The Performer in Mass Media

Connecting with Television and Online Audiences

Beth Olson, William Hawes

• Publisher: Routledge
• Year: 2017
• Print ISBN: 9781890871994
• eBook ISBN: 9781351816809
• Topic: Languages & Linguistics
• Subtopic: Media Studies
• Index: Languages & Linguistics

This book is a concise guide written by two individuals who have been there—under the lights and in front of the camera. Its no-nonsense approach offers readers practical advice about on-camera performance, including key aspects of voice, movement, communication and appearance. It gives them a foundation for working in the studio, in the field and in front of an audience; it is ideal for media performers of any type, including those who work as reporters, company spokespersons, or community advocates.

Recommendations include how to properly position oneself for a shot, how to improve articulation, how to deal with stress and how to best perform online. "Try-It-Out" exercises help readers put what they have learned into practice and prepare to be on camera. Key terms are bolded in the chapters and are collected in a book-end Glossary for easy reference.

1 Cue, You’re On

INTRODUCTION

Chapter 1 creates a foundation for thinking about performance by providing communication models applicable to the performance process, describing types of performers (career vs. non-career performers) and levels of performances (live or prerecorded, the audience interpretation of the performance, and the remembered performance). The outcome of the performance process is performance itself, and it should be a memorable one. Finally, the importance of a performer’s image cannot be underestimated and is, in fact, the theme of this book.

The Performer Takes Center Stage

The focal point of every media production is the performer—sometimes animated, occasionally electronic, often animal, but principally human. Fine producing and directing, elaborate studios, and shrewd management are valueless without the performer. The performer is greater than whatever exists in light, shadow, and sound, for human performers link all of us through common understandings, sympathies, appreciations, entertainments, and artistic delights. Talent and fortune single out a few performers whose names become immediately recognizable and who inspire awe and respect. A far larger group of professionals work in local and regional media markets, where they bind communities through substantial skills in communication, that is, the ability of one person to evoke a response from and/or create an impression on another person. By far, the largest number of performers, however, is made up of the community members who also have roles to play, whether they appear in the local media, at local events, or on Facebook or YouTube.

This book is about human beings as performers—who they are, what they do, and how they do it. The instant someone appears before a camera or speaks into a microphone, that person creates an impression, favorable or unfavorable, in the minds of hundreds, thousands, or even millions of viewers and listeners. Knowing how to be a strong performer can make a difference both in a career and in life.

Who Is a Performer?

Performing has become more commonplace with the increased availability of media, ranging from a video created with a handheld camera posted on the Internet to worldwide production and satellite distribution. With the prevalence of media in our society, relatively unknown individuals get caught in news-making circumstances. For example, a community member who discovers an environmental issue and a doctor who wishes to obtain funds for critical medical research may find that in order to gain favorable attention, they must make media work for them. The rapid dissemination of information and entertainment by mass media makes everyone, whether performing in the media professionally or nonprofessionally, likely to engage in the role of a performer.

Who is a performer? In general, a performer is someone—newscaster, actor, minister, teacher, social activist, and so forth—who uses the media to impart information so that people respond through action, such as purchases, political support, or intellectual endeavors, and/or to provide entertainment. Of course, these days just about anyone who wants to be on television or online can be, at least for a short time. In a way, all of these people are performers. The use of performer in this book, however, refers to those who want to become or are employed as communicators of news, information, or entertainment. They perform as part of their job, though they may not necessarily base their entire career around performing.

This book specially focuses on two groups: the career performer and the non-career performer.

CAREER PERFORMERS

Traditionally, career performers are those whose income comes primarily from performing and whose occupation revolves primarily around performing, whether on television, on the stage, or in the movies. They are professional performers who use media consciously to influence an audience. Career performers include news anchors, sportscasters, weather reporters, and other journalists; disc jockeys, motivational speakers, masters of ceremony, hosts, and other announcers; singers, actors, dancers, musicians, variety artists, and other entertainers.

At the outset of your performing career, you decide whether you are a reporter of news and information or an entertainer. Fundamentally, a newscaster tells about other people and events, while an entertainer is the event. There is a sanctity and responsibility about journalism that prohibits reporters from considering themselves primarily as entertainers. Those in entertainment do not want to give an account of the lives of other people; they generally want to act as other people or characters—meaning they portray a personality separate from their own. The truth they seek is in the spirit of what they do: they are artists. By contrast, journalists seek to present the truth in the literal description of persons and events from a factual, accurate, and balanced perspective.

How do you decide whether you belong in news or entertainment? The answer is: intuitively. You already know your preference. Even though you like both information and entertainment to some extent, here is the test: If you could do anything you want in the world of performance, what would you do? Set aside the advice someone else (who may never have been a performer) has given you, and set aside the obstacles, real and imagined, to obtaining your goal. Now ask yourself what you really want to do as a performer during your lifetime. Your decision will be based on heartfelt desire, background, aptitude, perception of opportunity, advice from others, and whether you are willing to pay the price for being a performer.

