Cultivation Theory

The Mean World Syndrome; an attitude caused by media

 

Cultivation Theory states that television tells us what exists, is important, and what is right.

Cultivation Theory of George Gerbner focuses on violence seen on TV and how it affects “viewers’ beliefs about the world around them and the feelings connected to those beliefs.”

Violence is defined as “dramatic violence” being an overt expression of physical force. This can be with or without a weapon, against one’s self or towards others, but does not consider things such as verbal abuse.

This theory brings up the fact that television plays a large role in why we think more bad things happen in our world than is statistically proven to be happening. This is called the “mean world syndrome”: *“the cynical mindset of general mistrust of others subscribed to by heavy TV viewers.” Gerbner defines heavy TV viewers as people who watch more than 4 hours of television a day and also claims that the more television someone watches, the more they are susceptible to the effects of the mean world syndrome.

Plane crashes, rape, pedophiles, serial killers, so many scary things – the more you watch the more you are exposed to these horrible images – the more you are susceptible to see the *“real world through TV’s lens” or a skewed perception of the real world stemming from TV’s cultivating power. Here is an example of a plane crash where the explicit details of people getting sucked out of the plane add drama to the scene, after seeing this in multiple different movies and TV shows, a plan crash becomes more of a reality and even more scary.

 

The mean world syndrome  actually makes a lot of sense when you start to realize how much violence is shown on TV, no wonder we are thinking there are more bad things happening, we are constantly bombarded with images that are sometimes even worse than reality actually can be – think about zombie apocalypse, vampires, and medieval themed shows such as Game of Thrones.

 

If you are anything like me, this scene makes your skin crawl and as soon as the blood starts squirting everywhere I have to turn it off. But if you love Game of Thrones, like a lot of people do, then this is not even comparable to the violence in some other scenes. Click here to read about critics of The Game of Thrones and to watch a clip that is One of the Most Gruesome Scenes in Television History. You are less sensitive to these images if you are exposed to them more.

It is somewhat of a mystery: We are becoming increasingly desensitized to violence (meaning it doesn’t faze us as much when we see violent images on TV). But at the same time we believe that violence is more prominent than it actually is. Both are resulting from the increase in violence on television.

Why is violence continuing to increase on television?

I really liked how our *textbook for this class described why media uses violence; it’s cheap to produce and it speaks in a language that is universally understood- giving the ability to export the product globally in order to realize maximum profits at minimum costs. The more violence they can show, the more they are making while at the same time the viewers are increasing.

One website I pulled up described the “ANYONE CAN DIE trope” and explained that unless a character’s name is in the show’s title, they are pretty much fair game to get killed off at any time. Read more: The Most Unexpected Deaths on Television. Violence on TV is no longer even restricted to stereotypes or bad guys, any one can be killed!

Think about the message that sends! Just another reason that reinforces the effect that watching television has on creating this “Mean World Syndrome.”

*Class Textbook
Griffin, Emory A. "Chapter 29: Cultivation Theory of George Gerbner." A First Look at Communication Theory. Boston: McGraw-Hill Higher Education, 2009. N. pag. Print.

Symbolic Convergence Theory

This theory is all about how shared “fantasies” play a large role in group bonding.

This is the process that the theory describes:

A dramatizing message is presented, a chain reaction forms around this topic as people chime in and keep the conversation about the story going – known as a fantasy chain, they create a trigger word, or cue because it can be any type of signal, that helps them return to the fantasy chain they had previously shared, and this in turn strengthens the bond and cohesion between the group members.

Let’s break each part down in order to understanding the communication theory wordage I used in the above description of the process laid out in the Symbolic Convergence Theory.

1.    The Dramatizing Message

When a group is working on a project you would think their focus should strictly remain on the task at hand. Disruptive comments about irrelevant outside events can seem counterproductive. But, in some cases when the comment, such as a joke or story, resonates with the other group members and a conversation starts to be had there may actually be some large benefits for the group.

To be a dramatizing message the group member must use descriptive language to paint a picture and show emotion within the joke or story they are sharing. The story can’t be related to the work aspect of the group – it has to be regarding an outside event about the group member’s past experiences or future plans or fantasies.

Disclaimer: I'm a huge fan of the TV show Sons of Anarchy

Example: Sally talking about an idea she has for the project is not a dramatizing message, but Sally explaining that she wants to be done with the meeting by a certain time so she can get home to watch her favorite TV show is an example.

2.    Fantasy Chain

A fantasy chain occurs after a dramatizing message is shared by a group member if the other group members embrace and acknowledge the comment, or story, and enthusiastically start to interact and agree about the original dramatizing message. This dramatizing message becomes the definition of “fantasy” and sparks a chain reaction of communication about this fantasy.

Example: Sally says she wants to get home to see the new Sons of Anarchy and someone in the group responds by saying, “that’s my favorite show too!” and then the next person adds in, “I just watch it because Charlie Hunnam is gorgeous” another group member adds, “what I wouldn't give to be Tara (the actors girlfriend in the show) in that show; but they live such a crazy life” and a conversation then unfolds about what it would be like to be in a merciless bike gang.

3.    Symbolic Cue

A symbolic cue is an agreed-upon trigger that sets off group members to respond as they did when they first shared a fantasy. This can range from code words or nonverbal signals to any kind of short hand that the members of a group recognize as having a specific meaning.

Example: As Sally’s group’s conversation about Sons of Anarchy progressed one of the members made a gesture like they were riding a Harley; they put their hands up as if holding the handle bars and quoted the show.  The whole group paused, looked around at each other, and started laughing at the silly gesture. Now, whenever the group project meeting seems to be getting monotonous, some one will hold up their hands as if riding a motorcycle and the group laughs and they talk about the latest episode of Sons of Anarchy for a few minutes.

4.    Symbolic Convergence

A quick definition of this term is: What the fantasy sharing of group members creates and how it affects the group consciousness and cohesion. When group members share these fantasies and symbols are created and shared, the worlds of the individuals start to come more closely together and may even overlap. This shared fantasy, the symbolic cues surrounding it, and the commonality of wordage that forms helps to bring the group members together. Instead of thinking about themselves they start to think in terms of “we” and “ours”. Group cohesion is seen when the group sticks together through thick and thin (such as a challenge in the process of completing the group project) and they seem to be attracted to one another.

Example: One of the group members says, “Okay, let's work really hard and get out of here so we can go watch the new Sons of Anarchy.”

This is helpful to successful group communication because it helps everyone to work together. They are communicating and contributing because they feel a connection to the other members and want, not only themselves but, everyone to succeed ( for example: every one wants all of them to get a good grade on the project).

Some fantasy chains move beyond the group level to become public-

While fantasy chaining normally starts in small groups sometimes they can spread across the public, especially with the help of mass media. The example group I referred to could all contribute in a conversation about a fantasy reality of being in a biker gang. But on a large scale, there is a population of people who all like the show Sons of Anarchy (ex. A fandom, or a group of followers or enthusiasts usually related to a show, sport, activity, or famous person) and are extreme fans. This would be an example of a public fantasy chain. People who share this interest seem to feel connected to each other and recognize the same symbols and associate specific meaning to them. Everyone in this group knows what the following symbol represents: