The study investigated the effect of telenovela engagement on student’s social and academic lives. Specifically, the study investigate the relationship between telenovelas watching and social life, examine the effect of watching telenovelas on students’ academic performance and analyzing the motives behind students watching soap operas.
The study was conducted considering the effect of these major points social lives includes namely, dressing, sexual behaviors, love, interaction, in academic lives, we have, concentration, time mismanagement, discussing in class and the motives which involves relaxation, releasing of stress, entertainment on students’ lives. The data for this study was obtained by administering questionnaire to day students in some selected secondary schools.
Around the Globe, telenovelas have been accused of negative influence on audience .They have been accused of striving for sensation by seasoning their contents with sex, nudity promiscuity, bad language, promoting exhibitionism and of contributing to new lifestyle standards that prioritize publicity, glamour, competition and individualism, with this, several Scholars and the general public have debated on the influence of television on society since the medium was invented. Television role on peoples' lives have been described as all powerful, as an important cultural and social force. The mass media is felt to have enormous influence on the beliefs ideas and bias of young people. Svenkemd and Suruchi argues that viewing a particular program perceived as being highly realistic could produce a noticeable influence on social reality, independent of the viewer's behaviors over a large period. Television programs are said to capitalize on young people's creativity, passion and idealism, offering their valuable perspective on some of the most critical issues of our times.
TABLE OF CONTENTS
DECLARATION
ACKNOWLEDGEMENT
DEDICATION
ABSTRACT
CHAPTER ONE
INTRODUCTION AND BACKGROUND OF STUDY
1.0 Introduction
1.1 Background of study
1.2 Problem Statement
1.3 Objectives
1.4 Research Question
1.5 Research Hypothesis
1.6 Scope of the Study
1.7 Significance of the study
1.8 Justification
1.9 Operational definition
CHAPTER TWO
LITERATURE REVIEW
2.0. INTRODUCTION
2.1. LITERATURE REVIEW
2.2. History of telenovela
2.2.1 Telenovela Genres
2.2.2. Genre proximity
2.2.3. The Centrality of Telenovelas
2.4 Telenovela and Education
2.5 Serial Viewing Motives and Culture
2.5.1 Gender Roles and Cultural Identity
2.6. Beauty Images and Reality
2.7. Abstract of Some Telenovela in The Past
2.7.1. Rosalinda
2.7.2. The Stray Cat ( La Gata)
2.7.3. The Fearless Heart
2.7.4. Simply Maria
2.8. Theoretical Framework
2.8.1. Social Learning Theory
2.8.2 Uses and Gratifications
2.8.3 Cultivation Theory
2.9 Conceptual Framework on Telenovela Engagement and its effect on student’s academic and social lives
2.10 Conclusion
CHAPTER THREE
METHODOLOGY
3.0 Introduction
3.1 Research Design
3.2 Research setting
3.3 Population\scope of study
3.4 Sample Procedure
3.4.1 Sample size estimation and selection
3.5 Unit of Analysis
3.6 Instrument for Data Collection
3.6.1 Test-Retest of Research Instrument
3.6.2 Piloting/Pretesting of the Research Instrument
3.6.3 Test-Retest
3.6.4 Reliability of sub-scales
3.7 Sources and Method of Data Collection
3.8 Method of data Analysis
3.9 Ethical Consideration
3.9.1 Challenges to field work
3.9.2 Anticipated Challenge
CHAPTER FOUR
ANALYSIS OF RESULTS AND DISCUSSION
4.0 Introduction
4.1 Background information on the respondents
4.1.1 Gender of the respondents
4.1.2 Age of group of the respondents
4.1.3. Ethnicity of respondents
4.1.4. Religious affiliation of respondents
4.1.5. Education level of respondents
4.1.6. Programme of study
4.2 Knowledge about telenovela
4.2.1 Do you have television?
4.2.2 Access to television
4.2.3 Watching telenovela
4.2.4 Time they watch telenovela
4.2.5 Measuring the frequency
4.2.6 Who they telenovela watch with
4.3 The social life of students in connection with telenovela viewership
4.3.1 I choose to watch telenovela to spending time with friends
4.3.2 Telenovela watching has influence the way l dress
4.3.3 Telenovela watching promote deviant sexual behavior
4.3.4 Telenovela has affected my understanding of love for others
4.3.5 Telenovela watching has improve way l interact with others
4.3.6 Through telenovela watching l have learnt how to care for others
4.3.7 Telenovela watching promote knowledge of indecent behavior
4.4 Telenovela and its impact on students’ academic performance
4.4.1 How students prefer telenovela watching to study
4.4.2 Telenovela resulting in mismanagement of time
4.4.3 Discuss telenovela in class
4.4.4 Can they study better if they don’t watch telenovela?
4.4.5 How the idea of watching telenovela after class affect concentration level in class
4.4.6 After watching telenovela I can study better
4.5 Motives informing student’s involvement in telenovela
4.5.1 Watching telenovela to release stress
4.5.2 Watching Telenovela for Entertainment
4.5.3 Watching Telenovela to Relaxation
4.5.4 Watch telenovela for information
4.5.5 To learn new fashion trend
4.5.6 Watching telenovela for new discoveries
4.6 Testing Hypothesis
4.6.1 Hypothesis one
4.6.2 Hypothesis Testing Two
4.6.3 Hypothesis Three
4.7 Conclusion
CHAPTER FIVE
SUMMARY OF FINDINGS, RECOMMENDATION AND CONCLUSION
5.0 Introduction
5.1 Summary of findings
5.1.1 Socio-demographic characteristics of respondents
5.1.2 Knowledge about telenovela
5.1.3 Social Life of students in connection with Telenovela
5.1.4 Telenovela and its impact on students’ academic performance
5.1.5 Motives informing students involvement in telenovela
5.2 Conclusion
5.2.1 Need for Further Research
5.3 Recommendation
REFERENCES
APPENDICES
DECLARATION
I, Emmanuel Anane, do hereby declare that this dissertation is my own original work. It contains neither material previously published by another person nor material which has been accepted for the award of any other degree of the university, except where due acknowledgement has been made in the text.
EMMANUEL ANANE (MR.)
STUDENT SIGNATURE DATE
I hereby declare that I have supervised the student in understanding the study submitted herein and I confirm that the student has the permission to present it for assessment.
DR. GEORGE MAINOO
SUPERVISOR SIGNATURE DATE
ACKNOWLEDGEMENT
I first thank the almighty God for giving me the strength and wisdom to undertake this project. Without his mercies and grace, the journey would not have been possible.
I wish to also extend my greatest appreciation and gratitude to my supervisor Dr. G.O. Mainoo for his endless guidance, comments and academic nourishment in each step that facilitated the completion of this project.
I am deeply indebted to T.A Vitoria Awortwe; you understood when I called you late from lectures and make time to explain things to me.
My special thanks to all my colleagues my Dr. Mainoo for their support proofreading and reviewing my initial work that culminated in this research proposal. Thanks a lot for your dedication and patience.
To all of you, may God bless you.
DEDICATION
I wish to dedicate this piece of work to my parents Mr. and Mrs. Anane, the people who gave away everything they had to see me go to school. I will forever cherish your candid love, care and all the good and the bad times we have been through together. With love always; Emma.
ABSTRACT
The study investigated the effect of telenovela engagement on student’s social and academic lives. Specifically, the study investigate the relationship between telenovelas watching and social life, examine the effect of watching telenovelas on students’ academic performance and analyzing the motives behind students watching soap operas.
The study was conducted considering the effect of these major points social lives includes namely, dressing, sexual behaviors, love, interaction, in academic lives, we have, concentration, time mismanagement, discussing in class and the motives which involves relaxation, releasing of stress, entertainment on students’ lives. The data for this study was obtained by administering questionnaire to day students in some selected secondary schools. It was observed that there was a negative correlation existing between access to watching telenovela and time spend with friends meaning that as student gets more access in watching telenovela the time they spend with friend’s are lessen. And the female means score of watching telenovela is higher than males with the use of independent T-test. The study reported that, the main reason behind student’s involvement in telenovela was entertainment they get as a result of watching telenovela. The study also reported that most of the students discuss these series while class is in section which negatively affected their academic performance due loss of concentration during class hours.
The study recommended that; Parents should control the programmes watched students to guide them watch programmes which can be educative to them and they should also regulate the time when the youth watch these programmes. The other recommendation was that parents should act as role models by not watching programmes that may promote immorality.
LIST OF TABLES
Table 3.1: Scale Reliability
Table 4.1 Gender of the respondents (N=213)
Table 4.2: Age of distribution of Respondents (N = 213)
Table 4.3: Distribution of Ethnic Statuses of Respondents (N= 213)
Table 4.4: Religious Affiliation of Respondents (N = 213)
Table 4.5 Education Level of Respondents (N=213)
Table 4.6 Respondents’ Programme of Study (N = 213)
Table 4.7 Respondents having Television Sets (N=213)
Table 4.8 illustrates the Respondents’ Access to Television. (N=213)
Table 4.9, Shows Respondents’ days of Watching Telenovela (N=213)
Table 4.10, What Time Do You Watch Telenovela Response (N=213)
Table 4.11, illustrates How often Students Watch Telenovela (N=213)
Table 4.12, Shows Who Students Watch Telenovela With (N=213)
Table 4.13 Descriptive statistics on the connectivity of social life of students with telenovela viewing (N=213)
Table 4.14 Descriptive statistics of telenovela and students academics (N=213) ... 63 Table 4.15 Descriptive statistic on motives of student’s viewership (N=213)
Table 4.16 Descriptive correlation statistic on having telenovela and its effects on student’s spending time with friends
Table 4.17 Descriptive correlation statistic on having access in watching telenovela and its effects on student’s spending time with friends
Table 4.18 Descriptive statistic on the frequency of watching telenovela between male and females
Table 4.19 : Showing Independent Samples Test
LIST OF FIGURES
Figure 2.1In this study, the conceptual framework has been constructed as shown below
CHAPTER ONE
INTRODUCTION AND BACKGROUND OF STUDY
1.0 Introduction
This chapter begins with the background study, then the problem statement, the study objectives; here we have the general and specific objectives. Since the study will use quantitative analysis, research questions and hypothesis will be needed, after the hypothesis, the problem statement of the study will be explained. The significance of conducting the research will be explained and the need for conducting this research. Operational definitions of various words will be adequately explained.
1.1 Background of study
Gone were the day’s owners of black and white television sets were half-gods in their neighborhoods. In that era, most people come from far to camp at vantage areas and stay glare at the rays from the TV sets, with all their protruding foreheads and eyes determined not to miss a sight of the programmes telecasted on GTV. Inspector Bediako, Taxi Driver, By the Fire Side, Cantata, Bob Santo and Nkommde’s concert were the source of entertainment and inspiration for its audience. The representation of cultural elements of those genres served its viewers folklore, customs, gastronomy, dress code and music which acts as means to build and strengthen national identities. Morality was at its apex as the people in existence avail themselves as vessels for propagation of positive change among children. Our tradition, customs and taboos were cherishing so well that it safeguard our ethics and conduct. The voluntariness to build and leave unprecedented legacy for the generation to come was a patriotic one. Media censorship was in operation which serves as a tool to shape the morality and content in relation to shows on the media and on TV drama shows as well. Those in authority had a sense of nationalism and the zeal and gusto to build a nation where societal interest was vital until telenovela known as soap operas, within a twinkle of an eye have been give seat in the social aspect of our Ghanaian culture getting full support from our television stations and large audience size, impact crew (2016), the ugly side of telenovela, Ghanaweb It is now possibly one form of human entertainment on the planet at the moment, this has become a globalized strategy for promoting both particular behaviors and publicly supports rights of specific social groups and working to articulate social change (Singhal & Rogers 1999).
The addictive formula has captivated viewers in Africa, Asia, America and Europe. Hundreds of millions of people watch telenovelas around the Globe every day. Some go for as far as saying two billion people, a third of human’s race around the globe stay glued to these programs on daily basis, a report from BBC World Services, by Javier Lizarzaburu (2006).Due to the increase in its viewing, telenovela has enhanced the understanding of viewers on social situations, this assertion is backed by researchers who stated that, audiences are active and derive a variety of meanings from telenovelas (McAnany and LaPastina 1994). In Brazil, telenovelas helped the government spread a changing image of the nation from rural-regional to urban-national (Kottak 1990) and also helped women deal with birth-control issues by the Population Communications International in 1997. However, in Venezuela, it took a different dimension, itexpressed the way females were dominant within their families (Barrios, as quoted in McAnany and LaPastina 1994), in the same way it communicated important information to the farmers in England (Japhet, 1999). However, a research conducted in Andhra Pradesh reveals that Mogalire and Chandramuki a soap opera, portray 30% and 40% violence respectively by Anita K. (2014). In all the above research done, it was homogenous thus, concentrating on females only.
