Those who so desire would register by contacting Trans7 by the telephone or social media. Search for “Episode 1. This is one aspect that usually goes under the radar but essentially explains the power relation between advertisers and TV stations. Through the experience of living together with selected families for a certain period will enabled us to engage closely with the fabric of daily family life, while at the same time observing the way they consume media content in a complex social setting. Direct observations We conducted five direct observations on the making of TV programmes, with four of them being live shows. The way Giddens understands agents differently as active actors is analogous with how he perceives structure.

This is vital to address in order to investigate the importance of media literacy in public demand. Competition was present but limited to a few players, without the intrusion of foreign companies. Probo Susanto, Trans TV, interview, 4 November Despite their initial plan to provide the market with quality programmes that are a worthy alternative to mainstream content, Trans TV was increasingly criticised by the public. Profiling production houses Assessing the field of content production is filled with challenges. In other words, it shows how little producers, advertisers, and TV executives understand their audience. Intervention and reaction in urban families. Not only are they handicapped financially, they are also unable to market their products freely.

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The above figure shows the cyclical process involved in the six phases. No one has slots.

When asked about the power relations within the media industry, advertisers see TV stations as the ones pulling the strings.

Let s be honest, here in Indonesia, people s mindset are influenced by television. Unboxing uarimau in contemporary Indonesia. Either the production house had no time to do an interview or they simply refused to take part in ful, study. Direct observations We conducted five direct observations on the making of TV programmes, with four of them being live shows.


The team would like to acknowledge the generous support from Probo Susanto, Ria Ernunsari and MD Theresia, for their insights and assistance. Whatever the TV producers like to hariimau, production houses will make sure their wishes are fulfilled.

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Tune-in to Conan and find full episodes, season and episode guide, news, cast and character information. No particular license or certification is needed to establish a production house. Hence, social systems are not only outcomes, but also the arena in which social practices take place at the same time. As we noted earlier, there are actors who might have been playing crucial roles in the content production process.

Skip to main content. It conducts its own survey, independently, without involvement from Unilever or Metro TV. Conventional media in urban, suburban and rural setting. In other words, the media-audience structure is constructed and reconstructed through the production and consumption of content. Structure of the report We have briefly presented the dynamic between production and consumption of media content in Chapter One.

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Using the layers of S-D-L also, it will be interesting to scrutinise the dynamics within the industry and their mechanism in generating television content. We have two ways also, regular and non-regular. Most importantly, a qualitative approach such as this supports the use of the ‘insider’s view’ Bryman and Bell, – for example a phenomenon as perceived by the resource person – to be included in the analysis.

In other words, social relations are reproduced across time by a variety of implicit techniques, contained in actors implicit harimai of practical consciousness, that are used to sustain routines. Practical consciousness is the key to 7 The differences between the divisions can only be explained analytically.

They find themselves in a captive situation, not being able to express their ideas as it is measured by illusive numbers instead of by real voices of their viewers.

We had to adapt faster, be discrete in taking notes about the activity, and at the same, explore the discourse over media consumption without harming the privacy of the families. Greater Jakarta was chosen as an ‘anchor’ or baseline area, as evident in our previous research report Nugroho, et.


In the ILK, guests are seated in an space arranged like a dinner gathering. This study however, aims to unveil a different perspective on media production. Their most obvious role fuull related to television commercials, which depend on the target audience and market of the respective programmes. He explained the rules of conduct expected during shooting.

Changing the game or reinforcing the structure? Having said that, there needs to be a reform in media industry that succumbs to commercial pressure.

Every ILK segment is opened with musical number, which is then followed by the clamor and claps of the audience. Hence, allocating resources is still a major requisite in order to control TV programmes. The 17An online petition can be seen on https: This particular sub-industry has developed its role in becoming a specialist without compromising the need to maintain general skills.

Agent and structure, instead of being opposed, presuppose each other. Supporters of this view tend to give exclusive attention to individual or group agency without considering the 3 By structuration, Giddens intends to explain the structuring of social relations across time and space, in virtue of the duality of structure.

Undisclosed, Mindshare, interview, 18 March As a consequence, the division of labour within this sector has altered. Kings of Rum, their heirs and vassals 2: In short, social phenomenon is neither the product of structure nor agency alone, but of both.