PRODUCTION      STRATEGIES OF THE MEDIA IN ENHANCING 

AUDIENCE SATISFACTION- A STUDY OF TV3 GHANA 

 
BY 

 

 

BEATRICE GYAN 

 

 

 

MAMM23012 

 
 

 

A DISSERTATION SUBMITTED TO THE UNIVERSITY OF MEDIA, 

ARTS AND COMMUNICATION UniMAC IN PARTIAL FULFILMENT 

OF THE REQUIREMENT FOR THE AWARD OF MASTER IN MEDIA 

MANAGEMENT 

 

 

DECEMBER, 2024 



i  

DECLARATION 

 

 
STUDENT’S DECLARATION - DISSERTATION 

 
I hereby declare that, this research is a result of my own original research and that no part of it has 

been presented for another degree in this university or any other higher education institute. I further 

declare that all the sources that I have used or quoted have been indicated and acknowledge by 

means of complete reference. 

 

 

 
BEATRICE GYAN      MAMM23012 …………….      …………... 

 
Student Index number Signature Date 



ii  



iii  

ABSTRACT 

 

 
Media organizations employ or adopt various production strategies (method) to be able to produce 

programmers that will enhance audience satisfaction, focusing on meeting the various preferences, 

interests, expectations and needs of their target audience or demographic. Meanwhile most of these 

audiences spend enough time watching shows produced by the media station under discussion. This 

study aims to asses strategies adopted to enhance audience satisfaction in Ghanaian society. The 

researcher used the media industry in Ghana by focusing mainly on TV 3 Ghana, to achieve this 

aim 80 participants who watch TV 3 programmes views were sought via open and close ended 

questionnaires. Using the random sampling method, a quantitative analytical technique was 

employed to analyse the data. Study suggests that, most programmes produced by the media have 

a positive influence on its audience which intend affect their behaviour. The study contributes 

theoretically to knowledge by throwing more light on the essence of developing effective and 

strategic content especially by media industries. Practically the study offers effective strategies to 

media managers and producers on the need to pay attention to the effect of creative, informative 

and educative content especially in regard to audience satisfaction that could benefit the society in 

the long term. 



iv  

DEDICATION 

 
I dedicate this project work to God Almighty for his protection, Grace and mercies throughout this 

journey in school. Also, to my dear ones Mr. Richmond Brown Etwire, Madam Selina Aku, Mr. 

Daniel Gyan, and to my family for their continues supports. I also dedicate to The University of 

Media, Art and Communication. (UniMAC – IJ) 

 



v  

ACKNOWLEDGEMENT 

 
I wish to acknowledge God Almighty for his gracious provision of knowledge, strength, wisdom, 

resources, grace and mercies required for the successful completion of this project work and for 

making my dreams come into reality. 

I will like to acknowledge my supervisor Dr. Ebo Afful for his guide, support and encouragement. 

Many thanks also go to Mr. Richmond Brown Etwire and Mr. Daniel Gyan for assisting in the final 

preparation of this work. 

Finally, to those whose work I made reference to. 



vi  

Table of contents 

DECLARATION ............................................................................................................................... i 

ABSTRACT ..................................................................................................................................... iii 

DEDICATION ................................................................................................................................. iv 

ACKNOWLEDGEMENT ................................................................................................................ v 

CHAPTER ONE ............................................................................................................................... 1 

INTRODUCTION ............................................................................................................................ 1 

1.1 Chapter Overview ........................................................................................................................... 1 

1.2 Background of the Study ................................................................................................................. 1 

1.3 Problem Statement ......................................................................................................................... 4 

1.4 Objectives of the Study ................................................................................................................... 4 

1.5 1.4 Research Questions ................................................................................................................... 5 

1.6 1.5 Significance of the Study ........................................................................................................... 5 

1.7 1.6 Organization of the Study ......................................................................................................... 6 

1.8 1.7 Evolution of Media in Ghana ..................................................................................................... 6 

1.7.1 Television ....................................................................................................................................... 7 

1.7.2 Radio .............................................................................................................................................. 7 

1.9 1.8 Operational definitions ............................................................................................................. 8 

1.8.1 Media ............................................................................................................................................. 8 

1.8.2 Audience ........................................................................................................................................ 9 

1.8.3 Strategies ....................................................................................................................................... 9 

1.8.4 Production .................................................................................................................................... 10 

1.10 1.9 Conclusion ............................................................................................................................... 10 

CHAPTER TWO ............................................................................................................................ 11 

LITERATURE REVIEW ............................................................................................................... 11 

1.11 2.0. Introduction ........................................................................................................................... 11 

1.12 2.1 Theoretical framework of the study ....................................................................................... 11 

2.1.2 Agenda setting theory .................................................................................................................. 16 

2.2 Functions of the Media ....................................................................................................................... 18 

2.2.1 Providing Information and Education .......................................................................................... 18 

2.2.2 Public forum for discussion .......................................................................................................... 19 

2.2.3 Watchdog role .............................................................................................................................. 19 