In this light telenovelas in these finished societies have taken a stance. It is no longer news that telenovelas is changing the social life’s of the people around the globe. The general acceptance of soaps in these societies has serve as a medium to educate its viewers, but researches on telenovela seems to be centered only on female viewers and adults whiles research on young viewers of this genre seriously lags behind (Feilitzen 2004), for instance in most of Latin America, telenovelas are the preferred show for women, used as a way of communicating and as linkage among women of different generations (Covarrubias Cuellar, Bautista, and Uribe 1994) but the trend in changing, studies report that men are watching soaps operas more frequently than before, as recent evidence in Mexico seems to contradict the masculine hegemony in the television room (González 1994; Lozano and Martínez2000; HuertaWong2001). Rosalind said that, telenovelas are a way of life in Mexico. What is the case here in Ghana?
Throughout the whole of Africa, the consumption of telenovelas is quantitatively very high. Tens of millions of persons, mostly students living in urban areas, have been watching them the whole year round for the last ten years, as telenovelas have been progressively taking the lead over European- and US-produced fictional television programs. However, women are able to intertwine some of the threads picked up in the telenovelas within their own daily social fabric to make things change, especially in the realm of gender relationships and parentchildren relationships. Moreover, television appears to play a catalytic role in helping women to gain more autonomy in the economic field in Senegal, a study by Jean-Francois Werner in Senegal (2009). In Aamera Hamzaali Jiwaji (2010) study, young women in the study of whom have moved to the city from the rural areas, are influenced by traditional, patriarchal Kenyan society and by the modern, Western influences of an urban environment. They experience a tension between their evolving rural and urban roles and identities and are drawn to telenovelas because their exploration of rural- urban themes holds a relevance to their own lives. Another study conducted by Wambua Mary Mbithe in Kenya (2014), established that, teenagers affected morally, they enter in a relationships with the hope of getting the love they watch from these telenovelas, they end up broken hearted and not trusting the opposite sex similar to what Lombard (1995) said, that telenovelas are capable of blurring the distinction for media consumers between mediated symbolic and artificial and non –mediated or ‘’real‟ experiences. Much has been done on effect on telenovelas in African soil, but to the neglect of students academics who are the future of every nation.
According to Google, In Ghana, telenovelas found their way in to prime programming on the major media channels, where the first telenovela titled Esaura (1996) graced our screen and since then (Flex Newspaper, 2011), it became a norm for almost every single TV station in the country to have a spot for that serial telecast despite criticism that, they have a negative influence on audience. A survey was conducted by Flex Newspaper in 2011, to know the extent to which telenovelas viewing is affecting the lives of its viewers, one government worker said, ‘’I love watching these telenovelas because the characters in them are too beautiful and handsome, I had to visit Venezuela and Mexico just to have a feel of what the people in those countries are like and they were so nice say at least’’. A report by Ghana television in 2013 revealed that 31% of Ghanaian television station shows telenovelas in midday, which was only shown by two television station namely Viasat1 and TV3, with the addition of multi-media group of companies several television stations has come into existence to increase telenovela viewership significantly. Another study Atuahene (2009), surveyed forty young people at Madina Estate, Accra, to find out the impact of telenovelas on the youth. The study indicated that telenovelas introduced the respondents to new fashion trends, helped them to deal with their relationships, and helped them to improve their language skills. Some Ghanaians have regarded the trend with admiration and deemed it a positive development. However, majority are weary of the influence of these telenovelas have disdainfully spoken about it and wanted something drastic done about it. Like all societies, there are some Ghanaians too, who remain indifferent about the influx of the telenovelas in Ghanaian society. It has become difficult to assess just how deep such attachments really are and what impact they have on the social and academic behaviors of students.
Among the telenovelas trending currently in Ghana are Kumkum Bhagya, Veera, Strange Love, Jodha Akbar, Pangako Sa’Yo, Fearless Heart, Tashian, Bridges of Love and many others. The passion that young viewers develop for them as well as the pleasure they find in watching and talking about them is certainly not to be overlooked (Brown E 1994). In this light the study wants to understand the extent to which these telenovelas impact in students’ lives’ socially and academically.
1.2 Problem Statement
Around the Globe, telenovelas have been accused of negative influence on audience .They have been accused of striving for sensation by seasoning their contents with sex, nudity promiscuity, bad language, promoting exhibitionism and of contributing to new lifestyle standards that prioritize publicity, glamour, competition and individualism (Feilitzen 2004), with this, several Scholars and the general public have debated on the influence of television on society since the medium was invented. Television role on peoples‟ lives have been described as all powerful, as an important cultural and social force” (McQuail 1997). The mass media is felt to have enormous influence on the beliefs ideas and bias of young people (Carlsson&Feilititzen2006). Svenkemd and Suruchi (1999) argues that viewing a particular program perceived as being highly realistic could produce a noticeable influence on social reality, independent of the viewer’s behaviors over a large period. Television programs are said to capitalize on young people’s creativity, passion and idealism, offering their valuable perspective on some of the most critical issues of our times (Sheila & Macy 2003).
Although there have been difference in explaining the presence of telenovela in Ghanaian settings (such as difficulty in measuring cost and benefit). I propose that unless critical analysis has been done on the viewing of telenovelas, we will not be able to make an emphatic statement about the extent of soap operas viewers. There have been various research done on this topic however, I will conceptualize, thus used local sample in making my analysis, most of the literature on soap operas focused on it influence on women viewership ignoring male participation and also did not consider the relationship between social life of students who actively participate in soaps viewing and to a large extent their academics were excluded. Researches on this area were outdated and since it was the current trend in our Ghanaian society which has become a norm of every TV station. In view of the above contending issues, it was necessary to investigate to cover those areas identified above and update the ideas on telenovela viewing to establish the actual impact that telenovelas have on the social, academics, the motive that drives them and gender participation of students, in Elite College senior high school, some selected day students in Kumasi and bring in measures to mitigate the negative influence on students. The research will also seek to find answers to the questions above as well as relevant issues from the research in respect to the topic.
1.3 Objectives
The general objection of this study is to investigate telenovelas engagement and its influence on the academic performance and social life’s of students.
Specific objectives
The specific objectives of this study are;
1. To investigate the relationship between telenovelas watching and student’s social life.
2. To examine the effect of watching telenovelas on students’ academic performance.
3. To analyze gender participation in telenovela viewership.
1.4 Research Question
In view of this, the study seeks to finds answers to the following fundamental question:
1. Is there any connection between telenovelas viewing and student social life’s?
2. Are students affected academically with the watching of telenovelas?
3. Does female watch telenovela more as compared to male?
1.5 Research Hypothesis
1. Students having television at their homes is negatively related to spending time with friends
2. Students who get easy access to watching telenovela are negatively affected when studying after watching telenovela.
3. Females students’ average score of watching telenovela is higher than that of males
1.6 Scope of the Study
This section covered the geographical as well as the conceptual scope of study. Firstly, the geographical scope of the study is Elite College SHS located at Ayeduase, which is under Kumasi Municipal and share boundaries with KNUST and Kotei. This refers to specific context within which the research was conducted. This study was limited to the influence of telenovela on student’s academic and social life. The study helps to investigate the relationship between telenovelas watching and students’ social life. To examine the effects of watching telenovela on students’ academic performance. And also to analyze gender participation in telenovela viewership.
1.7 Significance of the study
The popularity of soaps has become impossible to ignore, it is interesting to know why many students enjoy them. Studies conducted on the influence of soap operas on viewers attitudes indicate the growing popularity of soaps all over world, but also significant to study the way the content portray in these soaps, particularly in Ghana where education is the hall mark of growth. For decades, soap operas have become a norm in Ghana that many television stations have dedicated most of their time on these telenovelas showing. These well-known series in the society have acquire a great deal of attention from students viewers that needs to be studied, to reveal what lure these students to keep watching despite the fact that almost all the genres happens to have the same ending.
This study will go a long way in helping Ghanaian producers to emulate the story line of these Latin American and Indian telenovelas to attract the viewership of Ghanaian movies to enhance local production, as the current state on the Ghanaian movie industry is in crises because of telenovela influx in the current setting. And also the aims at focusing on to bring out that telenovela are just a work of dramatic fiction presented in serial format. After my research the study would make students who enjoy watching telenovela to be observant not to see them as real.
Lastly, the findings on telenovelas subsequent influence on student’s academics are instrumental to stakeholders to take the necessary steps, especially, if the study revealed that telenovelas have negative impact on students. Findings from this study may be used by the Communication Authority in Ghana to advise media managers on content and programming, and also serve as a source of references for further works.
1.8 Justification
Telenovela attracts more viewers in Ghana than any other program on television stations, even though telenovela has been regarded as a waste of time (fertizen 2004). Notwithstanding this, a lot of studies have been done on this topic. However, this study used Ghanaians sample for the research, for that reason, the researcher believes that the study about telenovela engagement and its effects on students social and academic lives will help various stakeholders such as the government, Ghana Educational Service (GES), as well as parents to know the extent to which these telenovelas affects students. Nonetheless, the issue of telenovela and its effects on students’ academic performance and social lives is one that have received minimal intellectual attention via research in Ghana. The present study therefore aims at exploring the effects of telenovela engagement on the social and academic lives of day student, hence using Elite College SHS as study area.
1.9 Operational definition
- Soap opera - Is a serial drama performed originally on a daytime television or radio program and chiefly characterized by tangle interpersonal situations and melodramatic or sentimental treatment typically focus heavily on emotional relationships
- Students - A learner who attend an educational institution thus, secondary school between the ages of 15-19 years. These students are day students in Elite College SHS who were actively involved in telenovela watching.
- Decade – Is a period of ten years, especially with the years, especially one that begins with a year ending in 0, this period was the emergence of telenovela in Ghanaians society
- Audience - Is a group of people who participate in a show or encounter a work of art as viewers or listeners. The programmes have massive viewers, ranging from children to adults with the females forming the majority.
- Prime time - The time period when television or radio audience is at it’s highest. The hours between 7pm and 11pm, when the largest TV audience is available. These times all the viewers would to set eager not to miss a single piece of the various episodes.
- Television station - Is a set of equipment managed by a business, organization or other entity. A broadcast station that broadcast both audio and video to television receivers in a particular area. Traditionally, TV stations made their broadcast by sending specially- encoded radio signals over the air, called terrestrial television.
CHAPTER TWO
LITERATURE REVIEW
2.0. INTRODUCTION
This chapter is divided into two (2) sections. The first section contains related literature which expatiate what other scholars have research on with regards to the issue of telenovelas. The second section of this chapter consists of thematic review, theoretical framework and a conceptual framework underpinning this current study.
2.1. LITERATURE REVIEW
The media is seen as powerful medium which influences and changes our behavior, attitudes and perception about what we see, hear or feel. Programs shown on televisions always have impact on the lives of its viewers, which traditionally has been conceived as entertainment in terms of content, dramaturgy, and other entry points that helped explain why it has become such an attractive genre. The power of dramatic presentations makes it reach a large audience to articulate debate. People engage, identify and involve themselves strongly with the stories told in telenovelas as they reveal some everyday experiences which are recognizable to the viewers, thereby sparking identification as feelings of satisfaction and pleasure (Graham 1997). Telenovelas have long been considered a global popular culture that are watched every day by millions of people around the world (Allen 1996, 1995), including Ghanaians, thus connecting local to global.
Now, Soap operas have become a part and parcel of the lives of so many viewers all over the world. The popularity of this genre is ruling the Television Industry globally, nationally and locally. The popularity has led to its increased scrutiny among scholars and the media industry, and yet it seems that not everyone is talking about the same thing, Several studies have been conducted on the influence of soap operas on different categories and age groups of audiences. However limited studies have been conducted on the impact of socio-academic performance of soap operas on students. Particularly, there is lesser number of studies have been done on the effect of soap operas of Kumasi students. Programs shown on television always have impact on the lives of the audience either positively or negatively. Audiences learn what they see on television and attach meaning to it and to a large extent, these frictional series is proximitive culturally, which according to Enric Castelló (2004) writing on (Dramatizing Proximity, Cultural and Social Discourses in Soap Operas from Production to Reception) admitted that the idea that audiences prefer television fiction that is culturally proximate is well developed in studies on soap operas and telenovelas. This study is based on the Catalan television context, applying a close reading of two soap operas, in-depth interviews with producers and focus groups with viewers. He argues that the discourses on society and culture proposed at production level are received as being ‘proximate’, but that this perception is not just national, cultural or linguistic. Cultural proximity, he argued, also incorporates educative, cognitive and emotional elements and aspects related to the audience’s immediate surroundings. Milly Buonanno (2012), continued that when TV fiction is more removed from its cultural sphere, productions are not only adopted, but also adapted, while the genres and programmes are adjusted, and modified to local styles a process that Buonanno calls indigenizzazione. This process can also imply the application of a national television culture, which adapts television to the particular forms, contents and methods of a specific place. One question then is whether the telenovelas we watch in Ghana have been adapted to suit our condition. Maybe the viewer’s adapt them to suit their personal and not national condition. Which is concluded by Enyonam (2013) found that teenagers watched television telenovelas to simply learn from the characters and for entertainment. Lifestyles of the characters did not make them discontent with their lives; they were not dissatisfied with their lives because they watched telenovelas. However, watching telenovelas influenced their speech, particularly how the characters communicate positively with one another. Interestingly, they imitated the dress codes of the characters.
