Textual Analysis Of The One Show Philip Auslander

The One Show, 6th October 2014, Textual Analyses of first 3 minutes
As a live television programme The One Show must be clear and succinct, so that the programme takes place within the set time while having the authenticity of it all happening at the same time it is being watched. The importance of television being live can be explained by Philip Auslander, ‘the common assumption is that the live event is ‘real’ and that mediated events are … artificial reproductions of the real.’ However, with a combination of both live and pre-recorded it could be argued that this ‘liveness’ is not essential.
At the very beginning of the programme a BBC ident is shown followed by the opening titles of the programme that contain the theme music associated
This sensitive issue is chosen to feature in a genuine attempt to highlight an issue; the danger IED’s pose to soldiers in Afghanistan. Although there were no images of the violence they were discussed in great detail which for a documentary of this kind could be viewed as ‘pertinent to the story’
The first shot in this section of the programme is of the platoon relaxing in their camp, filmed from a handheld camera by one of the documentaries subjects; this is used as evidence to ‘encourage the audience to observe, witness and … make judgements about the people, places and situations’ while understanding that this footage is legitimate and authentic . In this instance it suggests to the audience that the soldiers are behaving in a relaxed, relatable manner therefore this is a signifier that communicates a familiar behaviour making the audience more empathetic . The majority of footage is either the handheld clips of that nature or interviews with the subjects filmed after their return from their tour. These are filmed as direct address and appear to be in a higher definition to differentiate between the amateur and professional footage; adhering to the ‘trust, expectation and familiarity’ the audience requires from the documentary film makers in order to judge the programme’s
Unlike a television drama, Emmerdale does not have a problem and solution episode structure; the audience cannot guarantee a resolution to any storyline as it could continue over an infinite number of episodes rather than the popular format of several instalments over one series. In this particular extract of Emmerdale there is an advert that sponsors the programme before the next section is broadcast; the regular audience is familiar with this flow and is aware that this signals the break is over. The gaps in the advert break, between episodes or over the weekend are part of the pleasure of the viewing experience, ‘these gaps are as important to the reading process as the textual ‘material’ they interrupt ’; it offers the audience a time of reflection and speculation then rewards ‘readers who maintain an ongoing engagement with the text ’ with the answers to their