電視真人秀外文翻譯—年輕人、電視真人秀節(jié)目贊助和品牌贊助（原文）

1、New Media and Mass Communication www.iiste.org ISSN 2224-3267 (Paper) ISSN 2224

2、-3275 (Online) Vol.38, 2015 33 The Youth, Reality TV Show Sponsorship and Brand Patronage: Any Nexus? Adelabu Omowale, PhD Mass Communication department, Redeemer’s University, Redemption Camp Sanusi, Bernice Mass Comm

3、unication Department, Redeemer’s University, Redemption Camp ABSTRACT With increasing apathy to advertising by audience, especially the youth, and the need for orgnisations to look for way of positioning their products

4、and services to attract new and retain old customers, organisations are turning to reality TV shows sponsorship. Reality TV shows have become one of the most popular shows on television this days. Reality TV programmes

5、 is define as programme that film real people as they live out events in their lives, contrived or otherwise, as they occur. With students of Redeemer’s university as its study population, the study adopts survey desig

6、n, using questionnaire as data collection instrument. A sample of 240 respondents was randomly selected from the population and test instrument administered on them, only 235 pieces of questionnaire were returned and a

7、nalysed, putting the response rate at 97.9%. The findings showed that brand sponsorship of reality shows does not have any influence on brand patronage. 56.5% of respondents indicated that the effect of brand sponsorsh

8、ip of reality shows on their patronage of the product is neither positive nor negative; rather, it is neutral or inconsequential. This finding showed that the sponsorship of reality TV shows is not solely responsible f

9、or the increased patronage of the sponsored brand. However, brand sponsorship of reality TV programmes contributes positively to image of the brand, which might ultimately lead to increase patronage. The researcher con

10、cludes that sponsorship of reality shows by major brands and organizations might influence people’s perception of the brand positively, but does not necessarily make them patronize the brand. In view of the research fi

11、ndings, it was recommended that organizations should not use sponsorship of reality shows as a strategy for the purpose of increasing patronage, but use it if their aim is to boost their brand image image. Key words:

12、Reality TV, Sponsorship, Patronage, Brand, Positioning INTRODUCTION Reality TV shows have become of the most popular shows on television this days. Every year, audiences worldwide look forward to the commencement of a n

13、ew episode or season of their favourite reality TV shows. Nigeria is not an exception because every year, thousands of viewers stay glued to their television screens, watching one reality TV show or the other. Reality

14、Television shows have bombarded television programming of recent and audiences are passionate about them. Reality TV as a genre of television programming that has grown over the years and has become an addiction of som

15、e sort for many of their viewers especially youth and female segment of the society. According to Hall (2009:515), reality programmes are now a staple of television programming. Many people watch reality shows for seve

16、ral reasons. Reiss and Wiltz (2004) discovered that an element of reality programmes appeal is that they ‘help viewers to feel important because seeing ordinary people on the shows allows them to “fantasize that they c

17、ould gain celebrity status by being on television.’ (Hall, 2009:517). The appeals that reality TV shows have on their audiences have led to many products and organisations to explore it for their marketing communicatio

18、ns spending and products and service placement. As viewership increased, producers have also improved on contents and come up with better packages that attracts more audiences to stay glued to their TV screens, thereby

19、, also attracting more sponsorship from organisations. New Media and Mass Communication

20、 www.iiste.org ISSN 2224-3267 (Paper) ISSN 2224-3275 (Online) Vol.38, 2015 35 commercial goals), it is a realistic view of how sponsorship is actually used. Sponsorship involves a business transaction (Thwaites,

21、 1994) and an economic – based partnership between the sponsor and the sponsored company (Quester and Thompson, 2001). Kitchen and De Pelsmacker (2004: 94), state that commercial sponsorship implies that the sponsoring

22、 company has the intention and takes the necessary actions to promote its interests, and to support the sponsored activity by means of integrated marketing communication efforts. Discussing the nature and structure of

23、sponsorships, Belch and Belch, (2003: 363) state that under a sponsorship arrangement, an advertiser assumes responsibility for the production and usually the content of the programme as well as the advertising that ap

24、pears within it. They further state that in the early days of television, most programmes were produced and sponsored by corporations and were identified by their name, for e.g. Texaco Star Theatre, The Colgate Comedy

25、Hour, etc. According to Nabi (2007: 372), although many people might have a sense of the programmes that fall into the category of reality television, there is no clear industry standard or definition of the genre of t

26、elevision programming. Despite Nabi’s observation, several scholars and encyclopaedias have however come up with various definitions. For instance, Wikipedia (2011) defines reality television as “a genre of television

27、 programming that presents purportedly unscripted dramatic or humorous situations, documents actual events, and usually features ordinary people instead of professional actors, sometimes in a contest or other situation

28、 where a prize is awarded”. The online encyclopaedia states further that, “participants are often placed in exotic locations or abnormal situations, and are sometimes coached to act in specific scripted ways by off-scre

29、en “story editors” or “segment television producers”, with the portrayal of events and speech manipulated and contrived to create an illusion of reality through other post-production editing techniques”. Barton (2007:

30、 462) on his part defines reality shows as, “any show featuring non-actors under constant surveillance, reacting in spontaneous and unscripted ways to their environment, and ultimately seeking to outperform or outlast

31、their opponents in some sort of competition”. Nabi et al (2003), cited by Nabi (2007: 372), define reality TV as programmes that film real people as they live out events in their lives, contrived or otherwise, as they

32、occur. They further identify several key elements that characterize such programmes: a. People portraying themselves, b. Filmed at least in part in their living or working environment rather than on a set, c. Without a

33、 script, d. With events placed in a narrative context, e. For the primary purpose of viewer entertainment. They conclude that in essence, reality programmes are “marked by ordinary people engaged in unscripted action o

34、r interaction”. Hall (2009: 515) on her part, states that the term “reality programme” has been applied by scholars to a range of material that varies widely in format, theme and subject matter. She adds that many of th

35、e early definitions of reality programmes were broad, including news programmes and traditional documentaries. Wikipedia (2011) traces the antecedent of reality TV programmes to the 1940s, when Allen Funt’s Candid Came

36、ra show, broadcasting unsuspecting ordinary people reacting to pranks. Since then, reality TV has seen tremendous growth. Gardyn (2001), states that for the past several years, reality television has dominated mainstre

37、am television programming, providing relatively inexpensive entertainment. He further adds that the premise of reality TV requires that individuals place themselves on public display, thus forfeiting all claims to pers

38、onal privacy for the sake of transient fame and the possibility of monetary consideration (Papacharissi and Mendelson; 2007:355). Barton (2009: 460), submits that within the realm of contemporary television landscape, r

39、eality based television is a force that has changed the television industry as well as the culture that surrounds it. According to research conducted by Zappia (2006) and Nielson Media Research (2007), Barton states th

40、at four of the top five prime time broadcast TV programmes (in the USA) for 2006 were reality-based programmes, outperforming perennial powerhouse shows such as CSI, Desperate Housewives and Law and Order. Hall (2009:

41、515) identified some of the advantages of reality programmes for broadcasters. According to her, they are inexpensive to produce, they offer considerable scheduling flexibility, and they are less dependent on actors th