2.3 Media Ownership in Ghana................................................................................................................. 20 



vii 

 

2.3. 1 Challenges faced by traditional media production ..................................................................... 22 

2.4 Conclusion ........................................................................................................................................... 22 

CHAPTER THREE ........................................................................................................................ 23 

RESEARCH METHODOLOGY .................................................................................................... 23 

3.0 Introduction ........................................................................................................................................ 23 

3.1 Research Approaches .......................................................................................................................... 23 

3.2. Method Adopted ................................................................................................................................ 25 

3.3 Research Design .................................................................................................................................. 25 

3.4 Target population and sampling techniques ...................................................................................... 27 

3.5 Sampling .............................................................................................................................................. 27 

3.6 Sampling Methods .......................................................................................................................... 28 

3.7 Data Collection .................................................................................................................................... 28 

3.8 Questionnaire ..................................................................................................................................... 29 

3.9 Data Analysis ....................................................................................................................................... 29 

3.10 Conclusion ......................................................................................................................................... 29 

CHAPTER FOUR ........................................................................................................................... 30 

DATA ANALYSIS AND FINDINGS ........................................................................................... 30 

4.0 Introduction ........................................................................................................................................ 30 

4.1 Discussion of research findings ........................................................................................................... 30 

4.2 Discussion of work originality ............................................................................................................. 31 

4.3 Data analysis ....................................................................................................................................... 31 

4.4. Demographic information .................................................................................................................. 31 

CHAPTER FIVE ............................................................................................................................ 62 

SUMMARY, CONCLUSION AND RECOMMENDATION ....................................................... 62 

5.0 Introduction ........................................................................................................................................ 62 

5.1 Summary ............................................................................................................................................. 62 

5.3 Recommendation ................................................................................................................................ 62 

REFERENCES ............................................................................................................................... 64 

APPENDIX ..................................................................................................................................... 67 



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CHAPTER ONE 

INTRODUCTION 

 
1.1 Chapter Overview 

 

 
This chapter opens with the background to the study, a statement of the problem, the purpose of the 

study, the significance of the study, definitions of terms and the limitation of the study which is 

considered accordingly. 

1.2 Background of the Study 

 

 
The media plays a vital role in shaping public opinion and influencing societal trends. In this 21ST 

century the competition in the media industry has become fiercer than ever due to digitalization 

with media organizations constantly looking for new ways to attract and retain audiences. 

Traditionally, the distribution of content was only available through broadcast and cable television. 

However, the development of technologies has opened a new age of content consumption focusing 

on user (Chalaby & Plunkett, 2020). Producers therefore needs to adopt strategies to retain their 

audience. One of the key strategies that media organizations employ to enhance audience 

satisfaction is through the development and implementation of effective production strategies. 

Production strategies plays a vital role in enhancing the audience satisfaction of the media content. 

Contexts within which media production takes place are significant in shaping the content of media 

work. Study by Martinez-Garcia et al. (2021), found that media organizations are gradually 

focusing on personalized content and interactivity to enhance audience satisfaction. The study 

highlights how digital platforms have allowed media organizations to collect valuable data on 

audience preferences and behaviors, which can be used to tailor content to specific audience 



2 
 

segments. Scholars such as Hölig & Hasebrink, (2018) believe that the use of the internet through 

mobile phone devices and services have been the greatest break-through and have impacted 

favorably on digital media in recent years. 

Digital media has increased globalization by making communication across the globe very easy and 

at less cost. Now with the click of the bottom, one is able to connect with the rest of the world in 

seconds (Reuters, 2019). Media organizations strategically now stream live on these digital 

platforms as well. According to Paek & Lee, (2018) another industry that has changed by digital 

media is the Television (TV) industry. Most of the television stations have moved from ‘‘analog’’ 

to digital transmission through the power of the internet. 

This digital era has also introduced and invented a lot of devices and applications like Netflix, Pluto 

TV and Free cable TV among others which allow television viewers to watch and control the 

content of television programs online (Reuters, 2019). For example, a viewer can now forward TV 

commercials, record programs and watch them at a later hour when they have busy schedules. 

Production strategies refers the combination of techniques, methods and processes used to create 

and distribute content for various platforms. These strategies may comprise aspects such as; script 

writing, selection of content, visual effects, editing and post- production. The aim of production 

strategies is to create a high-quality, engaging content that resonates with audience and keeps them 

coming back for more. (Porter 1998) 

Research by Lee and Kim (2020) highlights the importance of production quality in driving 

audience satisfaction. The study found that high-quality production values, such as professional 

editing, cinematography, and sound design, can significantly impact audience perceptions of a 

media product. 



3 
 

Previous studies have shown that, audience satisfaction is directly related to the quality of the 

content produced by media organizations. For example, a study by Lee and Choi (2016) found that 

audience (viewers) were more likely to be satisfied with a television show if it had high production 

values like; strong storytelling and crisp visuals. Another research by Smith et al. (2018) also found 

that audience were more engaged with online news articles that were well-written and visually 

appealing. In order to enhance audience satisfaction, media organizations need to carefully consider 

their production strategies. This may include; investing in high-quality equipment, hiring skilled 

professionals, developing a clear editorial vision among others. 

