Why do people watch television shows illegally, and how do we identify them as an audience?

Brittany Nelson | 11402835

An investigation into television audiences and their use of traditional and non-traditional means of accessing

content.

Why do people watch television shows illegally, and how do we

identify them as an audience?

2013

An investigation into television audiences and their use of traditional and non-traditional

means of accessing content.

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Brittany Nelson

Audiences, Users, Publics, Communities

Tutorial Three: Belinda Middleweek

1 | A s s e s s m e n t T h r e e

Contents

Introduction ............................................................................................................................................ 2

Theoretical Approach .............................................................................................................................. 4

Uses and Gratifications Theory and the Active Audience ................................................................... 4

Media Convergence ............................................................................................................................ 5

Literature Review .................................................................................................................................... 6

Methodology ........................................................................................................................................... 9

Results ................................................................................................................................................. 9

Demographic ..................................................................................................................................... 10

Ethical Considerations ........................................................................................................................... 14

Future Research Plan ............................................................................................................................ 16

Content Analysis ............................................................................................................................... 16

Further Literature Review ................................................................................................................. 16

Case Study ......................................................................................................................................... 16

References ............................................................................................................................................ 17

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Introduction

Why do people watch television shows illegally, and how do we identify them as an

audience? An investigation into television audiences and their use of traditional

and non-traditional means of accessing content.

Television has traditionally been perceived as a passive pastime, where its audiences’ ‘consume

large quantities of television pabulum in an unstructured and habitual fashion’ (Costello and

Moore, 2007, p.130). As technology has developed and become an inherent aspect of the social

experience, audiences of television have become much more active participants in the medium.

Active viewers of television shows are those who have ‘a motivation to seek out online resources

related to the viewing of a favourite program’ (Costello and Moore, 2007, p.127). For the

purposes of my research, I will be analysing online communities who have taken the relationship

between the television experience and the internet to the next level, by actively changing the

method by which they consume the content.

The development of the internet, and its subsidiaries of user generated content and file sharing

have allowed for a new era of media convergence where the viewer has unprecedented control.

These new technologies and communities have brought with them a demand for a higher quality

of content as consumers begin to undertake a ‘television diet’ (Costello and Moore, 2007,

p.130). The merging of television and internet has completely changed how and why we access

this content. ‘File-sharing of TV content is one of the many developments in our era of media

convergence, prompting a renewal of television’s place in the popular imagination’ (Newman,

2011, p.464).

The research in this paper will focus on the shift of the method of viewing television content,

specifically analysing the online communities who do so. The implications of downloading and

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streaming shows will be assessed, as well as the disadvantages faced by these communities as

the television business model struggles to keep up in this new age of media convergence.

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Theoretical Approach

Uses and Gratifications Theory and the Active Audience

From the literature review and primary methodologies conducted in the initial research, several

main theories stand out which would guide the path of an honours project. The first, and most

significant is the uses and gratifications theory. According to Garcia and Gaona, ‘there is no

doubt that typologies of uses and gratifications provide us with an initial reference on which to

conduct empirical studies which bring us closer to the uses and reasons for use of

communication media’ (Garcia and Gaona, 2012, p.232).

Through uses and gratifications theory, it is possible to observe the online television community

as an ‘active audience’, and it is this aspect of the theory which will constitute the main focus of

the research project. The active audience theory was developed by Hall as an extension of his

encoding / decoding theory (Long and Wall, 2009, p.246).It is often analysed in its relation to

uses and gratifications. Blumer defines an active television audience member by several specific

defining activities.

‘A person might be regarded as more active in advance of exposure if he consults

information about what is available; or plans when and what media fare will be consumed; or

has a clear prior expectation of what he can get out of patronising some medium; or can specify

the criteria of what counts as superior specimens of materials that interest him.’ (Blumer, 1979,

p.14).

Seaman (1992) more specifically interprets active audience theory in relation to the television

audience.

