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Her main areas of study are literary and post-colonial theory, feminism, and cultural Even if the quagga was the same species as the zebra, the skeptics say, what is incidence was also acted out at Zamukhanyo Primary School in Daveyton. political inequalities outside the domain of the Forrester family that remains at.
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Because of never-ending storylines, soap opera viewing becomes a ritual: year after year, every week day, at the same time, fans gather in front of the television set— they disconnect the phone and the doorbell, pour a drink and sit back to escape for half an hour into a fantasy world of the soap community.

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One woman in the focus group interviews said that when she watches Egoli she switches off the phone and doesn't answer the doorbell—not even for the deacon of her church. And her children know not to speak with her while she is watching Egoli. Devoted soap fans bond with soap characters because they see them every week day.


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And some viewers get involved to the extent that they are moved to tears, and even write letters to a fan club, either to voice their admiration or their anger and frustration for example, letters to the Egoli-club. They also talk to characters if they are people of flesh and blood. As one respondent said: I felt with Sunet when she was involved in that fight with Kay. This means that viewers watch the action as if playing opposite a character, as if the char- acter were interacting with them face-to-face. That is, by means of a process of recognition, viewers relate to characters as if they were similar to people that they know in real life.

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Furthermore, viewers want to see revenge, especially as far as the female antagonist is concerned. In Egoli, Kimberley the super bitch was undoubtedly the most hated character in the series. Some respondents even wish her dead. It is this daily encounter with soap characters that feeds the imaginary relation- ship between viewers and characters. Furthermore, soap viewers can talk about soap characters without fear of reprisal or hurting someone.

And it is this innocent form of gossip that makes the viewing of soaps even more rewarding. Parasocial interaction often spills over to social interac- tion, that is, when participants discuss Egoli with family members and colleagues. Nothing pleases soap fans more than good old-fashioned romance. They love to see a rela- tionship between a man and a woman culminate in a happy ending. That is, they want to see a conventional, love story.

Many of the respondents indicated that they are always on the look-out for a suitable wife for Mr Right and an equally suitable Mr Right for vulnerable heroines. Who is meant for whom is an important topic of discussion among fans who are keen to find a partner for beautiful, distressed girls. Furthermore, the female antagonist super bitch allows viewers a cathartic experience because they the viewers can vent their aggression on her.

Purists might scorn, but their works about power, lust and wealth also appealed to a mass audience. Universal Appeal of Soap Operas? Whether soaps are produced locally or abroad, they adhere to the same generic conventions and therefore have a universal appeal.

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However, some South African soaps do have stronger co- medic storylines than their overseas counterparts. In Egoli for example, the main melodramatic storylines are interspersed with humour. For instance, there is the elderly married couple, Elsa and Oom Buks, who continuously squabble over trivial matters. There is also Bertie, Nora and Louwna's half-witted brother the village idiot who provides humorous moments.

In an interview with Frans Marx, executive producer of Egoli, he says that he applies the Shake- spearian formula where comedy is used together with drama—however, a comedy line is added only as part of the whole. Furthermore, Marx includes elements of American and British soaps: first, he incorporates the status aspirations of the Americans. That is, Americans receive intense gratification watching the rich and famous suffer in fur coats and diamonds.

Furthermore, in American soaps, the emphasis, to a large extent, is on the middle and higher social-economic classes. The British soaps on the other hand, depict the British class struggle. Viewers of these soaps want to see the suffering of ordinary people, people like themselves. In Egoli Marx combines the American status aspiration beautiful people from the upper middle class , and the ordinary peo- ple, of lower socio-economic status, like those found in Britain.

Thus, in Egoli, all social groups are being represented: the super-rich Vorsters, the up-and-coming yuppies, as well as those from the lower socio-economic classes the Naude's from Brixton. Apart from the above mentioned differences, it is not too far fetched to assume that the soap opera genre in general has become the late twentieth century's most powerful opiate. Not only do they allow viewers to breathe the same stratosphere as the jet-setting soap clans, but—because the central characters are never happy, no matter how influential and beautiful they are—the message is that we ordinary people should be content with our lot.

Furthermore, television fiction deals with themes that reflect social norms and values. And in spite of decadent and amoral behav- iour—usually on the part of the antagonists in soaps—accepted norms, values and behaviour tri- umph at the end. Conclusion The discussion of the generic conventions and viewers' interpretation of the soap opera gives an indication of why viewers get hooked on a particular soap s and why they cannot but keep on watching faithfully, even when a soap stretches over a period of years.

In fact, the longer viewers watch a soap, the better it gets!

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It would be a mistake to regard soaps as pure entertainment with no underlying ideological messages. This genre—as with most television fiction—always, in some way, reflects contempo- rary family values, human emotions, norms and politically correct behaviour.

Furthermore, changes in society are reflected in products of popular culture. Although plots may sometimes be ridiculous, soaps proba- bly have more to say about contemporary society than any other medium. In South Africa, locally-produced soaps are used as a cultural forum to address important issues South Africans are faced with.

These issues may be addressed little more than skin-deep but at least through soaps, the spiral of silence about these sensitive issues, has been broken.

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Notes References Allen, R C Speaking of soap operas. Allen, R C Lon- don: Methuen. Paperback edition. Dyadic interaction on the daytime serials. Norwood: Ablex. Ang, I Watching Dallas: soap opera and the melodramatic imagination. London: Rout- ledge. Biltereyst, D Hollywood in het avondland. Brussel: Vubpress. Brown, M-E Motley moments: soap opera carnival, gossip and the power of the utterance, in Television and women's culture: politics of the popular, edit by M-E Brown.

Sydney: Cur- rency. Brunsdon, C Los Angeles: American Film Institute.

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Buckingham, D London: British Film In- stitute. The soap opera. Beverly Hills, Calif: Sage. Cassata, M Life on daytime television: tuning-in American serial drama. Fiske, J Television culture. Garaghty, C Women and soap opera: a study of prime time soaps. Cambridge: Polity. Hobson, D Women audiences and the workplace, in Television and women's culture: poli- tics of the popular, edited by M-E Brown. Sydney: Currency. Mass communication and parasocial interaction.

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Psychiatry 19 3 , pp Kinzer, N S Palo Alto, CA: Mayfield. The export of meaning: cross-cultural readings of Dallas. New York: Oxford University Press. Livingstone, S M The implicit representation fo characters in Dallas: a multidimensional scaling approach. Human Communication Research 13 3 , pp Making sense of television: the psychology of audience interpretation. Oxford: Pergamon. Malan, C Communicare 13 1 , pp Pitout, M Televisie en resepsiestudie: 'n analise van kykersinterpretasie van die seep-opera Egoli: Plek van Goud.

Doctoral Thesis: University of South Africa. Die strukturele kenmerke van die televisie-seepopera: 'n ondersoek na die popu- lariteit van die seepoperagenre. Communicatio 24 1 , pp Reception analysis: a qualitative investigation of the parasocial and social di- mensions of soap opera viewing.

Communicatio 24 2 , pp Reception theory, in Media studies.


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