Media firms produce or supply information and entertainment products that are consumed or 

demanded by audiences and, in most cases, advertisers. This is a unique characteristic of the media 

industries, allowing for separate transactions and potential revenue streams from both audiences 

and advertisers. Media firms try to strategically position their content so as to maximize potential 

revenues and also to satisfy their audience. 

Producers have also recognized the potential of new media platforms in enhancing audience 

engagement. They have combined social media features into their shows, by allowing viewers and 

audience to vote, comment and interact with the participants in real-time. (Osei & Anaman, 2017). 

This integration has not only provided opportunities for audience participation but has also aided 

the creation of online communities around production of television shows. 

Understanding the reception of production strategies in enhancing audience satisfaction is critical 

for assessing their success and analyzing their social implications. It’s against the backdrop of the 

abovementioned discussion that this long essay seeks to explore more on production strategies in 

enhancing audience satisfaction. 



4 
 

1.3 Problem Statement 

 
 

This study focuses on production strategies of the media to enhance audience satisfaction. In today’s 

digital era, media industries face fierce competition in an attempt to use different strategies to attract 

and retain audience. Media industries uses various strategies with the hope to help them achieve a 

distinctive place in the mind of their audience. Besides, they believe audience satisfaction will help 

them have a competitive advantage over their competitors. Media organization constantly struggle 

to keep up with the latest advancement in technology, such as the shift to digital platform and the 

rise of social media Picard (2019). Report by Deloitte (2020) indicates that, media companies are 

facing strong pressure to create content that is tailored to the preferences of their audience, which 

are becoming more fragmented and diverse. Derakhshan (2017) also noted that, media 

organizations are under pressure to verify the accuracy of information before publication, this 

sometimes slow down the production processes and increase costs of production. 

However, some media industries do not see the benefit that lie in enhancing audience satisfaction. 

The challenge lies in identifying the most effective production strategies that can maximize 

audience satisfaction and engagement. Audience satisfaction is a key metric for media organizations 

as it directly influences viewership and advertising revenue. Smith et al, (2017). Therefore, media 

organizations that fails to give priority to audience satisfactions are likely to lose their audiences to 

competitors. 

1.4 Objectives of the Study 

 

 
This study aimed to investigate the correlation between media production and strategies employed 

to enhance audience satisfaction among viewers in Ghana. This study has these specific objectives: 



5 
 

1. To determine the effects of viewing production shows on the level of their expectations 

among audience. 

2. To investigate the effect of production shows on the perceptions and attitudes of the 

audience. 

3. To explore the emotional and psychological effects of watching television production 

shows. 

1.5 1.4 Research Questions 

 

 
1. What are the effects of viewing production shows on the level of their expectations in 

audience? 

2. What is the effect of production shows on the perceptions and attitudes of the audience? 

 

3. What are the emotional and psychological effects of production show on viewers in terms 

of self-esteem? 

1.6 1.5 Significance of the Study 

 

Production strategies play a vital role in the media industry. Understanding audience preferences 

by studying production strategies, media organizations can gain valuable insights into what resonate 

with their audience. This will enable them to tailor their programming to better meet the interest 

and needs of their viewers leading to increased audience satisfaction and loyalty. 

Effective production strategies can enable media organization to generate more engaging and 

interactive content. Also, by focusing on production strategies that priorities audience satisfaction, 

media organization can improve overall viewing experience for their audience, this will help media 

organization to stay ahead of the curve and ensure that they deliver content that meets expectation 

of the audience. 



6 
 

Furthermore, this research would contribute to academic work as it would provide a good premise 

for future research into the production strategies of the media to enhance audience satisfaction. This 

would enhance production strategies that will satisfy audience in the media sector. The research 

paper would also add to the existing literature on the subject matter regarding the in-depth 

knowledge it will explore. Finally, the research work would become a source of reference materials 

for students, The University of Media Arts and Communication (UniMAC-IJ) library, and the 

public. 

1.7 1.6 Organization of the Study 

 

In structuring this paper, the study is presented in five chapters. Chapter one looks at the background 

of the study, the statement of the problem, the objective of the study, the research question, the 

significance of the study, and the definition of terms. Chapter two reviews literature related to the 

study. In this chapter, various kinds of literature relevant to the study are dealt with in–depth. 

Chapter three focuses on the profile of TV3 Ghana and the research methodology. It provides 

explanations for the data collection techniques and analytic methods used in the study. Chapter four 

is dedicated to the findings and discussion of the field data collected in the course of the research. 

Chapter five gives a summary and conclusion of the research. Recommendations have been made 

based on the findings drawn from the study. 