‘Active audience theorists argue that a radical reassessment of viewer practices is warranted by

their findings and that would be critics of the media industries need to recognise that television

audiences hold far greater power over the medium than ever before.’ (Seaman, 1992, p.301)

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Media Convergence

I will also be applying elements of the theory of media convergence to my research project.

Jenkins defines convergence as ‘the flow of content across multiple media platforms, the

cooperation between multiple media industries, and the migratory behaviour of media

audiences’ (Jenkins, 2006, p.2).

This theory directly applies to consumer demand and the need for a new television business

model to successfully respond to it. Video content is now accessible on iPads, laptops, mobile

phones, and via gaming consoles, and Australians watch 104 hours of video content online a

month (Nielsen, 2012, p.2).

Spigel (2009) notes this new relationship between television and media convergence in her

research into Youtube. ‘What is new is the convergence between TV and the proliferating media

platforms through which (among other things) TV criticism is now produced, distributed, and

received’ (Spigel, p.151, 2009).

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Literature Review

The pilot research undertaken concluded that there does not appear to be a large amount of

literature which is relevant to the research question. The most relevant literature found was in

relation to the theoretical approach which would be applied to an honours project. Literature by

specific theorists of uses and gratifications theory and media convergence proved useful in

developing a theoretical background for the topic.

Research relating to the methods in which audiences consume television content in the digital

age appeared to be minimal. However, several academics touched on the subject and provided

useful insights into the ‘active audience’, their attitudes, and their actions.

Costello and Moore (2007) extensively discuss the idea of the active television audience in

relation to online fan communities. They enter the discussion of uses and gratifications theory in

relation to the online presence on television by asking, ‘are viewers or listeners capable of

making their own meaning out of message content or are they merely helpless victims of media

producers?’ (Costello and Moore, 2007, p.125). The authors conducted a survey of members of

this community, and how they feel their involvement differs from ‘the stereotypical couch potato

with remote control in hand’ (Costello and Moore, 2007, p.131). This acknowledgment of their

need to gratify their experience with a more involved relationship with television finds parallels

within the topic explored by this article. Online torrenting and streaming communities are

dissatisfied with the traditional television viewing method presented to them, and believe that by

actively seeking these shows, they appreciate them on a higher level than the casual viewer.

They, like the online fan communities, are ‘cultural outlaws’, who are ‘not satisfied with their

assigned role: merely to watch the series’ (Costello and Moore, p.141, 2007), and comprehend

the possibilities of engaging with content in the realm of digital media convergence.

Similarly, Benecchi and Colapinto’s (2011) research analyses the online television fan

community, however their research is conducted in the much more recent sphere of social

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networking. Their research shows that television producers acknowledge the shift towards an

active audience by their endeavours to take advantage of consumers. While television producers

are seemingly unwilling to give the active audience what they want in relation to how they

consume television at this stage, they do partake in profiting off how online communities

appreciate television.

‘These fans are already proactively searching for information about the TV show they loved;

therefore TV producers can exploit this behaviour.’ (Benecchi and Colapinto, 2011, p.443).

Their research found that television producers must modernise their business model if they want

to maintain a fan base and source of revenue. The authors conclude that ‘these new forms of

audience participation are seen valuable, renegotiating the social contract between media

producers and consumers in a way which may be seen as legitimate and mutually rewarding to

all involved.’ Benecchi and Colapinto, 2011, p.443). This attitude supports the findings of my

primary research, explored later in this pilot study.

Cha and Chan-Olmsted (2012) analyse the ‘cannibalistic’ (Cha and Chan-Olmsted, 2012, p.261)

nature of the internet and its aggressive role in digital media convergence. The authors attempt

to answer the question, ‘what specific motivations for watching video content affect consumers’

perceived substitutability between online video platforms and television?’ (Cha and Chan-

Olmsted, 2012, p.264). They note its difference from past new media which have been able to

continue their existence alongside the old, for example radio and print. The authors focus on the

fast pace of digital technology, emphasising that while our populace are able to utilise the

technology efficiently, the industry is failing to maintain its dominance in accessibility.