Besides they identified some characters they like or do not like and want to be like them. Telenovelas either directly or indirectly carry a particular theme, which can influence viewers’ behavior. In “Telenovelas in the Ghanaian Media’’, Akorfa (2014), stated that out of all the telenovelas that the TV stations telecast not all of them attract the viewers, that the audience chooses what they desire to watch. Many of her interviewees pointed out to the fact that the sampled audience use telenovelas to release tension and escape from pressures of everyday life. Others gain pleasure in finding their own sense of personal identity. According to a survey conducted by Ampofo (2009), telenovelas have influenced people in many ways. His finding showed that, education in terms of fashion, vocabulary, language, cultural exposure, and the shaping of life of individuals are the things people gain from watching telenovela. In addition, the study found that majority of the respondents said telenovelas entertain viewers and make them learn also from the characters, validating the study by the Inter-American Development Bank (2016) that Brazilian soap operas have helped shape women’s views on divorce and childbearing in critical ways, concluding that, telenovelas have become part of Ghanaian society having their positives and negatives, and so it behooves Ghanaians to weigh the two and decide which one will inure to their benefit and society as a whole.
2.2. History of telenovela
Telenovela which used to be called soap opera was coined by the American press in 1930 to denote extraordinary popular genre of serialized domestic radio dramas. The word combines ’’tele’’ short for televisión or televisão (Spanish and Portuguese words for television), which means distance and „novela‟, a Spanish and Portuguese word for story. Telenovelas gained their roots in Latin America, starting as graphic novel representations of classic literature and stories, according to Stavans (2010), in the 19th and early 20thcentury Latin America, novels such as Don Quixote and Martin Fierro were printed in the newspaper each day and so many people would read them. Later evolving into radio programs called radio-novellas, the immediate progenitor of contemporary telenovelas, developed in Cuba in the 1940s as local formats of U.S. radio soap operas as it represented 90% of all commercially sponsored daytime broadcast hours . The first radionovela to make the leap to television was El Derecho de Nacer (The Right to Be Born), which became so popular on radio that it was formatted for television in various nations across Latin America. After moving to television, the genre became known as the telenovela, and spread throughout Latin America. Telenovela were produced primarily in Spanish and Portuguese speaking countries and are usually shown during prime time. The first global telenovela was "The Rich Also Cry".
In the 1980s, telenovelas began to incorporate action and adventure storylines in a more intriguing and youthful romance. It focused on developing super couples and emphasis was placed on romance. During the 1990s the mob, action, and adventure stories fell out with producers due to declining ratings for daytime telenovelas at that time. In order for people to watch it like the way they used to, young characters were brought in to make the series interesting and fun to watch.
Telenovelas were originally broadcast live from the studio, creating what many at the time reg arded as a feeling similar to that of a stage play. As nearly all soap operas were originated at t hat time in New York, a number of soap actors were also accomplished stage actors who perfo rmed live theatre during breaks from their soap roles. In the 1960s and 1970s, new serials suc h as “General Hospital”, “Days of our Lives”, and “The Young and the Restless” were produc ed in Los Angeles. Their success made the West Coast a viable alternative to New York produ ced soap operas, which were becoming more costly to perform. By the early 1970s, nearly all soap operas had transitioned to being taped. “As the World Turns” and “The Edge of Night” w ere the last to make the switch, in 1975.Due to the masses of episodes produced for a series, re lease of telenovelas to DVD was a popular venue for distribution. With the exception of occas ional specials, daytime telenovelas were notable by their absence from DVD release schedules . (http://en.wikipedia.org/wiki/Soap_opera)
2.2.1 Telenovela Genres
Telenovelas have seven kinds of genres. First, there is the working-class melodrama, which is easy to understand and contains less detailed content. A genre which typically features a poor woman who falls in love with a rich man and this man’s family reject her, such as “Las Tres Marias ‟ (Maria Trilogy, 1992, 1994 and 1995). Secondly, Teen drama forms the next category of telenovelas. These portray the lives of high school students and their issues with sex, drugs, and other coming-of-age topics. It started with „Quinceañera‟in 1987. In addition, there is the Mystery which is a colder hearted version of telenovelas than the other sub-genres. It may portray a mysterious death or disappearance, which may tear couples, even families apart, such as “La Casa al Final de la Calle, La Mujer de Judas”. Moreover, we have historical romance type which is set in the past, such as the colonial period, the restoration of the Republic, the late 19th Century and the revolution. Romantic comedy is the fifth category of telenovelas. This type portrays love stories with some or lots of comedy such as Yo soy Betty, la fea(Ugly Betty). Again, Pop band story type of telenovelas portrays the lives of aspiring musicians such as in Alcanzar una estrella and its sequel Alcanzar una estrellaII and lastly youth telenovela, which borrows some elements of the teen drama format but are usually more family oriented in structure, contain comedic elements and sometimes maintain a high concept oor supernatural plotline such as En mi cuadra, nada cuadra and Chica vampiro.
2.2.2. Genre proximity
Some genres themselves facilitate their ability to be shared across very diverse cultures. Obregon Rafel (1995) discussed the idea of genre proximity, emphasizing the common structure of melodrama that covers many cultures. Melodrama builds on underlying oral structures, formulas and archetypes that can be shared by cultures. The underlying structure of melodrama has offshoots in almost all parts of world, so melodrama can reach past cultural differences. Many, if not most, cultures seem to have experienced some form of serial storytelling rather like melodrama even before television became available to them. These kinds of story-telling have flowed between countries centuries before television in forms like the chapbook (Martin-Barbero, 1993). So the flow and adaptation of a new form of story-telling, like the modern television soap opera, are facilitated by the global spread of earlier roots of the same genre. We can talk about multiple layers of proximity. The primary layer of proximity does seem to be local or national, particularly national for television. It does seem empirically, from both quantitative audience research and ratings, when available, that most audiences respond most avidly to television programs from within their own national culture. Primetime in many countries is increasingly full of nationally produced programs (Straubhaar et al., 2003). Cross national business reporting, like that in Variety, tends to show that the top 10 television programs in most countries are nationally produced. The flow of data from 24 countries generated by Straubhaar et al. (2003) show that most countries surveyed produce most of their own programs, particularly in primetime. To date, programs corresponding to that primary sense of cultural proximity tend to be nationally produced because the nation-state is still the dominant locus of market definition, television network organization and regulation, and because many states have given enormous priority and resources toward the promotion of that sense of national identity via the media, both historically (Katz and Wedell, 1976) and currently (Waisbord and Morris, 2001). One strong secondary layer of proximity, depending on the television program genre, does seem to be programs from the US. Again, the production and flow data by Straubhaar et al. (2003) show the US to be still strong in exporting feature films, action series, dramatic series and cartoons to a number of countries. US material does best in its own cultural-linguistic space or market, that of other English-speaking countries with strong Anglo-colonial heritages and strong historical migration from the UK, such as Australia, Canada, the English-speaking Caribbean and New Zealand (Abram, 2004). Beyond that, however, the strong presence of US cultural products in so many media over the years has created a sense of familiarity or proximity with them. In this analysis, the US cultural products represented not so much a true cultural proximity or familiarity, but that of desire or aspiration. People watched US programs to see what global modernity looked like (Featherstone, 1992).
2.2.3. The Centrality of Telenovelas
Telenovelas have dominated primetime programming on most of the world’s television, where one watch daily telenovelas on various networks Univision, Telemundo (La Pastina, Rego & Straubhaar, 2003), not to mention via DSTV, offered by The Dish satellite. Some of the main criticisms that have been associated with the genre are its inevitable associations with consumerism, and perhaps an escapist nature. But despite the heavy dependence of telenovela on sponsorship, some scholars have argued that the telenovela has created the space for criticalrealist dramas whose narratives and controversial issues, such as women’s liberation, political corruption, and homosexuality have called attention to actual conflicts, and mobilized public opinion for social change. In other words: within certain limits, the telenovela is a vehicle of innovative, provocative and politically emancipator popular culture rather than a mere instrument for the reproduction of capitalist ideology and consumer desires. The truth is, these serialized programs in many other parts of the developing world have become central to the discussion of the nation (La Pastina, et al, 2003). Telenovela audiences are a diverse mix of men and women of all ages and social classes, including children (Lopez, 1995; Costa, 2000). It is not hard to understand how writers and directors interweave the narratives of the characters with the everyday life of the audiences. The genre exploits personalization – the individualization of the social world – as an epistemology. Also, it ceaselessly offers the audience dramas of recognition and re-cognition by locating social and political issues in personal and familial terms and thus making sense of an increasingly complex world (Lopez, 1995, p. 258). The television genre is actually accepted as a “discursive practice” and as a “producer of cultural meanings it has been a major force in the production of images congruent with the complex processes of Latin American modernization, nation-building and increasing Tran’s nationalization" (Lopez, 1995).
2.4 Telenovela and Education
The ‘Sabido Method’ is a methodology for designing and producing serialized dramas on radio, and especially television, which can win over audiences while imparting prosocialist values. Miguel Sabido developed this methodology when he was Vice President for Research at Televisa in Mexico in the 1970s. The key to Sabido’s methodology is ‘change’. Characters may be first presented as having the opposite qualities and actions of what is being taught, but as time passes and the plot turns, they come to see the value of the program’s underlying message such as safe sex, issues involving AIDS, abortion, family planning, domestic violence, racism, and literacy, all in a non-threatening and even enlightening matter (Singhal & Rogers, 1999). The functionality of this genre is tackling social ills and motivating students in what is aimed at in many countries in particularly Africa, Asia and Latin America, where producers use the format of radio and TV drama, soap operas, telenovelas, docu-soaps and other entertaining genres for education, that is, in order to raise debate and contribute to solving health and other problems in society. Thomas Tufte (2004) writes that the ideal communicative scenario in this respect is ‘communication for social change’, i.e., to deal with the challenge of providing an information and dialogue-rich enabling environment where the media contents contribute to empowering the audiences in facing health-related and other social issues and fighting them in everyday life.
The telenovela is highly praised and numerous quantitative and qualitative research indicated that viewers changed their behavior towards unprotected sex as well as their attitudes towards people with Down syndrome. The telenovela was also credited to have raised an ongoing debate on the treatment of those with disabilities throughout the world, audiences and even policy makers. This is in line with various studies which suggest that the main effect of entertainmenteducation is to trigger interpersonal peer communication and debate, which lead to changes in the social discourse of the audience, as well as to stimulate changes in behavior (Storey, 1998, Sood & Rogers, 2000; Vaughan &Rogers, 2000; La Pastina, 2004)
2.5 Serial Viewing Motives and Culture
A study showed that Armenia students’ viewing motives look much the same as the motives of U.S. students of the 1970s and 1980s. This might be due to the fact that the survey instrument used in the present survey, did not consider culture as a possible influencing factor. And that might be a difference that makes a difference. Culture, according to Jandt (2007, p. 427), is sum total of ways of living, including behavioral norms, linguistic expression, styles of communication, patterns of thinking and beliefs and values of a group large enough to be selfsustaining transmitted over the course of generations’. Following Hofstede’s (2001) value orientations, Ghana, unlike the U.S. and many other Western societies, has a ‘collectivistic’ culture that places high importance on family and extended family. Further, due to cultural and economic reasons, Ghanaians households tend to be multigenerational with one TV set that serves as the main source of information and entertainment. Consequently, family members do not generally experience TV viewing in generational isolation, but rather in an intergenerational context. They engage in co-viewing, including when serials are broadcast, making serial viewing a collective activity and a part of the people’s daily life. In this context, and because of the role of the elderly within the family structure, parents and grandparents are likely to choose what the rest of the family, college students included, watch. Thus, deference, rather than choice, may be a motivation in viewing serials. In other words, viewing motivations can be influenced by the viewer’s culture. For example, according to Windahl (1981), one’s viewing motivation may be derived not only from needs, but also from one’s externally enforced constraints; and such constraints may include cultural rules and expectations. One’s motivations may also be influenced by ‘the social context that typifies the situation of exposure to different media’ (Katz, Blumer & Gurevitch 1973-1974,); that the ‘social context’ (which by extension refers to a society’s cultural tendencies) can influence one’s viewing motivations, is illuminated by other scholars (eg Allen 1995; Ang 1982; Leal 1986) with regard to telenovelas and melodramas. Rubin (2009) points out that ‘cultural nuances’ pose challenges and opportunities, suggesting that researchers create methods that are ‘sensitive’ to the culture in which they conduct their research.
2.5.1 Gender Roles and Cultural Identity
Existing Telenovela research on content and effects has also looked at one of Ghanaians most predominant ideological pillars. Sexism and patriarchy promotes the belief that men are superior to women; the former are the protagonists of the public sphere while the latter occupy a supportive role in the private sphere (Gutmann, 1996). This ideology has been made evident in Mexican Telenovelas. Not surprisingly, women are presented as unintelligent with their physical appearance being what matters for men. In addition, men behave as if women are merely a man’s personal possession (Acosta-Alzuru, 2010). Thus, shameless and guiltless degrading comments by men regarding women’s physical attributes are very common.