1.8 1.7 Evolution of Media in Ghana 

 

The evolution of the media in Ghana, the then Gold Coast started with radio in 1935 and Television 

in 1965 until the airwaves were liberalized in 1996. The colonials then, the postcolonial State 

controlled the radio and Television. Private traditional media was almost absent from the Ghanaian 

media landscape until 1992, when the constitution was enforced to allow operation of private media 

in Ghana. A governor of the British Gold Coast settlements in the 19th century however, published 



7 
 

the first newspaper. Radio was introduced by colonial authorities on the occasion of the Silver 

Jubilee of King George V, the head of the British Empire, and was used to transmit BBC programs 

to colonial residents and privileged native elites. During the struggle for independence, newspapers 

were used to shape and stir up the people to fight to liberate the country from colonialism. British 

radio served as a means of countering those anti-colonial campaigns of the national press (source: 

Media Ownership Monitor Ghana). 

1.7.1 Television 

 

The regular use of television has reduced the popularity of radio. In modern times Presidents and 

other politicians use television to rally people in times of crisis, although social media and the 

Internet now offer a more direct way for them to communicate. The first official broadcast in the 

USA was made by President Franklin Roosevelt’s (American politician who served as the 32nd 

President of the US from 1933 till 1945) speech at the opening of the 1939 World’s Fair in New 

York. Politicians through television have a deeper connection with citizens and voters. Through 

television, citizens were able to decode body language and tone to decide whether candidates or 

politicians are sincere. Presidents directly conveyed their anger, sorrow, or optimism during 

addresses. Television also helped combat scandals and accusations of impropriety. In addition to 

television ads, the 1960 election also featured the first televised presidential debate Television’s 

characteristic combined radio (audio) and pictures (visuals) and changed the media sphere. 

1.7.2 Radio 
 

Radio was the first major non-print form of mass media that blew up in the 20th century. Radios 

were said to be less expensive than telephones and available by 1920’s. Radios had the tendency of 

permitting many people to listen to the same program at the same time. For example, in 1924, 

Calvin Coolidge’s (American politician and Lawyer who served as the 30th President of the United 



8 
 

States from 1923 to 1929) pre-election speech reached more than 20million people. Radio assisted 

advertisers who had access to a large and captive audience. Advertisers were able to make sales 

because of uncountable audience, who are sympathetic. For example, the (NBC) National 

Broadcasting Company and the CBS) Columbia Broadcasting System began running sponsored 

news programs and radio dramas. Some other comedy programs also became popular during the 

1930’s as listeners always wanted to find humor during the depression. Following the comedy 

shows, talk shows, religious shows, and educational programs and by late 1930’s game shows and 

quiz shows were in the airwaves. Almost 83% of households had radios and tuned in regularly. 

Radio brought communications to rural America. The radio listenership grew and politicians 

realized the medium offered a way to reach the public in a personal manner. Warren Harding (29th 

President of the US from 1921 until his death in 1923) was the first president to regularly give 

speeches over the radio. 

1.9 1.8 Operational definitions 

 

The terms in the study are defined below: 

 
1.8.1 Media 

 

Cambridge dictionary defines media as all organizations that supply news and information to the 

public, such as newspapers, radio, television and the internet. English dictionary also defines media 

as the main ways that large numbers of people receive information and entertainment that is 

television, radio, newspapers, and the internet. Media refers to the means of communication that 

reach large numbers of people, such as television, newspapers, and magazines and radio 

(Armstrong, 2000). Thus, the media sector is concerned with the production and distribution of 

information on a one-to-many basis. 



9 
 

1.8.2 Audience 

 

According to Denis Mcquail a prominent scholar in communication studies the word audience is 

the collective term for the receivers in the simple sequential model of the mass communication 

process (source, channels, message, receiver, effect) that was deployed by pioneers in the field of 

media research. In this research, the term “Audience” implies that these individuals are actively 

listening, observing or participating in some way. Audience members can be diverse in terms of 

their interests, preferences, knowledge levels, and backgrounds. The presence and reactions of the 

audience often play a crucial role in influencing the success of the communication or performances 

being delivered. 

1.8.3 Strategies 

 

Oxford dictionary defines strategy as a plan of action designed to achieve a long term or overall 

aim “time to develop a coherent economic strategy”. Robert N. Anthony, author of Planning and 

Control Systems (1965), one of the books that laid the foundation for strategic planning, didn’t give 

his definition of strategy instead, he used one presented in an unpublished paper by Harvard 

colleague Kenneth R. Andrews: “the pattern of objectives, purposes or goals and major policies and 

plans for achieving these goals stated in such a way as to define what business the company is or is 

to be in and the kind of company it is or is to be. Also, Alfred D. Chandler, Jr., author of Strategy 

and Structure (1962), the classic study of the relationship between an organization’s structure and 

its strategy, defined strategy as “the determination of the basic long-term goals and objectives of an 

enterprise, and the adoption of courses of action and the allocation of resources for carrying out 

these goals.” 



10 
 

1.8.4 Production 

 

Production can be defined as the creation and distribution of different various content across 

different media platforms such as radio, television, film and digital media. Doyle (2020), the rapid 

advancements in technology has made production processes efficient and innovative in terms of 

content creation. Production is the collaboration among various persons in a media organization. 