The path of a career performer

Although a few people attempt performing professionally later in life, most become interested in performing while in their early years at school. Interactions with media can range from preschool children who present a “show and tell” to third graders who face cameras and microphones in their libraries, where they present daily schedules, lunch menus, and weather. High school students often produce sophisticated newscasts or videos related to class subjects.

Following high school, future professional performers often continue at colleges and universities to use media technology to develop personally and experiment with its impact on audiences. An outgrowth of media knowledge for the current generation is the fearless utilization of media for personal goals and for classroom and distance learning. At the center of such instruction are the teacher and students as performers. These performers are eager to give and take lessons in virtually every subject, devoting a great deal of time to performance because of personal motivation. Usually future professional performers do not have to be told to practice for long hours. They use every opportunity to appear before the public, whether in church or school or at some community event. These performances are frequently recorded and distributed. This experience is readily obtained in college in departments of communication, journalism, music, and other liberal arts. Future professional performers may pursue related activities like theater, dance, or athletics. Depending largely on the courses available, they may enroll in areas where specific performing interests can be developed. As performers gain experience and as their work becomes better known, more opportunities arise.

Breaking into the professional world

Arguably, it is more difficult to be a performer on television than in some other outlets, such as radio, or in the role of a company spokesperson, serving as a representative and the voice of an organization. However, none of these professionals knows when or where the first paying job will come and how long it will last. These are the uncertainties with which people live as long as they are performers. Frequently, novices begin by either working in another medium or accepting whatever position comes along in television with the hope that once they are in the station, their performing ability will be recognized. Young professional performers accept out-of-town assignments, one-night appearances, and benefits, and they are aggressive in asking for work and showing what they can do. The aspirant is willing to work for free if it will achieve a goal. For example, one man who wanted to get into a local television news department demonstrated his journalistic fortitude by waiting out a hurricane as it hit the Gulf Coast in a particularly vulnerable location. Another wrote to a network offering to pay his own way if the network would allow him to join the sports staff when on location for a tournament. Both were hired. A woman joined a civic organization so that she could make its public service announcements. She, too, was successful.

Blending a strong academic curriculum, preferably at a major college or university with an established internship program, and the job potential of a major broadcast market gives beginning performers the best chance of accumulating both a degree and commercial credits—that is, a record of commercial experience—at the time of graduation. By establishing this record, the performer has a strong foundation.

With such a foundation a professional performer may be fortunate enough to be hired full-time by the local public media station after working part-time while attending classes. Some students, awarded internships in various communities, may be hired after the internship is complete. To further their careers, however, performers must go wherever the work is, realizing that professional life is transient. The first job may last six months to two years; the second a bit longer. A performer needs to be looking for the next job constantly, and therefore may seek the assistance of an agent. Even professional performers who are lucky enough to be hired in hometowns or cities where they attended school rarely stay for an extended period. Personal ambition and the necessity for station revitalization force the turnover of even excellent employees. Broadcasters often are told to get experience in smaller communities before trying larger ones or the networks. The road to success can be discouraging, but it must be traveled if a performer is to be recognized. While most professional performers do not become well known until they have worked in media for many years, some do make it rather quickly. There is no one formula for success.

NON-CAREER PERFORMERS

Non-career performers are those who have another occupation but who may use the media to communicate with the public. Included in this group are politicians, attorneys, physicians, research scientists, diplomats, business executives, government officials, members of the clergy, athletes, educators, various advocates, and activists. These individuals may use performing as a way to draw attention to their organization, their cause, or themselves.

In recent years, the number of people who are non-career performers has increased substantially as more people attempt to use the media to obtain their objectives. Today’s performers in the mass media come from all walks of life. These non-career performers are often highly skillful in their occupations but seldom skilled in media performance. Why do many Sunday sermons seem so long? Why do many politicians appear incompetent? Why do so many bank presidents look stodgy? Why do public relations officers for oil companies appear to be against the interests of the community? They use media ineffectively.

Those people who have learned how to use media effectively wield it as a powerful tool. The president and members of Congress, as well as local politicians, are aware that their reelection may depend upon how successfully they use the media. World tensions rise and subside with statements made by deplaning diplomats. Water bonds are voted, a city attorney’s staff is increased, streets are improved, and the public attitude toward its police force changes when the power of mass media is mobilized properly.

The subject expert

One type of non-career performer who appears on television is the subject expert. This professional is on camera to offer knowledge of an area or to offer commentary. The subject expert may or may not be paid directly by a television company and instead will probably be compensated by the business, government, or institution that hires the expert principally for the person’s knowledge of the subject. Television exposure is secondary to another kind of valuable service. For these specialists, televisio...

Table of contents

• Cover
• Title Page
• Copyright Page
• Table of Contents
• Preface
• About the Authors
• 1 Cue, You’re On
• 2 The Material
• 3 Appearance
• 4 Voice
• 5 Movement
• 6 Succeeding as a Performer
• 7 The Television Studio
• 8 Specialized Performances
• 9 Technology and Performance
• 10 The Business
• Glossary
• Index