There is also abundant research that looks at identity and Telenovelas. Casas Perez (2005) notes that themes and subject matters, treatment of content, and styles of production in Telenovelas influence patterns of cultural identity. In her research, Casas Perez (2005) found that Telenovelas teach audiences language and culture, and they help audience members construct cultural identity. She also notes that in some circumstances, and especially for some people, “life takes place according to television programming” (Casas Perez, 2005, p. 408). For example, students say that telenovelas provide them a sense of fashion and trend. In addition, Casas Perez (2005) found that young viewers tend to imitate behaviors depicted in the dramas.
However, Martin-Barbero and Munoz (1992) affirm that telenovelas serve “emotional, social, and economic needs in the lives of Ghanaian viewers”. Among students, television viewing is correlated to finding ways of learning cultures; some of these include keeping up with names, places, music, and creating experience. Similarly, Merayo (2013) argues that fictional media texts like telenovelas serve an important role in identity construction of people who live outside their native country. He explains that, “references to a common language, a shared territory, to the history and customs of a people as well as social concerns, can be used in the context of television fiction to evoke in the viewer the idea of belonging to one shared nation” (Merayo, 2013, p. 212).
2.6. Beauty Images and Reality
The international success of the telenovela has prompted many scholars to study the phenomenon, thus, telenovela. For example, there is extensive Telenovela research that looks at the issues of content and effects upon the viewer, especially concerning body image and how women are portrayed in telenovelas. Many scholars criticize the fact that women are merely presented as sexual objects in these programs (Acosta-Alzuru, 2010; Casas Perez, 2005). For this reason, many people, particularly women, believe that soap operas holds extremely unrealistic beauty standards for women. The pressure for women to look a certain way is increased by the images they are bombarded with in telenovelas.
Acosta-Alzuru teaches a class titled, “Telenovelas, Culture, and Society,” at the University of Georgia. In this class, she argues that Telenovelas set unrealistic beauty standards for women. She explains that the pressure for women to look beautiful is increased by the beauty images found in Latin Telenovelas (Acosta-Alzuru, 2010). Beauty messages in Telenoveas tell women that they should not complain about the harsh beauty expectations set by the telenovela content because it is ‘normal’ for women to do whatever it takes to meet these expectations. It is almost like an obligation that if not fulfilled could make them look like outsiders. In these telenovelas, women are not only told they have to look a certain way but they are also told that they must be beautiful and sexy to get what they want in life.
Acosta-Alzuru analyzed the audience reaction to a very popular Venezuelan telenovela titled, La Mujer Perfecta or (“The Perfect Woman”). This particular telenovela is a perfect illustration of how Telenovelas present extremely unrealistic beauty images for women. The story is about six women who try everything; exercise, diets, surgery, Botox, and fame, to attract men. In her analysis, Acosta-Alzuru talks about how this particular telenovela illustrates a nation’s obsession with women’s beauty and physical perfection. The public’s response to AcostaAlzuru’s analysis was so overwhelming that she was not able to catch up on Facebook and Twitter. She received more than 6,000 tweets in less than 30 minutes (Knight, 2010).
There is also a considerable body of telenovela research that looks at how reality is depicted in telenovelas. Casas Perez (2005) notes that current telenovela research shows that telenovelas give viewers ideas, interpretations, or preferred meanings and help people make sense of reality. Similarly, Acosta-Alzuru (2010) notes that viewers do not see the wider sociocultural critique encoded in many of the telenovelas storylines; therefore, they view telenovelas as mirrors of reality and not as creators of it. She also explains that the audience looks at love stories as creations; therefore, they diminish their criticism threshold and approve and enjoy these stories (Acosta-Alzuru, 2010).
2.7. Abstract of Some Telenovela in The Past
2.7.1. Rosalinda
Rosalinda is a pretty woman who sells flowers and decorates a fancy restaurant. One day, she met Fernando José, a man of high social status. He plays the piano at the restaurant. They eve ntually fall in love, get married, and have a child named Erika, but his stepmother Valeria desi res to split the happy couple up, and she has the perfect way of doing so. Rosalinda's real mot her, Soledad, served a 20-year prison sentence for the murder of Fernando José's real father. S he was innocent but took the blame. After finding out this horrible news, Fernando José aband ons Rosalinda and her daughter. Valeria kidnaps Erika. Rosalinda goes into a clinical and eve ntually loses her mind. She is locked up in a mental hospital.One night, the mental hospital cat ches fire and burns down. Rosalinda fortunately manages to escape. However, her loved ones are convinced she is dead. Suffering from a major case of amnesia, she is forced to become a t hief by an old man who takes her in. She meets Alejandro "Alex" Dorantes while trying to ste al from his house. Alex cleans her up and she takes on the identity of Paloma Dorantes and be comes a singer. She falls in love with Alex, the talent agent who makes her famous. Meanwhile, Fernando José marries Rosalinda's cousin, Fedra.Rosalinda's life with Alex seems to be going well. However, things just don't se em to be totally right. One night, Rosalinda and Alex attend one of Fernando Jose's concerts . He plays a song which happens to be the first one he played the day they met. This seems to tr igger Rosalinda's memory of her past. Overwhelmed by these memories, Rosalinda scurries o ut of the concert hall and gets hit by a car. Alex rushes her to the hospital. It is then that Rosali nda realizes that she is not Paloma, but Rosalinda. Now that Rosalinda has gained her memory back, she must go back and fight to gain her child back, her family, and Fernando Jose in the p rocess.(http://en.m.wikipedia.org/wiki/Rosalinda (telenovela))
2.7.2. The Stray Cat ( La Gata)
The story took place in the outskirts of Mexico City in Bordo de Xochiaca (a landfill), where a girl Esmeralda 12 years old who is always "disheveled and dirty" like a "Stray Cat" (una "Gat a"). Esmeralda is a young neighborhood girl who grew up without her parents and learned to b e happy with what little she had. She was raised from childhood by an elderly woman named Mrs. Rita who exploited her by making her go ask alms, sell candy and newspapers. Esmerald a could neither read nor write. She meets Pablo Martínez Negrete, a high society rich boy who teaches her to read and write and with whom she becomes friends. Since then Esmeralda notic es that he is the first person to call her by her name and the first person who really truly cares about her. But Pablo's mother opposes his friendship with "The Stray Cat".Several years later, Esmeralda grows up and becomes a beautiful young woman who still does not read nor write a nd has not changed since childhood. Pablo realizes that his feelings for The Stray Cat are mor e than that of a friend and feels confused as to what he feels for Esmeralda. Esmeralda starts l ooking for work, thanks to Pablo, as she does not want to keep asking alms and she does not w ant him to give her money. Lorenza, Pablo's mother, strongly opposes the friendship between Pablo and Esmeralda and alienates her from him. Pablo is pushed to fall in love with Mónica a girl who comes from "a good social position" and is also his "cousin".Agustín, Pablo's father, convinces Pablo that he should study his masters abroad and marry Monica once he returns, a plot to separate him and Esmeralda. Pablo and Esmeralda decide to marry secretly before he g oes abroad. From New York Pablo emails his father Agustín and asks him to help him fix trav el papers for Esmeralda so she can reunite with him in New York. Pablo's father pretends to w ant to help him but has no interest in helping his son. Instead he plans to have Esmeralda kidn apped. Two men walk into Mrs. Rita's hut where they find Esmeralda alone, there the two me n grab her and carry her out wrapped in blanklet and throw Esmeralda into the trunk of a stole n car. Esmeralda's friend Damián is going to her hut when he notices that one of the men is ca rrying something. Damián calls and whistles to his friends. They drive away but are soon clos ed in by the carriage. Garabato tells them that if they mess with one of them they mess with al l of them. Garabato and the gang scare of the men and force open the trunk and find Esmerald a wrapped in the blanket.After several months Esmeralda gives birth to twins, a boy and a girl . Doña Rita who has always sought to benefit from "La Gata" forces her to marry Domenico " El Italiano" Almontem. Esmeralda having no other solution agrees to marry him only to purch ase medicine for her daughter Leticia who is sick. Fernando "El Silencioso" gets out of jail an d vows to take revenge on those who locked him up injustly for using self-defense. Esmeralda later meets "El Silencioso", her biological father. She ignores her true origin. He takes her into hihouse and promises her that he wants to be a father to her and a grandfather to her children. Pablo returns from abroad to marry Mónica believing Esmeralda had betrayed him. He believ es that the twins are not his and that she has a relationship with El Silencioso. Esmeralda beco mes a beautiful well-educated woman and is determined to fight for his love. The Stray Cat wi ll have to use her strong character to get the love of Pablo back.(http://en.m.wikipedia.org/wik i/The Stray Cat)
2.7.3. The Fearless Heart
This is the story of the friendship between two girls in a remote Mexican city called. Ángela V aldez, humble and sweet, was the daughter of Miguel Valdéz , the bodyguard of the powerful and wealthy family Sandoval Navarro. Samantha Sandoval Navarro was the rich girl guarded by Miguel Valdéz. The two girls' lives are forever changed when Samantha is kidnapped, resu lting in Miguel Valdéz sacrificing his life to save her. After what happened, the girls were sep arated.Ángela and Samantha meet again after eighteen years. Ángela is married to Luis Martín ez, has a daughter, Violeta and works as a baker. For her part, Samantha works as a bodyguar d. Samantha comes up with the idea of inviting Ángela to work with her; Ángela accepts and a ssigns her the mission to protect Génesis Arroyo, the daughter of a multimillionaire lawyer na med Juan Marcos Arroyo, who is unfortunately married to Isabel Uriarte, a proud and evil wo man who he is unfaithful to, even with his own bodyguard. Meanwhile, Samantha is ordered t o protect Willy del Castilo, her first love, who has become a whimsical playboy and womaniz er. Samantha decides not to reveal anything of her past, but he ends up discovering who she is and love arises between them. Thus, Ángela and Samantha will have to fight with all the obsta cles that their enemies will put them through in order to be happy with the people they love, w hile always having a brave heart.(http://en.m.wikipedia.org/wiki/coraz%C3%B3n-valiente )
2.7.4. Simply Maria
María, is a young, beautiful yet naïve woman. Maria fled her beloved hometown after being h arassed by Isauro, a man that she does not want to be with. Upon arriving in Mexico City, Ma ria dazzles Alejandro Rivapalacio with her beauty; and the handsome medical student, heir an d successor of the medical empire his family own, sets out to conquer her at all cost.María fall s in love with Alejandro and becomes pregnant. Maria is excited and happy that she will have a baby with the man she loves. However, her hopes and dreams are dashed when she becomes aware that Alejandro is not willing to marry her. María resolves to move forward alone with h er son, who will be her reason and motive to survive and conquer all obstacles in her way in o rder to become a high end fashion designer.
Twenty years go by and Cristóbal confesses his feelings to María but she no longer believes in love. Despite Maria's rejection Cristóbal decides to give María time to heal her wounds in the hopes he can convince her of his love. Alejandro returns to Maria's life and a love triangle ens ues between them. Love rivals make every attempt to destroy Maria's chances at love and thro ugh all the adversity, tribulations and obstacles, Maria fights to reach her dreams of success an d maybe even find true love. (http://en.m.wikipedia.org/wiki/Simplemente-Mar%C3%ADa-(2 015- telenovela))
2.8. Theoretical Framework
In every research, there are theories from which assumptions are developed to guide the researcher. These theories serve as the force for the success of every research work. For this reason, the theory that guides this research is the Social Learning, Uses and Gratifications and cultivation theory.
2.8.1. Social Learning Theory
According to Bandura‘s (1971) social learning theory, people in their everyday lives continually observe the actions of others and the occasions on which they are rewarded, ignored, or punished. This theory stems from the idea of modeling behavior. Characters that are observed are called models thus, teachers, TV programme characters, peers, and parents etc. which surround the student. Students pay great attention to these model specially soap operas characters on various serial movies they end up coding these behaviors through retention and later imitate the coded behavior thus, encoding which fall under motor reproduction, and there should be a source of motivation for the student to continue such behavior if the society deems it appropriate for its gender. In terms of mass media, Bandura (1986) offers that an influential source of social learning at any age is the abundant and varied symbolic modeling provided by television and other visual media. Although much social learning is fostered through observation of real-life models, advances of communication have increased reliance upon symbolic models (Bandura, 1971).
Social learning plays an important role in behavior acquisition, the student is more likely to attend and imitated those characters it perceives as similar to theirs. Consequently, it is more likely to imitate behavior modeled by the characters in these series of the same gender.
Secondly, the people around the child will respond to behavior it imitates with either reinforcement or punishment. If the students imitates a behavior and the consequence are rewarding, students are likely continue performing the behavior. Reinforcement can be external or internal and or positive or negative. If students wants approval from parents, teachers is external reinforcement but the self-feeling about being approved of is internal reinforcement. Furthermore, the characters, by becoming a role model for students, can improve their behavior because of characters experience, status and reward power.