These include; producers, directors, writers, editors and technicians Litman (2018). Various 

knowledge and skills are put together by these personalities to enable them create informative or 

educative contents to their audiences. 

In production of contents, producers need to consider their audiences in other to satisfy them 

accordingly. 

1.10 1.9 Conclusion 

 

This chapter discussed the background to the study, problem statement, and purpose of the study, 

significance of the study, defined terms and highlighted limitation of the study. The next chapter 

would review existing literature and add to the body of existing literature. 



11 
 

CHAPTER TWO 

 

LITERATURE REVIEW 
 

1.11 2.0. Introduction 

 

This chapter reviews research works done by other scholars regarding production strategies of the 

media in enhancing audience satisfaction. The chapter provides an overview of the theoretical and 

empirical literature and would present and explain theories that relate to the topic. The literature 

will also examine what has been practically observed and studied with the subject matter. 

1.12 2.1 Theoretical framework of the study 

 

The Uses and Gratification Theory (UGT) and Agenda Setting Theory were used as the theoretical 

foundation for this investigation. Each of these viewpoints offer information regarding the possible 

production strategies of the media in enhancing audience satisfaction. The uses and gratification 

theory explains why audience align with certain media content and what needs they are trying to 

satisfy, whereas the agenda setting theory explains how the media play a powerful role in shaping 

public opinion and setting agenda for societal issues by carefully selecting and producing content 

that is relevant and engaging audience. 

2.1.1 Uses and Gratification Theory (UGT) 

 
The theory of Uses and Gratification (UGT) seek to explain why and how humans actively seek out 

certain wants (Severin, Tankard, 1987). UGT is a method of comprehending mass communication 

that focuses on the audience. The study is concern with how individuals interact with media (Katz, 

Elihu (1959). UGT examined how consumers (audience) purposefully select media to meet certain 

requirement such as knowledge enhancement, relaxation, social interactions/ companionship, 

distraction, or escape. Mcquail (1983). UGT’s method, according to Katz, Blumber, and Gurevitch 



12 
 

(1974), was centered on “the social and psychological ancestors of needs that create expectations 

of the mass media or other sources, resulting in different patterns of media exposure (or engaging 

in other activities), leading to need satisfaction and other concerns, perhaps mostly unintended” 

(Katz & Elihu 1959). This suggest that the public does not watch certain programmers because of 

the substance, the performer, or the captivating presentation (McQuail 1997). Could be the 

compelling act found in production shows be biased for this audience formation? Blumer, Katz & 

Rossi developed five basic assumptions of UGT and later refined them by McQuail et al., (Littejohn, 

2021). 

 

The audience want to: 

 
i. Be informed or educated 

 
 

This assumption by the scholars suggests that, one of the main inspirations for engaging with media 

is to gain information or knowledge. This means that, audiences often turn or tune in into media 

channels like news programmes, entertainment programmes documentaries, and other educational 

programmes. This enables them to learn about current events or trends, developments issues, 

science, cultural issues, or any other specific subjects that interest them. The desire for education is 

motivated by the need to understand or know more about the world or things around us. This helps 

to make informed decisions, or increase personal or professional knowledge. 

 

 
 

ii. Identify with characteristics of the situation in the media environment. 

 
 

This assumption highlights the audience's need to relate to or identify with what is being presented 

in the media. This can include knowing oneself in a story or seeing one's values or morals, beliefs, 



13 
 

or experiences reflected in media content. Audience or people often seek media experiences that 

resonate with their own lives or that permit them to see circumstances or characters they can 

sympathize with or admire. The identification process can helps individuals form networks with 

media, making them feel understood or validated in their own understandings. 

 

iii. Be entertained 

 
 

Entertainment is another core motivator for media consumption. Audiences often engage with 

media as a form of finding pleasure, seeking content that provides amusement or enjoyment, fun, 

and other emotional engagement. This comes either through movies, television shows, music, or 

online videos, audience look for media that relaxes, amuses, or brings excitements them. 

 

iv. Enhance social interaction 

 
 

This assumption also highlights the role play by media in facilitating communication and social 

connections. Audience often consume media not only for personal pleasure or learning purposes 

but also to enhance their social understandings. This can involve deliberating on media content with 

friends and family, participating in online communities, or sharing media experiences on social 

networks. In this way, media acts as a social tool, allowing audience or individuals to bond over 

common interests and stay connected to a larger social context. 



14 
 

v. Escape from the stress of daily life. 

 
 

This assumption points to the desire to use media as a form of escapism. Many people or audiences 

turn to media to temporarily forget about the pressures, problems, or stresses of their everyday lives. 

Through engaging with fictional worlds, immersive experiences, or light-hearted content, audience 

or individuals seek relief from anxiety, boredom, or routine. Media also provides means to 

disconnect from reality and experience alternate realities, whether through fantasy, relaxation, or 

distraction. 