Contrastingly, Siapera (2004) states that ‘television... has merely expanded online’ (Siapera,

2004, p.155). Presenting an opposing view to Cha and Chan-Olmsted, she maintains that the

internet phenomenon will not drastically affect the television industry. ‘The new media rhetoric,

with its emphasis on radical breaks from old media, often masks the degree to which continuity

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goes hand in hand with change’ (Siapera, 2004, p.158). The research intention was to ‘trace the

continuities and changes in the ways in which television understands and constructs its

audiences in its online modes of existence’ (Siapera, 2004, p.167). The author’s views may have

been more relevant in the context of her article’s publication nearly a decade ago, and the more

recent articles discussed here demonstrate a more modern approach to active audience theory.

Leavitt (2011) ‘aims to address the expressive and participatory practices of online television

audiences’ (Leavitt, 2011, p.3) in his recent research. By investigating social media practices,

fan communities, and television consumption, Leavitt is able to provide a comprehensive

examination of the relationship between the internet and its active television audiences. The

author concludes his research by offering a solution to the issue faced by the television industry.

‘Streamlined experiences and broad access to content will be honoured (sic) with greater

loyalty to shows and brands, while also rewarding the television industry with greater and more

detailed insights into consumer participation and practices’ (Leavitt, 2011, p.12).

While a vast range of literature currently exists on media convergence, the relationship between

old and new media, and television in general, it has proven difficult to locate any research

explicitly relevant to torrenting and online streaming practices. While this could be considered an

obstacle in creating a comprehensive research project, it introduces an opportunity in regards to

primary methodology. Being able to control the direction and applying relevant theory to raw data

will prove extremely beneficial for the purposes of this project.

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Methodology

The primary methodology that has been undertaken in this research is survey. This specific

methodology was chosen for two key reasons:

1. The topic which is being researched is extremely new. The technology required to watch

television online, and the accessibility of these shows, is constantly changing. It was

therefore crucial to conduct extensive primary research in order to extensively address

the research question and come to an educated conclusion.

2. The literature that is available rarely focuses on the audience, instead often focusing on

television producers, or on the technology which is used to access it (Benecchi and

Colapinto, 2011; Keesan, 2008). The aspect of this topic which was of particular interest

was the audience: who they are, and why they consume television content in the way that

they do. To best assess this, it was decided to go directly to the audience, and to ask

them specific questions which have not been approached in other research.

Therefore, for the purposes of this research, a survey was created consisting of fifteen questions,

which ran from 14th April, 2013 to 21st May, 2013. The survey was deployed on a variety of

websites, including forums dedicated to television shows, torrenting and streaming services on

Reddit. It was also linked on a variety of private and public torrent websites, where its members

were active with the specific purpose of downloading television shows. These websites included

Isohunt, The Empire, Scenetime, and Torrent Day.

Results

The results of this survey provided detailed insights into how the active audience operates in the

age of digital media convergence. The respondents provided extensive information about their

viewing habits, online presence, and proposed changes to the television industry. Approximately

20% supplied detailed comments, even when not asked.

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Demographic

The survey received 1006 responses over the five weeks it was live, and its respondents’ were

categorised demographically into age, gender, and location.

Figure 1

The survey observed an extremely geologically widespread response base. Responses were

obtained most often from participants in Australia, New Zealand, the United States, the United

Kingdom and Canada. 581 of these respondents were from Australia. This is due both to my

location, and the issue being researched affecting Australians at a higher rate that other

countries due to the legalities of syndication affecting international show availability.

‘P2P [peer to peer] TV usage is especially prevalent in countries where access to American

shows is limited by windowing and geo-blocking, especially in English-speaking countries such as

the United Kingdom, Canada, and Australia.’ (Newman, 2012, p.471)

Interestingly, while women are regarded as the dominant viewers of television (Stanley and

Niemi, 1998, p.56). 86% of respondents identified themselves as male. This is possibly due to

male television audiences accessing their content differently than females, rather than males

watching television at a higher rate than expected.