The social learning theory advocates that students copy modeled behavior from personally obs erving movie characters and the mass media. Biological theorists argue that the social learning theory completely ignores individual’s biological state. Also, they state the social learning the ory rejects the difference of individuals due to generic, brain, and learning differences (Jeffery , 1985). For example, if a student witnessed a violent murder, he or she might respond in man y different ways. Again social learning theory is not a full explanation for all behavior. This is particularly the case when there is no apparent role model in the person’s life to imitate for a g iven behavior. Furthermore, Feshbach and R.D. Singer believed that television actually decrea ses the amount of aggression in children. They conducted a study within a six-week study on j uvenile boys who regularly watched television violence compared to juvenile boys who were exposed to non-violent shows. After the six-week period, Feshback and R.D. Singer found out that the juvenile boys that viewed the non-violent shows were more likely to exhibit aggressiv e behavior than the juvenile boys that witnessed the violent shows. The study show that the vi olence on television allows the viewer to relate with the characters involved in the violent act ( Feshback & Singer, 1971). In doing so, the viewer is able to release all aggressive thoughts an d feelings through relation, causing them to be less aggressive than they would have been with out watching the violent television. This theory that viewing violence on television leads to a d ecrease in aggression is called the Catharsis effect (Gerbner,G., Gross,L. 1976,).
2.8.2 Uses and Gratifications
The Uses and Gratifications approach has been used to investigate why audiences opt to view certain television programs, including soap operas. For example, Jessica R. Abrams and How ard Giles (2007) conducted a study where they found that people utilized media (including soa p operas) to meet their social identity needs; more precisely, they found that the most common gratifications an audience can gain from watching television programs are: to escape, to be ent ertained, to relieve boredom, to reduce loneliness, and to learn. This theory understands why a nd how people actively seek out specific media to satisfy specific needs. UGT is an audiencecentered approach to understanding mass communication. Diverging from other media effect t heories that question "what doe’s media do to people?” UGT focuses on "what do people do w ith media?"Katz, Elihu (1959). This communication theory is positivistic in its approach, base d in the socio-psychological communication tradition, and focuses on communication at the m ass media scale by Gurevitch . The driving question of UGT is: Why do people use media and what do they use them for? UGT discusses how users deliberately choose media that will satis fy given needs and allow one to enhance knowledge, relaxation, social interactions, companio nship, diversion, or escape. It assumes that audience members are not passive consumers of m edia. Mark Levy and Sven Windahl provide a good description of what it means to be an "acti ve consumer" of media: “As commonly understood by gratifications researchers, the term "au dience activity" postulates a voluntaristic and selective orientation by audiences toward the co mmunication process. In brief, it suggests that media use is motivated by needs and goals that are defined by audience members themselves, and that active participation in the communicati on process may facilitate, limit, or otherwise influence the gratifications and effects associated with exposure. Current thinking also suggests that audience activity is best conceptualized as a variable construct, with audiences exhibiting varying kinds and degrees of activity." With this the audience has power over their media consumption and assumes an active role in interpreti ng and integrating media into their own lives. Unlike other theoretical perspectives, UGT hold s that audiences are responsible for choosing media to meet their desires and needs to achieve gratification. This would mean that audiences just do not watch telenovelas since audience are also formed as a result of some type of content, some performer or compelling presentation (M cQuail 1997).
Focusing on students, In the U.S., several U&G research studies have revealed that students se ek many different kinds of gratifications from their viewing. Rubin (1985), for example, ident ified four motives: orientation, avoidance, diversion, and social utility. He concluded that the g ratifying motives depended ‘both on the use of the program as content and on the use of the pr ogram as a medium’. Soap operas are viewed as a medium when watched to achieve gratificat ions such as enjoyment, and viewed for content when watched to learn about others. Rubin (1 985) also concluded that ‘the more life-satisfied and socially interactive seemed to sense less n eed for soap opera viewing in their lives’. A research study by Lemish (1985) revealed two ad ditional motives for this group preference and attachment to a particular soap opera, and time consumption. These help students wants to be informed or educated, identify with characters o f the situation in the media environment, entertainment, enhance social interaction and escape from the stresses of daily life.
Although uses and gratifications approach holds a significant status in communication researc h, the research of the approach receives criticisms both on its theory and methodology represe nted. McQuail (1994) commented that the approach has not provided much successful predicti on or casual explanation of media choice and use. Since it is indeed that much media use is cir cumstantial and weakly motivated, the approach seems to work best in examining specific typ es of media where motivation might be presented (McQuail, 1994).
A researcher Ien Ang also criticized uses and gratifications approach in such three aspects:
- It is highly individualistic, taking into account only the individual psychological gratifi cation derived from individual media use. The social context of the media use tends to be ignored. This overlooks the fact that some media use may have nothing to do with t he pursuit of gratification - it may be forced upon us for example.
- There is relatively little attention paid to media content, researchers attending to why p eople use the media, but less to what meanings they actually get out of their media use.
- The approach starts from the view that the media are always functional to people and may thus implicitly offer a justification for the way the media are currently organized
Since it is hard to keep track of exposure patterns through observation, uses and gratifications Research focus on the fact relied heavily on self-reports (Katz, 1987). Self-reports, however, a re based on personal memory which can be problematic (Nagel et al., 2004). As such, the resp ondents might inaccurately recall how they behave in media use and thus distortion might occ ur in the study.
2.8.3 Cultivation Theory
Cultivation theory examines the long-term effects of television. "The primary proposition of c ultivation theory states that the more time people spend 'living' in the television world, the mo re likely they are to believe social reality aligns with reality portrayed on television." Under th is umbrella, the images and ideological messages transmitted through telenovela media heavil y influence perceptions of the world. Cultivation theory is positivistic, meaning it assumes the existence of objective reality and value-neutral research. Cultivation theory suggests that expo sure to these telenovela, over time, subtly "cultivates" students' perceptions of reality. Gerbner and Gross assert: "Television is a medium of the socialization of most people into standardize d roles and behaviors. Gerbner and Gross write that "the substance of the consciousness cultiv ated by TV is not so much specific attitudes and opinions as more basic assumptions about the facts of life and standards of judgment on which conclusions are based." Simply put, the realit ies created by soap operas are not based on real facts but on speculations. While watching thes e soap operas offers "a centralized system of story-telling". He asserts that television's major c ultural function is to stabilize social patterns and to cultivate resistance to change. We live in t erms of the stories we tell and television tells these stories through news, drama, and advertisi ng to almost everybody most of the time., the cultivation theory states television viewers are c ultivated to view reality similarly to what they watch on television. Programs being shown on the television take a gradual process and effect on people especially the students. It simultaneo usly develops the interest in the students and they tend acting exactly what they watch and see in the telenovelas. This grows gradually in the students because it was a mainstream entertain ment which was easy to access and easy to understand. These telenovelas are based on the rela tionships of the students and what happens or goes on in their love affair. Because of the way t hey view it, it makes them enjoy the telenovelas they watch and the more they get attracted to it, the more the arousal of it.The popularity of telenovelas amongst diverse audiences is evide nt. Students spend a lot of their time glued to the TV set to watch the melodramatic episodes. This theory therefore helped unravel the kind of reality presented to the students following the long exposure to the series and if that presentation affected their perception of real life issues. From the constant exposure to telenovelas, did the students have a realistic or a warped percep tion to reality? Did they take life as they saw presented on the screen? Did they judge issues a s they saw the models they identified with do? Critics of this theory pointed out that they faile d to explain why certain trait spread and others do not.
2.9 Conceptual Framework on Telenovela Engagement and its effect on student’s academic and social lives.
Figure 2.1In this study, the conceptual framework has been constructed as shown below
Social lives:
Abbildung in dieser Leseprobe nicht enthalten
Source: Author’s Survey 2018
This diagram shows the conceptual framework for the study. A closer look at the intermediate linkages theorized that student’s engagement in telenovela affects their social and academic lives, students who wants high academic performance, watching telenovela for information, while others are affected negatively since they can’t study after watching these novellas which results in low academic performance, others also experience no effect. In the students social lives, the way these characters interact help them to socialize with their peers, and some also learn inappropriate dressing, exposure to nudity among others which affects them negatively.
Meaning students involvement in telenovela all depends on the motives of the student.
2.10 Conclusion
This chapter has been able to reviewed studies related to the topic “telenovela engagement and its influence on social and academic lives of students”. To facilitate a sound understanding of the subject matter within the thought framework of the objectives of the study, the scope of the review covered themes such as, history of telenovela, genres of telenovela, beauty and reality, telenovela and education, serial motives and culture, synopsis of some telenovela.
The review further explained some theories underpinning telenovela which includes social learning theory, user gratification and culture theory. With the remaining section focusing on the conceptual frame work as well as it summary.
From the review, it was realized that the concept of telenovela engagement in relation to students’ academic and social lives was directed towards shaping the behavior and activities of students in SHS without the use of coercive influence, to elicit the student’s voluntary engagement in telenovela viewing
CHAPTER THREE
METHODOLOGY
3.0 Introduction
This chapter talks about how the researcher went about the research. It relates to the overall approach to the study. Hence, there was the need for the researcher to describe how data was organized and collected from the field. It entails the research design and type of study, sampling procedure, unit of analysis, method of data collection, data analysis and data presentation and analysis.
With respect to how data was organized and collected from the field, it became necessary for the researcher to exert maximum effort to explain the reason for the selection of the various tools that were used in the research. It finally concludes with the ethical considerations and problems encounter in the research process.
3.1 Research Design
The study was an exploratory research design to investigate the effect of telenovela on student’s social and academic lives among Elite college SHS day students. A social survey was conducted using questionnaires as the tool for data collection. The data collected were analyzed quantitatively using descriptive statistics, correlation and independent T-test to explore patterns of association among variables.
3.2 Research setting
The area chosen for this study was Elite college senior high school located in Kumasi SubMetro.
3.3 Population\scope of study
It is the totality of individuals or objects that are the main focus of a research. According to Borg and Gall (1989), target population refers to all members of a real set of people, events or objects to which we generalize hypothetical results of the research. In this survey study, my target population is the males and females of all day students in Elite college senior high schools in Kumasi Sub – Metro, Ashanti Region. There are a total of 28 secondary schools in Kumasi
Sub-Metro according to Kumasi Metropolitan Assembly, but the research will involve only Elite college senior high school. The total number of registered day students was 455. This secondary schools was selected because the student’s population can be describe as heterogeneous. It have different tribes, religion and different socio-economic levels. This will give an advantage to my study because it will help provide variety and also makes the study representation enough to be generalized.
3.4 Sample Procedure
Sampling in research is basically taking part or subset of a total population to represent the total population. With the purpose of satisfying the objectives of the study, a sampling frame was drawn to involve the views of all day students in the study area, which is all day students studying at the selected senior high school.
3.4.1 Sample size estimation and selection
According to Krejchie and Morgan (1970), there is the need to use the sample determination in chosen sample size. Hence with regards to this study, a sample size of 213 will be used. This means that, 213 day students will be selected to represent the sample size. The sample size was determined using Slovin’s formula, which is given by n= N/1+N (e) 2, where N=Total Population, e= error of margin, n= sample size. So, n= 445/1+445(0.05)2= 212.865. So, the sample size for this study will be 213. The views of these day students will be generalized to represent the views of the whole day students, since the sample size gives a true reflection of the entire population.
The sampling technique used in selecting the sample size was simple random and purposive sampling. This particular sampling technique serve as the most appropriate and efficient technique in selecting a representative sample. In that, it ensures that fairly different samples drawn from a given population will not differ from the population parameter more than a specific amount. Under this sampling technique, every item of the population has an equal chance of inclusion in the sample. It ensures fairness and reduces biases. Students will be randomly selected based on purposive technique to enable each element in the population to get a known and equal probability of being selected thus, day students who watching telenovelas only.
3.5 Unit of Analysis
The means of which my data were collected is the use of questionnaires, this method will help in quick administering and information will be collected from many respondents simultaneously. Questionnaires help to reflect what the research is about and educe responses for efficiency and avoid biases and it’s also easy and inexpensive to gather data. Boarding students were excluded, due to their inactive engagement in telenovela since they do not have television at their various dormitories.
3.6 Instrument for Data Collection
This collected a myriad of quantitative dataset. It utilized researcher-administered questionnaires. These have closed-ended questions were designed to facilitate the collection of data and a sequence researchable items. Research questionnaire was adopted as means to provide standardization and uniformity in the data gathering process for accuracy and verifiability of data. The instrument provided three sections which comprise of likert-types scale.
