise-en-scene: Costume
Lighting
Actors/ Actions
Make-up, Hair
Props
Set
Sound
Camera Shots
Camera movements
Editing techniques
Media Language

18. Media Language
How is a narrative created?
The mechanic of some shows is set up like a quest: the
contestant must overcome a number of ordeals before
winning the prize – or going through to the next round
Exposition – sets up the game
Conflict and build up – playing
Jeopardy and Resolution – winning/losing/reduction of
chances/competition

19. Media Language
Openings to TV Game Shows, including the opening titles.
What are the common conventions used in all all of these opening sequences?
What conventions are generally used in the opening titles?
In each case:
• What are you shown / introduced to?
• What has not been introduced so far?
• From this part of the show alone, what do you understand the show to
contain?
• What media language have the producers used to try to hook the audience?

20. Media Language
Introductions
Consider:
• Hosts
• Contestants
• Celebrities
• Panels
• Audiences
• Self-representation (how the contestants ‘create’ a persona)
How is media language used in the introductions of the host and the
contestants?
How are they being represented during this phase of the show?

21. Media Language
Playing the game:
In this phase of the show, how are each of these represented?
The host
• Where is the host placed? What is their role? How do they interact with
the contestants, the studio audience, the TV audience, and any other
people within the show?
The contestants
• Where are the contestants placed? What is their role? How much
guidance do they appear to have had?
Look at the use of studio lighting, camera shots, and editing, and listen to the
music and dialogue, to see how these representations have been created

22. Media Language
The climax or final round of the game:
How does this sections of the show use media language to create tension?
How is as sense of jeopardy created?
How is this different to the earlier rounds?
Consider especially the use of lighting, camera, sound and pacing.

23. Media Language
Production Activity C – Returning to your own TV Game Show:
• Formalise the mechanic for your show, thinking about creating tension,
engaging the audience and creating entertainment
• Decide on a title to convey this to your target audience
• Select colours, sets and props
• Decide on how you will choose your contestants, and how you want them
to be represented
• What will the relationship between host and contestants, and host and
audience, be like?

24. Representation: Social Groups
Within the shows’ hosts, contestants and audiences, how are the following
represented?
• Women
• Ethnic minorities
• Different social classes
• Celebrities vs the public

25. Representation: Game shows in other media
How are the game shows, their hosts and their contestants represented in
other media?
Tabloids
Local newspapers, print and online
(e.g. the Manchester Evening News covering ninja Warrior UK)
www.manchestereveningnews.co.uk/whats-on/film-news/watch-ninja-
warrior-uk-hosts-8989073

26. Before the pre-release students should be able to:
• Analyse and explain the appeal of a range of television game shows
• Analyse and dissect a brief
• Focus a response on the precise needs of a given task
• Write a pitch
• Use their knowledge of a variety of production skills
• Be able to write succinctly, using terminology
• Be able to respond in role
• Be able to offer a rationale or evaluation, explaining the appeal to
audiences
• Write within the time constraints of the examination

27. Task One, 2016
• As ever, Task One is essentially testing knowledge and understanding of the
topic area.
• Candidates must refer to two examples in their response. AO1 mark is
limited to Band 3 (3 or 4 marks) if only one example is given.
• Candidates who give more than two examples are sometimes self-
penalising, as it is the depth of knowledge rather than breadth of
knowledge which will warrant a mark in the higher bands. However, some
candidates used two examples per bullet point, which worked well.
• Coverage of all bullet points in important.
• The key differentiator is often the extent to which candidates exemplify
their knowledge of the topic are through the bullet points in the question