 

This approach emphasises the many satisfactions that consumers derive from media depending on 

their individual, social and psychological requirement. In a larger sense, uses and gratification 

provides the foundation for understanding the stages through which media consumers seek 

information that best meets their requirements. In a larger sense, uses and gratification provides the 

foundation for understanding the stages through which media consumers seek information that best 

meets their requirement. In many aspects, the uses and gratification theory are particularly 

applicable to this current investigation. The hypothesis, according to Severin and Tankard (2002), 

emphasis a viewer’s choice by examining their motives for consuming particular media while 

disregarding others. This approach emphasises the many satisfactions that consumers derive from 

media depending on their individual, societal and psychological requirements. 

2.1.1.1 Criticism of the Uses and Gratification Theory 

 

Unlike other media use theories, uses and gratification explains the viewers or audience’s ability to 

pick what media and information to consume and which not to ingest, since the audience or 

consumers have a defined aim and use. Other hypothesis such as the hypodermic needle theory, 

contend the media has a direct, immediate and profound influence on its audience. Taking the 



15 
 

hypodermic needle theory into account, it claims the mass media is viewed as all-powerful, which 

explains why viewers have little influence over the media material they receive; and cognitive 

dissonance. The mental tension experience by an individual who believes two or more conflicting 

beliefs, concepts, or ideas at the same time is referred to as theory. 

The theory focuses on the way the people look for internal consistency. The presumption made by 

the opposing theories set uses and gratifications apart. Nonetheless, uses and gratification have 

serious shortcomings that have been challenged by several thinkers. Ang (1992) asserts that, the 

method has not produced many accurate predictions or colloquial justifications for media use and 

choice. The approach seems to work best when examining certain kinds of media where incentives 

may be supplied, as large portion of media consumption is situational and weakly motivated (Ang 

1992). 

The claim is that there is very little attention paid to the media content as a result, researchers could 

focus more on the motivations behind people’s media use and less on the meanings such 

motivations convey. The approach starts with the presumptions that the public can always access 

the media, which might lead to some implicit justifications for the current media landscape (Nagel, 

Emilios, Karen, 2004). Moreover, research on uses and gratifications heavily depends on self- 

reports due to the difficulty of tracking exposure patterns through observation (Katz, 1987). Self- 

reports, however, depend on memory from the individual, which may provide issues (Nagel, 

Emilios, Karen, 2004). For example, respondents can misremember their behavior when utilising 

media, which could affect the findings. 

Another point of contention is that the use of contemplative self-report has several limits. Viewers 

may not understand or be able to properly explain why they opt to watch. These arguments 

presented may be of secondary importance. People may provide the same reasons that they have 



16 
 

heard others give, or they may pick a specific medium because other people are also watching and 

they do not want to be left out during conversations with friends. For example, lot of shows 

produced by TV3 Ghana such as Date Rush, Talented Kids, and Ghanaians Most Beautiful among 

others is primarily programs people watch most, thus many are anxious to watch these programmers 

in order to be abreast with them and take part in public debate. As a result, viewers employ some 

degree of media content discrimination. (Barwise and Ehrenberg, 1988). But, without a doubt, 

viewing television may be viewed as an aesthetic experience with intrinsic motivation (Chandler, 

1994). In addition, the uses and gratification hypothesis has been criticised as promoting vulgar 

gratification (Chandler, 1994). 

UGT is thought to be individualistic and psycho-logistic, ignoring the socioeconomic and cultural 

environment. Morley (1992), acknowledges that individual differences in interpretation occur, but 

emphasises sub-cultural and socio-economic disparities in shaping how individuals view their 

television experiences. Typically, certain uses and gratifications theorists, such as Hopson (1982), 

expanded active and conscious choice, whereas media can be pushed on some individuals rather 

than freely selected (Chandler, 1994). The position may also lead to over-interpretation, implying 

that listeners may gain satisfaction without paying attention to the substance. Despite all of the 

foregoing objections. Uses and Gratification are critical to our current study, as will be discussed 

more below. 

2.1.2 Agenda setting theory 

 

 
Agenda setting theory seeks to explain how the media plays a powerful role in shaping public 

opinion and setting agendas for societal issues. The theory explains further how careful producers 

select and produce content that is relevant and engaging audience. Maxwell McCombs and Donald 



17 
 

Shaw (1972, 1993) describe a phenomenon, which had long been observed and studied in the 

context of election campaigns propounded agenda setting. The central idea is that news media 

indicate to the public what the main issues of the day are and this reflects in what the public 

perceives as the main issues. The evidence strongly suggests that, people think about what they are 

told but they do not think about what they are not told (Trenaman and McQuail, 1961). 

Deaning and Rogers (1996) define the process as ‘an ongoing competition among issues protagonists 

to gain the attention of the media professionals, the public and policy elites. Lazerfield et al (1944) 

referred to it as the power to structure issues. Agenda setting effects are unlike most other known 

effects in that they are also contingent on the right combination of factors in respect of the topic, the 

type of media, and the larger context. (Walgrave and Van Aelst, 2006). 