The socio-demographical characteristics of respondents were designed in nominal scales in order to get the statistics of the type of participant used in the study. The second section acquired the knowledge respondents have on telenovela. The section C consist of the social life of students in nexus with telenovela. A likert scale (Extremely so, Fairly so, Not sure, Sometimes, Not at all) was used and each had five unique options for respondents to indicate the response which best suit for each statement. With the section D, respondents had to assign how watching telenovela affect their academics using the likert scale of (Strongly agree, Agree, Neutral, Disagree, Strongly disagree). The last section E, the respondents had to assign the reason for their involvement in telenovela watching using the same scale as section C. The research instrument was titled, questionnaire on telenovela engagement and its influence in the academic and social life of students among students in Elite College SHS
Section “A” of the questionnaire measured the socio demographic characteristics of students. Gender a= male, b= female. Age was item and was coded as a= (14-15 years), b= (16-17 years), c=(18-19 years), d=(20-21 years), e=(22-23 years). Ethnicity was item 4 coded as a=Akan, b= Ewe, c= Ga-Adanbge, d= Bono, e= Nzema, f= Mole Dabgani. Religion affiliation was item 4 which was coded; a= Christian, b= Traditionalist, c= Muslim, d= Others. The level of education was item 5 and coded as a= SHS One, b=SHS Two, c= SHS Three. Programme of study was item 6 which was coded as a= General Science, b= General Arts, c= Business, d= Visual Arts, e= Home Economics.
Section B measured questions relating to knowledge respondents have on telenovela viewership, measuring items like access to television, time they watch telenovela, frequency of watching telenovela, who do you watch with. The section was made up of 6 items.
Section C measured questions on how telenovela is affecting students social life, it consisted 7 items and likert scale (a) Extremely so (b) Fairly so (c) Not sure (d) Sometimes (c) Not at all Section D measured telenovela and its impacts on students’ academic performance. This section was made up of 6 items using the likert scale (a) Strongly agree (b) Agree (c) Neutral (d) Disagree, (e)Strongly disagree.
Section E measured the reason behind student’s involvement in telenovela. Items were drawn and measured with the same likert scale as section C.
3.6.1 Test-Retest of Research Instrument
The study ensured that test retest was attained by repeating the measurement of variables using the same research instrument under nearly the same conditions as possible. The significance of this research methodological process was to establish the “rho”, which determine the research instrument reliability and the correlation.
3.6.2 Piloting/Pretesting of the Research Instrument
The research instrument was piloted in order to detect the inherent ambiguities on the research instrument, procedure of administration, and conciseness of instruction followed by the research participant and respondents. The researcher therefore used (10) KNUST senior high day students who engage in telenovela watching whom does not form part of the population. The feedback of the results helped the researcher to restructure the questionnaires to make it more logical to the respondents. For instance, item 19 under social life of students in connection with telenovela, read “telenovela affects interaction” was change to “telenovela watching has improve the way I interact with others”. And in item 25, read “after wathing telenovela I can study better” which was corrected to “after watching telenovela I can study better” due to wrong spelling.
After the piloting it helped the researcher to restructure the instrument to remove ambiguity and wrong spellings to this made it easy, effective and efficiently crafted for the actual research.
3.6.3 Test-Retest
Test-retest was done after two (2) weeks on the same group of people to improve the internal consistency and reliability test of the questionnaire. Ideally, the test retest exercise was used to check the adequacy of the questionnaire, to try the systematical procedures of the main study, to establish and evaluate codes for questionnaire responses and to gauge the length of the survey (Mainoo, 2008). A Pearson correlation (10) = 0.621 was calculated to assess the test-retest reliability of individual scores.
3.6.4 Reliability of sub-scales
The cronbach coefficient alpha at the end of the scale reliability for the entire scale was 0.714 which confirm the reliability of the questionnaire made up of 31 items. Also, the reliability was run for three subscale namely the social life of students in connection with telenovela subscale was 0.53, telenovela and its impact on students’ academic performance subscale was 0.604, and motives informing student’s involvement in telenovela subscale was 0.778. As show in the table below.
Table 3.1: Scale Reliability
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
From the table 3.1, the cronbach alphas for the sub-scales were between 0.532 and 0.778. The overall alpha of the three sub-scales was 0.714. The reliability coefficient for the scale is therefore acceptable justifying what Nunnally and Bernstein (1994) state those alphas below 0.70 indicates poor reliability and imply poor predictive validity.
3.7 Sources and Method of Data Collection
The primary source of data was used for this study. The primary source constitutes the information gathered from the respondents by the researcher. It is considered as the original source of information because the researcher gathered that information from the respondents directly. Questionnaire was used as a method of data collection for this study. The use of questionnaire helps the researcher to obtain and elicit the exact information from respondents in time. The use of questionnaire reduces bias in the sense that the opinions of the researcher do not influence the respondent’s answers to the questions. Besides, the questionnaires are easy to analyze and is less expensive compared to other methods of data collection
3.8 Method of data Analysis
The data obtained from the questionnaires was been summarized in order to identify the findings. The Statistical Package for Social Science edition 20 was also used to analyze the information (ranging from demographic information about respondents to the last view expressed on the dimension of telenovela engagement by day students) that was obtained from the field. Lastly, the findings was presented by using the mean analysis approach and it will be compared using correlation and independent T-test.
3.9 Ethical Consideration
The researcher observes a number of ethics in the course of undertaking this study. Ethical issues such as informed consent, anonymity, confidentiality and privacy were observed in the course of carrying out this study.
The researcher first obtained an introductory letter from the Department of Sociology and Social Work. This was shown to the Heads of the various high schools in order to get the statistics of day students in these schools. The letter was then shown to the respondents in other for them to ascertain the researcher’s authenticity and that of the study.
Also, the researcher seeks permission of the respondents and also explained to them the purpose of the research before administering the questionnaire to them. The researcher also explains to the respondents that their participation will be voluntary and that they may decide not to participate in it.
Finally, the responses to the questionnaire by the respondents were treated with the strictest confidentiality and anonymity by the researcher and so their identities were not exposed.
3.9.1 Challenges to field work
A lot of challenges were encountered during the field work. One area of concern were the unwillingness of some of the students to fill the questionnaire. This challenge, if care was not taken might disrupt the accuracy of the project. In order to make the work successful, I pleaded and explained to them that their participation in the work is beneficial to the study, and however, this work is primarily for academic purpose but nothing else.
Another area of challenge in the field work were the filling of questionnaire been delayed. Time definitely, if not taken into consideration might be a constraint. Some of the respondents wanted to fill the questionnaire in their free time, some also wanted it to be filled in some days’ time then later comes for it. This challenge didn’t help the work. In so doing, I told them that with due respect, am working on time and need to submit the feedback and start with the analysis in no time, so if there is any delay on the part of them, it will probably affect the work.
3.9.2 Anticipated Challenge
Definitely, there were some challenges that the researcher encountered in the course of undertaking the study:
Time will be a challenge. Due to the complexities faced in data and information collected from the field, the time collected for the completion of the project will be extended. In order to deal with this issue and make my work successful. I will make sure that I work on time when it comes to the collection of data and information gathered from the field.
Also, another limitation worth mentioning is the unwillingness of respondents to provide information which might result in a number of calls back and delayed responses. In some instance, there might be no response from these respondents. In dealing with this issue, I will plead with the respondents to get me the available information on time because of time constraints and the limited time allocated for me to finish the project.
Finally, one limitation that I will anticipate will be the willingness of some targeted respondents to provided clear and frank information on the issue. In dealing with this problem, l will let them know and assure them that information collected from them will be kept confidential and also those data collected is for academic purpose.
CHAPTER FOUR
ANALYSIS OF RESULTS AND DISCUSSION
4.0 Introduction
This chapter presents the results of the study. The chapter is based on data collected from the field from respondents through the use of questionnaire administered to 213 respondents. The chapter is structured according to the study specific objectives and was written according to the following sub-headings; the relationship between telenovela watching and social life of students, how telenovela watching affect students’ academic performance as well as the motives informing students involvement in telenovela. The chapter analyses its various sub scales of the questionnaires including social demographic background, knowledge about telenovela, the social life of students in connection with telenovela, as telenovela and its impact on students academics, as well motives informing students involvement in telenovela.
4.1 Background information on the respondents
The study initially provided information on the respondents’ background. This was to provide readers with some basic idea on the kind of respondents (students) within Elite College SHS in Kumasi that the study investigated into. This was useful because it provided information based on which logical deduction could be made about the students and how telenovela affect their social life’s and the motive behind watching telenovela within the study area should use given the kind of respondents (student) available in Elite College senior high schools in Kumasi. Background information provided in the study included; gender, age, ethnicity, religious affiliation, level of education and the programme of study. Background information on a variable such as gender helps the study to determine the group who really partake in telenovela series. All these made necessary to measure the characteristics and the summary presented in this part. Details are as follows
4.1.1 Gender of the respondents
The results obtained from the descriptive analysis of the socio-demographic characteristics of the respondents’ gender variability have been presented with the use of frequency distribution table 4.1;
Table 4.1 Gender of the respondents (N=213)
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
Table 4.1, statistically depicted that (N=70, 32.9%) of respondents were male and (N=143, 67.1%) of the respondents were female. The high number of female respondents implied that most of the viewers in Elite College SHS were females. It could also imply that more females were willing to take part in the study or were more available at the time of the study. The study also found that there were no gender balance at the Elite college SHS since the female were more than twice the number of male students. The high number of female respondents also implied that female’s students’ views were dominant in the study findings.
Perhaps, the implied assumption deducible from the findings that telenovela are preferred show for women (Covarrubias Cuellar, Bautista, and Uribe 1994).
4.1.2 Age of group of the respondents
The socio-demographic variables of the respondents’ ‘age group’ were also analyzed. Table
4.2 present details of the result findings.
Table 4.2: Age of distribution of Respondents (N = 213)
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
In Table 4.2, the age distribution of the respondents of about (N = 213) indicated that, respondents who were within 22-23 years reported the least distribution of (N= 5, 2.3%).
In contrast, the highest age range distribution reported age 20-21 years (N= 78, 36.6%) of the total data set (N= 213). The results in (Table 4.2 reflected) that, students aged between 20-21 years in Elite College SHS were more represented than other age cohort in the schools.
4.1.3. Ethnicity of respondents
The statistics results in Table 4.3 depicted the analyzed statistics results for the socio- demographic characteristics of respondents’ ethnic statuses, details of which are as follows:
Table 4.3: Distribution of Ethnic Statuses of Respondents (N= 213)
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
Table 4.3 showcased: Akan’s forms the highest ethnic in the study (N=104, 48.8%). Related; Ewe (N= 39, 18.3%) was in the second place, Ga-Adanbge and Bono cementing the second place with (N= 23, 10.8%). Those Nzema (N= 6, 2.8%) were the least represented in the schools, this high number of Akan implies that most of the students at Elite College SHSwere Akan’s.
4.1.4. Religious affiliation of respondents
The frequency distribution of religious affiliation of respondents surveyed has been presented in table 4.4:
Table 4.4: Religious Affiliation of Respondents (N = 213)
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
Table 4.4, Showed findings on three categories measured within the variable. It suggested an overwhelming 74.6 percent of the respondents, who said to be “Christians” adherents. It also indicate that a relatively small percentage of about 3.8%, representing 8 respondents also professes to be adherents of been traditionalist. Implicitly, this showed a significant increase in the nationwide religious affiliation distribution; in which 71.2 percent of the populace professed Christian Faith (GSS, 2012)
4.1.5. Education level of respondents
The study sought from respondents regarding their level of education in SHS. Respondents’ level of watching telenovela is important to estimate the attention given by the various thus, level 1, 2 and 3.
Table 4.5 Education Level of Respondents (N=213)
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
Table 4.5 displayed results on three categories measured within respondents’ educational level. It indicated: that (N= 47, 22.1%) of the respondent were first years, (N=55, 25.9%) of the respondents were in 2nd years, (N=111, 52.1%) of the respondents were final years. The study results showed that majority of the respondents are in final years.
4.1.6. Programme of study
Table 4.4 portrayed results findings on the socio-demographic characteristics of the respondents Programme of study. The study found most of the respondents were studying General Art’s.
Table 4.6 Respondents’ Programme of Study (N = 213)
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
Table 4.6 depicted that (N=30, 14.1%) of the respondents were General science, (N=34, 16.0%) of the respondents were Business students, (N=11, 5.2%) of the respondents were Visual arts whereas, (N=42, 19.7%) and (N=96, 45.1%) of the respondents forming the majority were studying Home economics and General science respectively. This fact prove that majority of the respondents were females in these Programme.
4.2 Knowledge about telenovela
4.2.1 Do you have television?
The results in the table 4.7 show the number of respondents who have television at their various homes.
Table 4.7 Respondents having Television Sets (N=213)
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
From the results presented in Table 4.7, the study found out that 32(15%) of the students do not have television sets at their various home, this implies they watch these series from other place whiles a maximum of 181(85%) have television sets at their homes.
4.2.2 Access to television
The study sought from respondents regarding their access to television. Respondents’ level access to television is important to estimate the time how students make use of the television.
Table 4.8 illustrates the Respondents’ Access to Television. (N=213)
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
From the Table above 4.8, 6(2.8%) of students do not have access to television sets, 10(4.7%) of the students are not sure of their access to television, 57(26.8%) of the students were fairly so, a maximum of 63(29.6%) and 77(36.2%) were extremely so and sometimes implying that 29.6 of students always have access to television and 36.2 do not always have access to television.