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In the preliminary survey, an error was made which was overlooked before the survey was

finalised and sent out. As you will see in Figure 2, the age categories overlap. However, I don’t

believe this greatly affected my results. The majority of survey respondents were aged between

18-24, with those aged 24-30 following. This reflects internet usage with this level of

technological skill among casual users (Nielsen, 2012, p.1).

Figure 2

A huge 40% of survey respondents were aged between eighteen and twenty-four years old, with a

further 26% between the ages of twenty-four and thirty. This shows accessing television through

online means as a new phenomenon which is preferred by ‘techno-babies’ – those who grew up

surrounded by television. While the concept of the active audience is not new, this particular

means of being an active audience is.

When beginning this pilot study, it was important to consider any possible assumptions about the

research area, or survey respondents before commencing. My main assumption, and a common

perception from many stakeholders, was that the torrenting community download shows because

they don’t have to pay. This concern was addressed by asking this of the survey respondents

quite directly in several targeted questions.

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Figure 3

45% of respondents stated that they downloaded shows because there are no advertisements,

and a resounding 62% of the same group also stated that they don’t want to pay for them. While

this could confirm the assumption that ‘free is key’ (Keesan, 2008, p.362), further research

shows that this sample are willing to pay for an updated model that takes the active audience

and media convergence into account. The importance of the aspect of media convergence in the

modern television experience is clearly displayed with 86% of respondents stating that they

watch shows ‘when and where I want’.

198 respondents took the time to provide detailed information regarding their viewing habits.

Many comments clearly demonstrated the collective opinion that the traditional television

business model must be updated to account for media convergence and technological advances.

“I would gladly rent or purchase new episodes if companies made them available.”

“I can’t find them legally streaming in good quality.”

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“I would be happy to pay for one channel, but obligatory cable packages are too expensive.

(Looking at you, HBO.)”

Figure 4

These responses again show that these online communities are not the average ‘couch potato’

(Costello and Moore, 2007, p.131), they are an active audience who are specifically seeking out

this form of entertainment. They commonly share this desire to find a solution to this out-dated

business model, rather than to passively watch television and not contribute to the process.

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Ethical Considerations

‘Ethical considerations guide our integrity as researchers in formulating research as well as its

reception... ethical principles impact on our relationship with our subjects of research...’ (Long

and Wall, 2009, p.269)

The ethical considerations for this research are minimal; however several elements of the

research must be addressed. Initially, it was important to ensure that participants under the age

of sixteen did not participate, due to lack of a simple method of gaining parental consent. It was

not necessary that my research included responses from this demographic, nor from the age

bracket of 16-17 years, and thus the lowest age one could select to take part in the survey is

eighteen.

According to the UK’s Economic and Social Research Council (ESRC), researchers should ensure

that ‘subjects [are] fully informed about the purpose, methods and intended possible uses of the

research’ (Long and Wall, 2009, p.270). It was important to disclose the purpose of the survey,

the university in which the research was being undertaken, and the fact that responses are

anonymous at the beginning of the survey. This was particularly essential in relation to this

particular survey, as some of the questions asked participants of their online viewing habits,

including illegal methods. Because of this, it was vital that concerned respondents could verify

my identity and the purpose of my research if necessary. These actions show my commitment to

the ESRC’s standards, particularly that the ‘confidentiality of information supplied by research

subjects and the anonymity of the subjects [is] respected’ (Long and Wall, 2009, p.270).

The fact that some responses may include information about the respondent’s torrenting habits,

which in some cases is technically illegal, was extremely important to consider. However,

respondents were made aware that they only needed to disclose what they were comfortable

with, ‘participating in a voluntary way, free from any coercion’ (Long and Wall, 2009, p.270).

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Most were completing the survey with the intention of explaining their actions, and hoping to

move towards a legal solution to updating the television business model.

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Future Research Plan

Several key steps would be taken if this research were to be continued beyond this pilot study.