The traditional media sets the agenda for the public. The media content determines the salient issues 

that the institutions want to present to the public for consumption. Therefore, the media produce 

programmers to inform the public on what they should think and not what they think. Audience has 

no right to choose or select from media outlets but they absorb the media presents to them. Information 

dissemination can be described as the active distribution and spread of variety of information to 

targeted audiences. 

2.1.2.1 Criticism of the agenda setting theory 

 

 
With the emergence of mobile devices where audience can watch programmers at different times, 

audiences are able to find out about relevant events and conditions in their immediate surroundings, 

society and the world at large. They as well share opinions and make certain choices, which informs 

their decisions. The era of agenda setting theory is gradually changing into an era of citizen 

participation, whether professional or amateur information dissemination. 



18 
 

Information is no longer exclusive to journalists and the media. The public can now carry out 

journalistic work. As a result of this, the public have now become producers and consumers of 

information. Audience is actually evaluated and interpret media messages (McCombs & Shaw, 

1972). This suggests that, media producers cannot solely rely on shaping audience perception 

through content selection and agenda setting. 

It is argued that, Agenda Setting theory often overlooks the diversity of media sources and platforms 

available to audiences today (McCombs, 2014). With the rise of digital media and social networking 

sites, audiences have more control over the content they consume and are exposed to a wider range 

of perspectives and voices. This means, the traditional model of agenda setting may be less relevant 

in a media landscape that is characterized by fragmentation and individual consumption patterns. 

The theory focusses on the quantity of media coverage rather than the quality of the information 

being presented (Lyengar & Kinder, 1987). This can result in prioritization of sensational or 

clickbait content over more substantive and informative material, which may not necessarily 

enhance audience satisfaction. 

2.2 Functions of the Media 

 

The media plays a multidimensional role in contemporary society, significantly influencing 

how information is spread, how education is delivered, and how public discourse is shaped. 

2.2.1 Providing Information and Education. 

 

 
Providing information and education is one of the core functions of the media. Through 

disseminating news and educational content, the media keeps the public informed about current 

issues, new discoveries, and important societal issues. For example, during the COVID-19 

pandemic, global news outlets like BBC and CNN delivered critical information and updates on 



19 
 

health guidelines, vaccination progress, and government measures to help curb the situation. 

Similarly, educational programs on channels offer foundational learning in literacy and numeracy 

for children, while other platforms provide online tutorials on a wide range of subjects, from math 

to history, enhancing learning opportunities beyond traditional classrooms. 

2.2.2 Public forum for discussion 

 

 
The media serves as a public forum for the discussion of important issues. It provides a platform 

where diverse viewpoints can be expressed and debated, allowing for the exchange of ideas on 

various topics affecting society. For instance, talk shows and online forums enable public dialogue 

on critical issues such as climate change, social justice, political issues and economic policy. 

2.2.3 Watchdog role 

 

The media serves as a watchdog for government and other institutions by monitoring their activities 

and holding them accountable. Investigative journalism plays a crucial role in exposing corruption, 

malpractice, and abuse of power. For example, investigative journalism has played a critical 

watchdog role, particularly through the efforts of journalists and media organizations who have 

uncovered corruption, abuse, and malfeasance. A prominent example is the work of Anas 

Aremeyaw Anas, a renowned Ghanaian investigative journalist known for his undercover 

investigations. These investigations which uncover bad deeds are able to come to the lime light 

through the media. Another example, is the community engagement with the media, Media 

organizations engage communities to find out their challenges to be able to help in communicating 

these challenges to those in authority to be able to provide solutions to these challenges or problems. 



20 
 

2.3 Media Ownership in Ghana 

 

There are four main media ownership structures which has been identify and recognized in 

academic literature. These are; commercial, non-profit, public and community media (McQuail, 

2005; Rennie, 2006). Media that are independently owned, for-profit, and funded mostly from 

advertising and sales are the first category of commercial. They range in size from international 

conglomerates to small local outlets. Individuals, corporations and families mostly own them. 

Commercial media could be public or private, a large media chain or conglomerate or a small 

independent body (McQuail, 2005). Though it is mostly privately owned, government can be found 

in most new democratic countries in Asia, Africa and Latin America could also own it. A high 

concentration exists in the TV segment, where the top three owners (Multimedia Group in Ghana, 

Osei Kwame with U2 Company Ltd. /Despite Group of Companies, TV3 Network/ Media General 

Ghana Limited) represent an audience share of 77.4%. The radio market is more diverse and 

‘market leaders’ differ from region to region. Also, the Despite Group of Companies and the 

Multimedia Group have a considerable market position by operating several nationwide outlets. 

Overall, radio shows a medium level of audience concentration around the four market leaders that 

together deliver news to 44.8% of the listenership (Media Ownership Monitor, 2018). 

In literature, the second category is public media which has various forms ranging from direct State 

administration to elaborate and diversified constructions designed to maximize the independence 

of decision-making about content (McQuail, 2005). Two types of ownership of public media exist 

in the literature. They are the public service media model and the state-owned model. Government 

does, not directly control the first model; there is often an intermediary in the form of regulators or 

parliament or board of directors with no specific allegiance to government. The state-owned media 



21 
 

is controlled and funded by the state (taxpayers) and may be more or less focused on the public 

good, but is sometimes simply a mouthpiece for the government of the day. 