4.2.3 Watching telenovela
The result in Table 4.9 illustrates the respondents’ attention given to telenovela watching. The study found most of the students watch these series every weekend
Table 4.9, Shows Respondents’ days of Watching Telenovela (N=213)
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
From the Table above 4.10, a significant 89(41.8%) of the students watch telenovela daily, 60(28.2%) of the watch it every weekend, the number of students who watch is twice a week were 27 representing, 12.7%, 16(7.5%) watch it three times a week and 21(9.9%) watch it once in a week. Looking at the table, it means students were really involved in telenovela watching as 41.8% watch it daily which is in line with, Allen 1996, 1995; Rios & Castaneda 2011. Who said, telenovelas have long been considered a global popular culture that are watched every day by millions of people around the world
4.2.4 Time they watch telenovela
Table 4.10 below showed the various times that students get stuck to their television set to watch telenovela. Times students do not like watching telenovela was around 9pm.
Table 4.10, What Time Do You Watch Telenovela Response (N=213)
Respondents Frequency(N) Percent (%)
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
From Table 4.11 above, 20(9.4%) of the students watch telenovela at 8am meaning that day they won’t go to school and this affect their them negatively, 56(26.3%) watch these series at 4pm, immediately after class this affect student concentration in class, 50(23.5%) of students watch it at 6pm, maximal of 75(35.2%) of students watch telenovela at 8pm and a minimal of 12(5.6%) like watching it at 9pm. This implies that most the students watch these series after class as 94.4% of the total populations watch theirs from 4pm -9pm.
4.2.5 Measuring the frequency
Table 4.11 depicted the frequency with which students are involved in telenovela watching.
Table 4.11, illustrates How often Students Watch Telenovela (N=213)
Respondents Frequency(N) Percent (%)
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
From Table 4.12, 14(6.6%) of the students very rarely watch telenovela, 32(15.0%) of the students rarely watch and 36(16.9%) of the students are uncertain. On the other side of the coin, 39(18.3%) of the students very often watch telenovela and 92(43.2%) of the students often watch telenovela. This implies that majority of the students were actively involved in telenovela viewing.
4.2.6 Who they telenovela watch with
The study further looked at the people of most of the students watching telenovela watch with. The result in table 4.2 illustrates the dominant group of people most the students watch with in this study.
Table 4.12, Shows Who Students Watch Telenovela With (N=213)
Abbildung in dieser Leseprobe nicht enthalten
Response Frequency(N) Percent (%)
Abbildung in dieser Leseprobe nicht enthalten
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
From Table 4.13, 20(9.4%) of students watch telenovela alone, 27(12.7%) of students watch telenovela with their neighbors, 30(14.1%) of the students watch with their peers, 44(20.7%) of the students watch it with their parents and 92(43.2%) of watch with their siblings. This means that telenovela watching has become a family affair since a total of 63.9% of the students watch with both parents and their siblings.
4.3 The social life of students in connection with telenovela viewership
The study sought from students regarding the social life of students in nexus with telenovela viewership. To determine this, the study adopted a likert scale ranging from 1= extremely so to 5= not at all. Using the means(X) score presented in Table 4.13, the study found that students agreed that telenovela watching has improve their understanding of love as well as promoting deviant behavior for particular period of time within some selected SHS.
Table 4.13 Descriptive statistics on the connectivity of social life of students with telenovela viewing (N=213)
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
The research results in Table 4.13 indicate computed N (list wise), mean (M) and standard deviation (S.D). The sample N (list wise), representing both gender remains the same for all six variables.
4.3.1 I choose to watch telenovela to spending time with friends
The statistics results in Table 4.13, showed students’ study total agreement that they spend more time watching telenovela than being with friends. This recorded an average score of (M=1.92) whiles standard deviation of 1.111 reports a relatively wide variation in the kinds of response provided by the students surveyed. The overall assumption discernible from the foregoing statistics findings is that, the phenomenon of day students spending most of their time with telenovela than with friends in Elite College SHS.
Moreover the findings resonate well with other studies, to what McQuial 1997 stated, that television watching is describe as all powerful, as an important culture and social forces in this current era.
4.3.2 Telenovela watching has influence the way l dress
The results (as reflected in Table 4.13) demonstrate that, students surveyed were ambivalent on that telenovela watching has an influence on their way of dressing. The empirical findings were evidenced by the mean score of 2.55, which portrayed that day students neutrality, when asked ascertains the influence of telenovela in their dressing. The corresponding standard deviation score of 1.435 further suggested that relatively wide variation from the mean score of 2.55. This showed wide variation in response.
Implying that students were in one way or the other affected in terms of their dressing similar to the study by Ampofo’s (2009) that telenovelas influenced people in many ways, in terms of fashion.
4.3.3 Telenovela watching promote deviant sexual behavior
Results (as presented in Table 4.13), measure the promotion of sex by through telenovela watching. It yield (M= 1.85; SD=0.977). The findings suggest that, majority of the students surveyed agreed when ask to ascertain telenovela promoting sexual behaviors. Statistically, M= 1.85can be approximated to response scale “agree”.
Related, the standard deviation score of 0.977 also showcases small variation from the mean score on (M=1.85). The overall implication that can be made out of the presentation statistics is that students surveyed agree in telenovela promoting sexual behaviors. The study result was similar to the view of Feilitzen 2004, who said telenovela have been accused of striving for sensation by seasoning their contents with sex, nudity and promiscuity.
4.3.4 Telenovela has affected my understanding of love for others
The (as results presented in Table 4.13) predict day students “total agreement” in telenovela affecting their love for others. The findings amply substantiated by the mean score of (M=1.79) out of a data set of (N = 213)
Thus, the mean score of 1.79 tends more towards the subscale that correspond to “agree”. This forms part of the categories used to measure research item number 16. This implied that most of the students strongly agreed that telenovela viewing has helped them in understanding the meaning of love for others. Again, the standard deviation score of 0.893 further depicts small variation in the kinds of response been provided by students which further explain the research by Wambua Mary Mbithe in Kenya (2014), who established that, teenagers were affected morally, they enter in a relationships with the hope of getting the love they watch from these telenovelas, they end up broken hearted and not trusting the opposite sex
4.3.5 Telenovela watching has improve way l interact with others
The results (as shown in Table 4.13) established that students were ambivalent in response on telenovela improving the way they interact with others. This statistics mean score of 2.12. This approximates “neutrality”
Also the standard deviation value of S.D=1.331. Lends ample credence to relatively wide variation in the kinds of responses that were offered by day students. This implies that, while section of the students’ “strongly agreed”, other strongly disagree and vice versa. In fact, the findings show days students indecision on telenovela improving their way of interaction.
4.3.6 Through telenovela watching l have learnt how to care for others
The results (as indicated in Table 4.13) shows the mean score of (M= 2.03). This means that, students were not decisive as to whether they agree or disagree. Furthermore, the obtained standard deviation value of (S.D =1.281), suggest relatively wide variation in students response regarding students learning to care for others.
The overall implication would be that, most of the students were not sure that participation in telenovela viewership had something to do with how they care for others.
4.3.7 Telenovela watching promote knowledge of indecent behavior
The results presented in Table 4.13 predicted student’s ambivalence in telenovela promoting indecent behavior. The findings are amply substantiated by the mean score of (M= 2.54) of the dataset (N= 213).
The mean score 2.54 tends towards the subscale that correspond to ambivalence. This forms part of the categories used to measure research this research item. In essence, it can be said students surveyed were mostly undecided in relation to telenovela promoting knowledge of indecent behavior. Again, the standard deviation score of 1.392 further depicts wide variation in kind of response been provided by students.
4.4 Telenovela and its impact on students’ academic performance
The study further sought for impact of telenovela watching on student’s academics. The result presented in table 4.14 illustrates number factors on how telenovela affect students. Using the scale of 1=strongly agree to 5=strongly disagree. The study provided a descriptive statistic results for factors affecting students engagement in telenovela viewing.
Table 4.14 Descriptive statistics of telenovela and students academics (N=213)
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
The research results in table 4.14 indicate computed N (list wise), mean (M) and standard deviation (S.D). The sample N (list wise), representing both gender remains the same for all six variables.
4.4.1 How students prefer telenovela watching to study.
Regarding students’ academic, the study results presented in table 4.14 showed that most of the students were neutral. From the results presented in table 4.14, the study recorded a means score of (M=2.33) and standard deviation of 1.472 meaning there relatively wide variation in their response, which implied that most of the students were indecisive as to their preference in regards to telenovela watching and studying.
4.4.2 Telenovela resulting in mismanagement of time
The students agreed that telenovela engagement leads to waste of time. From the results presented in table 4.14, the study found that most of the students agreed participation in telenovela resulted in mismanagement of their time among SHS. With a mean score of 1.98 and deviation of 1.242 imply wide variation in the students’ with respect to their response. It therefore implied that one ways for students to manage their time is to control telenovela viewing.
4.4.3 Discuss telenovela in class
From the results presented in table 4.4.3, the study found that most of the students agreed that when class is in section they discuss these series. As presented in table 4.14, the study recorded a means score of (M=1.92) and standard deviation of 1.167 shows wide variation in their decision, which implied that most of the students agreed that when they were in class these series are discussed while class was in section meaning they don’t pay attention in class.
4.4.4 Can they study better if they don’t watch telenovela?
The study further found that students were in the midway as to whether they can better after watching these telenovela or not. From the results presented in table 4.14, the study recorded a mean score of (M=2.34) and standard deviation of 1.377 meaning there is wide deviation in the students response, which implied that most of the students were neutral meaning some enjoy it whiles others do not.
4.4.5 How the idea of watching telenovela after class affect concentration level in class
From the results presented in table 4.14, the study found that most of the students agreed that the idea of watching telenovela after class affect their concentration level in class. This recorded an average of (M=1.92) with standard deviation of 1.063 meaning there is wide deviation in response. From the study results, it established that whiles student were in class they will be thinking about their favorite telenovelas which will later be shown later on various television stations.
4.4.6 After watching telenovela I can study better
The study further found that most of the students disagreed that after watching telenovela they can study better. From the results presented in table 4.14, the study recorded a mean score of (M=3.33) having a wide variation of 1.419, which means that most of the respondents disagreed that they study better after watching telenovela establishing that most get tired, dizzy etc. after watching telenovela and this affected their studies.
4.5 Motives informing student’s involvement in telenovela
The study investigated into why students were involved in telenovela viewership. Using the scale of 1= extremely so and 5= not at all. The study outlined 6 factors determining student’s viewership of telenovela. The detailed are presented in table 4.15
Table 4.15 Descriptive statistic on motives of student’s viewership (N=213)
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
The research results in table 4.14 indicate computed N (list wise), mean (M) and standard deviation (S.D). The sample N (list wise), representing both gender remains the same for all six variables.
4.5.1 Watching telenovela to release stress
The study found that most of the students put up great deal of attention beyond what is expected of them because they watch for relaxation. From the results (presented in Table 4.15), the study recorded a mean score of (M=2.12) which was placed 2nd and standard deviation of 1.255 implying there is wide variation in response , which means that most of students agreed that watching telenovela help them to relax. The study results implied that students actively participate in telenovela for relaxation.
4.5.2 Watching Telenovela for Entertainment
From the results (presented in Table 4.15) the study established that most of students extremely agreed that they watch telenovela for entertainment. The study recorded a means score of (M=1.84) having the highest mean and placed 1st with much deviation of 1.144 wide of the students response, which implied that students within the various SHS get amuse in watching telenovela similar to the study of Enyonam in 2013 who found that teenagers watched television telenovelas to simply learn from the characters and for entertainment.
4.5.3 Watching Telenovela to Relaxation
From the results (presented in Table 4.15), the study found that most of the students were not sure. The study recorded an average score of (M=2.14 placing third) and standard deviation of 1.406 which means there is wide variation in students response. To conclude, average of the students were uncertain, they neither agreed or disagree
4.5.4 Watch telenovela for information
The study results further showed that most of students fairly agreed that they were watching telenovela for information. From the results (presented in Table 4.15), the study recoded a means a score of (M=2.45) on the fourth position and standard deviation of 1.409 showing wide variation from students response, which implied that some of day students in Elite College SHS get various information from watching telenovela whiles others do not.
4.5.5 To learn new fashion trend
The study results (presented in Table 4.15) showed that most of the students were not sure as to whether they learn fashion trends in telenovela watching. The average score of (M=2.57 on the fifth position) with a deviation of 1.428 meaning there is wide deviation from students’ response on the mean score of 2.57, implying that students were fairly uncertain about the fashion trend they learn. The results in away agree to disagree with Atuahene (2009) that telenovela totally introduced the respondents to new fashion trends.
4.5.6 Watching telenovela for new discoveries
The study found out how most of the students rated telenovela in terms of new discoveries. From the results (presented in Table 4.15) the study found that some of the students felt that they discover new things. The study recorded standard deviation of 1.475 which deviate from the mean score of 2.60 since the S.D is wide, the average score of 2.60 implied that some students in SHS in Kumasi discover new ideas from watching telenovela. And the student establish that this is the least motive for telenovela engagement placing 6th with a mean score of 2.60.
4.6 Testing Hypothesis
4.6.1 Hypothesis one
Ho: Students having television at their homes is negatively related with spending time with friends
H1: Students having television at their various homes is positively related with spending time with friends.
Table 4.16 Descriptive correlation statistic on having telenovela and its effects on student’s spending time with friends.
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
Results (as reflected in Table 4.16) indicated computed, asymp (sig= 0.020), Correlation (rho=0.259) sample size (N=213) meaning that there was no missing cases on both scales and that all data were present.
The next thing to consider is the Correlation should be between the range (-1 - 0 - 1). Where (1) means negative relation, (0) indicate on relation and (1) predicts positive relation between the variables. Since there was a negative sign, meaning there is inverse relation between having television and spending time with friends. Correlation coefficient between having television and spending time with friends (rho =-0.259) showing negative direction.
The strength of the data between the variables (r=.259) which shows that there was small negative relation between the variables meaning that the more students get television to watch telenovela with regards to students spending time with friends, its lensed the time students spent with friends. Coefficient of determination = ((rho) ^ 2*100%), (0.259^2*100%) = 6.71% indicating students having television at their homes helps to explain nearly 6.71%of the shared variation in students response on spending time with friends scale. Showing a confidence level at 0.020 since it is less the p-value (0.05).
Therefore the relationship between having television and spending time with friends was investigated with the use of Pearson correlation coefficient. This analysis was done by ensuring that there is no violation of the assumptions of normality and linearity. There was a small, negative correlation between the variable, rho = -.259, N= 213, p≤ 0.05, with more television for students the less they spend time with friends. Indicating the hypothesis (Ho), is not rejected at asymp level of 0.01.
4.6.2 Hypothesis Testing Two
Ho: Students who gets easy access to watching telenovela are negatively affected when studying after watching telenovela.
H1: Students who gets easy access to watching telenovela are positively affected when studying after watching telenovela
Table 4.17 Descriptive correlation statistic on having access in watching telenovela and its effects on student’s spending time with friends.
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
Results (as reflected in Table 4.17) indicates computed, asymp (sig= 0.015), Correlation (rho=0.266) sample size (N=213) meaning that there was no missing cases on both scales and that all data were present.
The next thing to consider is the Correlation should be between the range (-1 - 0 - 1). Where (1) means negative relation, (0) indicate on relation and (1) predicts positive relation between the variables. Since there was no negative sign, meaning there is positive relation between access to watching telenovela and study after watching telenovela. Correlation coefficient between having television and spending time with friends (rho =0.266) showing positive direction.
The strength of the data between the variables (r=.266) which shows that there was small positive relation between the variables meaning that the more students get access to watching telenovela with regards to studying after watch the Programme, it helped students to study better. Coefficient of determination = ((rho) ^ 2*100%), (0.266^2*100%) = 7.08% indicating students getting access to watching telenovela helps to explain nearly 7.08% of the shared variation in students response with been able to study after . Showing a confidence level at 0.015 since it is less the p-value (0.05).
Therefore the relationship between access to telenovela and studying after was investigated using Pearson correlation coefficient. The analysis were performed by ensuring no violation of the assumptions of normality and linearity. There was a small, positive correlation between the variable, rho = .266, N= 213, p≤ 0.05, with more access to watching telenovela students can study better after watching telenovela Indicating the null hypothesis (Ho) is rejected and not rejecting alternate hypothesis (HI) at asymp level of 0.01.
4.6.3 Hypothesis Three
Ho: Females students’ average score of watching telenovela is higher than that of males
H1: Female average student’s score of watching telenovela is lower as compared to that of males
Table 4.18 Descriptive statistic on the frequency of watching telenovela between male and females.
Group Statistics
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
Results (as reflected in Table 4.18) indicates computed, std. error mean (.175 and 0.087), sample size (N=213) meaning that there was no missing cases on both scales and that all data were present. If the sig. value is larger than 0.05 the first line in the Table 4.17will be used called Equal variance assumed and when less than the p=0.05 this means that the variance for the two groups are not the same.
Assessing the difference in-between the groups:
If the value of asymp is equal to or less than 0.05 there is a significant difference in the mean scores on the dependent variables for each of the two groups. If the value is above 0.05 there is an insignificant difference between the two groups.
The p-value level is 0.00 which is less than the alpha 0.05. This shows that there is a significant difference in the mean score the independent and dependent variables for gender (males and females) and frequency of watching telenovela.
Table 4.19 : Showing Independent Samples Test
Abbildung in dieser Leseprobe nicht enthalten
Source: Field data, 2018
Calculating the side effect for independent T-test.
Abbildung in dieser Leseprobe nicht enthalten
Eta squared = 0.02, indicating only 2 percent of the variance in telenovela watching and gender.
An independent sample t-test was conducted to compare the frequency scores for males and females in telenovela watching. There was a significant difference in the scores for males (mean= 2.17, standard deviation= 1.464) and female (mean=1.83, SD= 1.041): t= 211, P= 1.944 (2 tailed) the magnitude of the mean difference (mean difference = .339, 95% confidence interval CL: -.638 and .727) was very small (eta squared = 0.02).
Therefore there is there is a significant difference in the mean score for gender (males and females) in the frequency of telenovela watching.
In conclusion, since the P value 0.00 is less than the alpha level, the decision is that we fail to reject the hypothesis therefore we accept the hypothesis that female’s average score is higher than males in relation to frequency of telenovela watching.
4.7 Conclusion
This chapter presented the results of the study. The chapter was based on data collected from the field from respondents through the use of questionnaire administered to 213 respondents. The chapter was structured according to the study specific objectives.
From the supported material and results of the study it was observed that there is a correlation between times spent with friends and having television in the house, also the result indicated that females significantly involve themselves in telenovela watching as compared to males. Also students found themselves discussing these series in class which negatively affect their concentration, with most of the students unable to study after watching.
CHAPTER FIVE
SUMMARY OF FINDINGS, RECOMMENDATION AND CONCLUSION
5.0 Introduction
This study was carried out with the statement of problem, research objectives, hypothesis and questions and the overall purpose of the research in mind. The researchers’ main aim was to examine how students are affected academically and socially with their engagement in telenovela. In view of this, the study was conducted with the view to achieving the following objectives: investigating the relationship between telenovelas watching and social life, examining the effect of watching telenovelas on students’ academic performance and finally, analyze the motives behind students watching soap operas among day students in Elite college senior high school.
5.1 Summary of findings
This section presents the findings of the study in a summarized form, arranging them under the following sub-headings; demographic characteristics of respondents, knowledge about telenovela, social life of students in connection telenovela, telenovela and its impact on student’s academics and motives informing student’s involvement in telenovela.
5.1.1 Socio-demographic characteristics of respondents
Concerning the socio-demographic characteristics of respondents, it was revealed that females availed themselves more than males in the answering of questions. Also, most of the students were within the age range of 20-21, meaning that the respondents were adult, which means they could distinguish among what is right and wrong for them. However, findings revealed that majority of the respondents were Christians, with many being Akan’s. Findings from the study further revealed that majority of the students asserted that they were in their final years, thus, SHS three. Most of the findings revealed that majority of the students did General Arts.
5.1.2 Knowledge about telenovela
The findings from the study indicated that most students have television sets at their various homes. Aside students having television at their various home, they sometimes get access to these television sets. The students asserted that they watch these telenovela daily and most time of these students watch these telenovela at 8pm. However, findings from the study further revealed that most students asserted that they often watch these soap operas with their siblings.
5.1.3 Social Life of students in connection with Telenovela
Findings revealed that majority of the students were agree that they like watching telenovela to spending time with friends. Also, the study findings revealed that student are confident in joining student organization of their own. However it was even reported that most students are not certain as how telenovela actors influence their way of dressing and whether telenovela promote deviant sexual behavior. But they argue that through telenovela watching it has help them in understanding their love for others and their association with others.
However, the study findings further revealed that majority of the students are uncertain in respect to caring for others and promoting knowledge of indecent behavior.
5.1.4 Telenovela and its impact on students’ academic performance
The findings informed that some of the participants prefer watching telenovela to studying, As a result, majority experienced time mismanagement as students often watch these telenovela.
These findings also revealed significant number of students discuss these series while class is in section, these students talks about their dresses, next episodes etc. This means that the students loss concentration in class.
However, findings indicated that majority of the students argued that one of the most important challenge to their academics is academics is that they cannot study better after watching telenovela. The students further argued that if they don’t watch telenovela they study better.
5.1.5 Motives informing students involvement in telenovela
The findings from the study indicated that most students watch telenovela sake of the facts that they get entertainment from watching those series followed by releasing of stress, then relaxation, informative, learning new fashion. With the least reason for watching telenovela been new discoveries.
5.2 Conclusion
This study established that in-deed students in Elite College Senior High School watched telenovelas regularly for various reasons such as entertainment, relaxation, releasing of stress. The study also showed that the telenovelas are watched mostly in the evening from 4pm to 9 pm depending on the time when the programme is aired. On matters of influence of telenovelas on social life of the students, the study established that telenovelas influenced the life of the students through the mode of dressing, spending less time with friends, helping them understanding their love for others. On the other hand, it affect student concentration in class, preferring telenovela to studying leading to time mismanagement and not been able to study after watching telenovela. This is not good for students in Ghana.
5.2.1 Need for Further Research
The researcher views that, there is the need for future research on the topic “telenovela engagement and its impact on social and academic life’s of students. This is due to the fact that there has been increase in telenovela engagement, and this proliferation of the act has damaging effect on the social and academic lives of students as indicated by the study conducted by the researchers. In addition, the rise in telenovela engagement results in diffusion of culture into our society; and this diffusion needs to be controlled else basic principles of our society can be relinquished with such behaviors which were perceived bad.
5.3 Recommendation
Since every social research is a continuous practice, the researcher has it in mind that for an authentic outcome, other researchers have to build on this outcome. Therefore the essence for giving following recommendation; based on the findings of the study, the study recommends that; Parents should control the programmes watched by their children in order to guide them watch programmes which can be educative to them. The study also recommends that the parents should regulate the time when the students watch telenovelas. This would help the students concentrate on their studies.
The other recommendation is that parents should act as role models by not watching programmes That may promote immorality. By acting as role models, the students will do away with programmes that may affect their socially and have a clear perspective about life and decision making. The study also recommends that parents should guide their children on picking the messages which are useful to them and shun away messages which may corrupt their social intellect since not every message aired and not every character is worthy coping. The other recommendation is that students’ through guidance and counseling program should guide students’ in schools on programmes they should watch.
The church leaders should also organize seminars and guide the youth on programmes they should watch as a means of guiding their morality. They should teach the youth why they should not watch a particular kind of programme and why they are advocating for another.
The study also recommends that the government should put in place policies that encourage production of programs that encourage the preservation of the African culture and those that promote moral values amongst diverse audience.
The other recommendation is that telenovelas should be pushed and be watched beyond (11 pm -4am) as a way of discouraging the students from watching them and minimizing the negative impact they may have on their academics.
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APPENDICES
APPENDIX
QUESTIONAIRE
Dear respondent, the researcher is an undergraduate student at Kwame Nkrumah University of Science and Technology (KNUST). This questionnaire seeks to collect data on the topic:
“Telenovela engagement and its influence in the academic and social lives of students”. Your candid opinion on the subject matter will be most welcome. Be assured of the confidentiality and anonymity for all the response you will provide. I count on your cooperation. Thanks. Please tick the appropriate box or write in the space provided.
SECTION A: SOCIO-DEMOGRAPHICS
Abbildung in dieser Leseprobe nicht enthalten
SECTION B: KNOWLEDGE ABOUT TELENOVELA
Abbildung in dieser Leseprobe nicht enthalten
SECTION C: THE SOCIAL LIFE OF STUDENTS IN CONNECTION WITH TELENOVELA
Instruction: Please use the following ratings scale to answer the following items, Please tick ( ) in the box provided at the end of the item. There is no right and wrong answers. Response Rating Scale
Abbildung in dieser Leseprobe nicht enthalten
SECTION D: TELENOVELA AND ITS IMPACT ON STUDENTS’ ACADEMIC PERFORMANCE
Instruction: Please use the following ratings scale to answer the following items, Please tick ( ) in the box provided at the end of the item. There is no right and wrong answers. Response Rating Scale
Abbildung in dieser Leseprobe nicht enthalten
SECTION E: MOTIVES INFORMING STUDENTS INVOLVEMENT IN TELENOVELA
Instruction: Please use the following ratings scale to answer the following items, Please tick ( ) in the box provided at the end of the item. There is no right and wrong answers. Response Rating Scale
Abbildung in dieser Leseprobe nicht enthalten
[...]
- Arbeit zitieren
- Emmanuel Anane (Autor:in), 2020, Telenovela Engagement and its effect on students academic and social lifes, München, GRIN Verlag, https://www.grin.com/document/904813
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