Content Analysis

The survey results received for this pilot studies are deemed to comprise of an extensive and

valid sample. Therefore, if this were to be continued into an honours project, a second primary

methodology would be undertaken. I propose content analysis as an effective research tool for

this particular topic. By analysing data such as Netflix subscription figures, number of torrents

downloaded, Neilsen ratings and network revenue, a comprehensive snapshot of the current

state of the television industry can be perceived.

Further Literature Review

As this issue becomes more prevalent, it is possible that academics will publish further literature

on this subject. If that were to occur, it could be very useful in supporting the findings made in

this pilot study and an honours project.

Case Study

Several television shows and new television models could be analysed very successfully in order

to demonstrate the active audience and media convergence in relation to television. Specifically,

television shows such as HBO’s Game of Thrones and Fox’s Arrested Development could be

examined as examples of how active online communities have contributed to a show’s fate.

Online streaming services, such as Netflix, can demonstrate new television business models with

potential for success in the age of media convergence.

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References

Benecchi E., Colapinto C., 2011. ‘21th Century: TV series go beyond the screens’. M.A. Pérez-

Gómez, Previously on. Interdisciplinary studies on TV Series in the Third Golden Age of Television,

pp. 433-446. Italy.

Blumer, J., 1979. ‘The Role of Theory in Uses and Gratifications Studies’. Communication

Research, 6:9, pp. 9-36.

Cha, J. and Chan-Olmsted, S., 2012. ‘Substitutability between Online Video Platforms and

Television’. Journalism and Mass Communication Quarterly, 89:261. pp. 261-278. Sage

Publications.

Costello, V. and Moore, B., 2007. ‘Cultural Outlaws: An Examination of Audience Activity and

Online Television Fandom’. Television and New Media, 8:124. pp. 124-144.

Garcia, A., and Gaona, C., 2012. ‘A vision of uses and gratifications applied to the study of

Internet use by adolescents’. Communicacion Y Sociedad, 25:2, pp. 231-254.

Keesan, J., 2008. ‘Let it be? The challenges of using old definitions for online music practices’.

Berkeley Technology Law Journal, 23:1, pp. 353-372.

Jenkins, H., 2006. Convergence Culture: Where Old and New Media Collide. New York University

Press, New York.

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Leavitt, A., 2011. ‘Watching with the World - Television Audiences and Online Social Networks’.

2010/2011 C3 Research Memos and White Paper Series. Published online at

http://www.convergenceculture.org/research/c3-watchingworld-full.pdf Viewed April 28th 2013.

Long, P., and Wall, T., et al. 2009. Media Studies: Texts, Production, and Contexts. 1st edition.

Harlow, England.

Newman, M., 2012. ‘Free TV: File Sharing and the Value of Television’. Television New Media,

13:6, pp. 463-479. Sage Publications.

Nielsen Company, 2012. ‘Australian Multi Screen Report: Second Quarter, 2012.’ Online,

available at

http://www.nielsen.com/content/dam/corporate/au/en/reports/2013/6045_Multi_Screen_Rep

ort_Q4_2012_Final.PDF, viewed May 28th 2013.

Seaman, W., 1992. ‘Active audience theory: pointless populism’. Media Culture Society, 14:2, pp.

301-311.

Siapera, E., 2004. ‘From couch potatoes to cybernauts? The expanding notion of the audience on

TV channels’ websites’. New Media Society, 6:155. pp. 155-172. Sage Publications.

Spigel, L., 2009. ‘My TV Studies… now playing on a Youtube site near you’. Television New Media,

10:1, pp. 149-153. Sage Publications.

Stanley, H., and Niemi, R., 1998. Vital Statistics on American Politics, 1997-1998. Congressional

Quartlerly Press, Washington, D.C.

http://www.convergenceculture.org/research/c3-watchingworld-full.pdf

http://www.nielsen.com/content/dam/corporate/au/en/reports/2013/6045_Multi_Screen_Report_Q4_2012_Final.PDF

http://www.nielsen.com/content/dam/corporate/au/en/reports/2013/6045_Multi_Screen_Report_Q4_2012_Final.PDF

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Why do people watch television shows illegally, and how do we identify them as an audience?