2. SOAP OPERA, REPRESENTATION AND THEMATISATION
2.11 Thematisation in soap operas
2.11.1 Family life and marriage
The representation of marriage in soap operas is based on social constructions which make behavioural expectations from men and women or other non-conforming genders in between, based on their gender with specific conventions that restrict women and Blacks a fair representation in soap operas (Neophytou, 2012). Marriage as a primary theme in soap operas is represented according to cultural norms and expectations of specific cultures. A study by Neophytou (2012) outlined a significant factor that should be
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considered in the production of South African soap operas, which is a fair representation of women and a fair distribution of roles where different ethnicities and races are involved to showcase a democratic element in the shaping of the nation.
Soap operas are centralized systems of storytelling to audiences with relative coherent messages and images. The depiction of marriage in soap operas lies in the transcending historic barriers that are influenced by culture, norms and values wherein Black and White characters are depicted in dysfunctional marriages that ultimately lead to divorce. This depiction is influenced by media imperialism wherein peripheral countries historically had segregation between Blacks and White as shown in Skeem Saam (Knoetze, 2018).
Therefore, soap operas are influential in society in the way race, class, gender, social roles and lifestyles are depicted through family life and marriage (Mahlatsi, 2018).
Soap operas have evolved over the years as issues attached to extra-marital affairs which were previously considered taboo are depicted in the programmes. These issues are rape, cohabitation, polygamous relationships and infidelity which are rapidly being featured in marriage storylines which means that the stigma previously attached to these issues is lessening and be dealt with candidly in society (Ahmed & Khalid, 2012). Segrin and Nabi (2002) explicate that soap operas have created unrealistic marital expectations of what an ideal marriage is in the depictions that include overly open communication, passion, happiness, a great deal of romance, empathy and physical beauty.
Muindi (2015) explicates that soap operas provide a coherent picture of what a “perfect”
marriage and family life should look like in society where men lead the family unit as the woman/ wife follows the lead. Black women in the institution of family are undermined as it was depicted in initial soap operas that were produced in the first-world countries and broadcasted in third-world countries in the early 1980s. However, the depiction of Blacks and a fair representation in marriage emerged when soap operas started to be written, produced and broadcasted in these third-world countries from the 1990 to date (Jedlowski, 2018).
40 Infidelity in marriage
Characters are shown having no respect for marriage in South African soap operas. The soap operas portray infidelity that occurs in relationships which lead to divorce, separation and compromises being made by couples for children’s sake (Eype, 2016). Unfaithfulness remains a consistent factor in marriage thus infidelity is a common element in soap opera storylines. Characters are portrayed having extra marital affairs and breaking their matrimonial vows. Therefore, characters are represented within triangular drama where spouses have to deal with their partner’s extramarital affairs. In Generations, Smanga and Siphesihle had an affair that resulted in a child being born out of wedlock. However, the Moroka family as royals, labelled the relationship as a measure to bring an heir for the family’s sake as Siphesihle’s husband is infertile (Herbert, 2018). Similarly, in another South African soap opera Imbewu, MaZulu and Shongololo had three children from their long-lasting affair which resulted in MaZulu and her husband, Ngcolosi having a strained relationship resulting in a separation before Ngcolosi’s mysterious death (Opera News, 2020)
South African soap operas depict some characters as adulterers who care less about the stability and reputation of their families when they are involved with other people than their spouse. Producers feature infidelity in soap operas to bring the daily realities that audiences experience in their lives. The portrayal of infidelity is meant to bring realism in the storylines of these soap operas. However, male characters are shown as initiators of infidelity as they approach female characters whom they eventually end up in romantic relationships with (Motsaathebe, 2009).
Divorce in soap operas
The repercussions of infidelity, desertion, adultery and loveless marriages is divorce where couples officially and lawfully end their marital union. Soap operas portray the effects of divorce on the wellbeing of children, affected couples and society at large (Moe, 2011). In the beginning of the 20th century, soap operas depicted characters that actively sought divorce negatively. Characters who initiate a divorce will be blamed by other characters for social disorder directly through words or subtle disparage actions and behaviour (Andeso, 2019). South African soap operas depict the disruptions that divorce
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bring in a family structure where children are affected emotionally, mentally and psychologically (Worden, 2103).
Some South African soap operas such as 7de Laan depict divorce as a normal phenomenon that both Black and White characters are found in if genuine love is not shared amongst a couple in a marriage. For instance, when Paula and Altus marriage fell apart after their baby died, Altus decided to cheat as a way of grieving the baby whilst Paula visited her parents to recover from their loss. Both Paula and Altus decided that they should officially end their marriage because they were unable to rebuild the trust lost between them due to Altus extramarital affair (Soapie Chat, 2015). However, some South African soap operas such as Generations which feature African arranged marriages through Black characters portray divorce as a taboo. For example, Siphesihle and Mazwi’s arranged marriage that was meant to protect the Cele’s and Moroka’s royal and business agreements has fallen apart due to the trust lost and infidelities of the couple.
However, the soap opera producers portray divorce as an inappropriate decision for the couple based on the family’s business interests (Sanelyf, 2020). Therefore, the depiction divorce as a solution to loveless marriages.