The nonprofit is the third category according to McQuail (2005), it is a type of ownership structure 

which could be a ‘neutral trust’ designed to safeguard the independence of media operations or 

bodies with special cultural or social trust tasks such as political parties, and religious bodies among 

others. Politician-owned media cover a range of different types of mass media created and financed 

by parties; these outlets range from small party propaganda sheets to media owned by rich politico- 

business people. 

A fourth media ownership advertised by some theorists as suitable for developing or third world 

countries is the community media. Scholars such as Rennie (2006) have isolated this as another 

form of media ownership. In Ghana, the National Media Commission (NMC) categorizes it as the 

third type of media ownership. The community media in Ghana were part of the state broadcaster’s 

plan, especially under Kwame Nkrumah to decentralise the media and promote pluralism. However, 

most of the remote radio stations and newspapers producing in the native languages have all been 

closed down, probably due to financial constraints or lack of managerial skills. In recent times, most 

communities have established community radio stations to provide for the communication needs of 

the communities involved. This media is wholly established, funded and managed by the people in 

the community. Programmes are drawn at the community level and issues discussed are those 

considered to be of interest to the community. Examples of such community radio stations include 

Radio Peace in Central Region and the Radio Ada in Accra. (Atawura, 2017). 



22 
 

2.3. 1 Challenges faced by traditional media production 

 

In this present age of digitalization, real-time news is available at the click on a phone or mouse. 

Audience imagination, competition from other digital platforms, changes in consumer behavior in 

terms of how the receive and react to information has led to the fact that, how consumers or 

audience received production content keeps changing on daily bases. This is a challenge in 

managing or producing media content which has trigger media industries to adopt to the rapidly 

changing technology to be able to say on top of social trends, cultural and economic shifts. These 

factors and more affect the way traditional media content are produced and consumed. 

Production strategies by the media enables discoveries of diverse ideas this can help to show diverse 

dialogue around important social issues. They can also serve as a form of entertainment and 

escapism, providing light-hearted moments and fostering a sense of community among viewers. 

2.4 Conclusion 

 

This chapter reviewed research works done by other scholars regarding production strategies of the 

media in enhancing audience satisfaction and added to the body of knowledge. The next chapter 

would discuss the suitable methodology for the study. 



23 
 

CHAPTER THREE 

 

RESEARCH METHODOLOGY 
 

3.0 Introduction 

 

A strong methodology is essential for every research endeavour since it establishes the works 

validity, consistency, and potential for replication and generalization. A research technique, 

according to Malhotra and Birks (2007), is a collection of steps taken to carry out research. The 

methodological technique used in this study is investigative since it is routine, thorough, 

methodical, and impartial. This was done to make sure that reliable and pertinent data were 

acquired, and that consistent statistical analysis techniques were used to reduce the possibility of 

Statistical errors. This section addresses the techniques employed in the data analysis as well as the 

particular, rigorous, and methodical research protocols that were followed to conduct the study. 

3.1 Research Approaches 

 

Researchers can choose from three different techniques when designing their study methodology, 

according to Creswell (2003). These research methodologies encompass mixed methods, 

quantitative, and qualitative approaches. When using a quantitative approach, researchers primarily 

strive to use post-positivist claims for knowledge building, including reduction to specific variables, 

questions, and hypotheses, measurement and observation, concept testing, and cause-and-effect 

reasoning. It collects data on pre-set devices using investigative methods like trials and surveys in 

order to provide statistical data. Quantitative investigations employ statistical and numerical 

techniques to solve specific issues. There are several ways to use statistics to support programmed 

assessment and evaluation or research. 



24 
 

Descriptive statistics are numerical summaries of a collection of items. Inferential statistics are 

computed using a sample drawn from a larger population to infer information about the entire 

population from a sample. The accuracy of the conclusions derived from a sample is significantly 

influenced by the sampling techniques employed. It is best to plan an investigation and set up a 

statistical analysis at the same time. The choice of methodology analysis to employ and statistics to 

provide depends on the topics being addressed, the degrees of measurement of the study's variables, 

and the type and volume of data you wish to report on your results (Wholey et al. 2004). 

Quantitative research aims to discover the link in a population between one factor (an independent 

variable) and another (a dependent or outcome variable). 

Alternatively, a qualitative approach is one in which the researcher often bases knowledge claims 

primarily on advocacy/participatory perspectives like political, issue-oriented, collaborative, 

change-oriented, or both. These perspectives include the multiple meanings of individual 

experiences, socially and historically constructed meanings, and the goal of developing a theory or 

pattern (Creswell, 2003). Using open-ended, dynamic data-collecting techniques, the researcher 

employs case studies, ethnographies, phenomenology, grounded theory studies, narratives, and 

ethnographies. According to Gall et al. (1996), qualitative research is an inquiry predicated on the 

idea that individuals construct social reality through interpretations and meanings and that these 

constructions are ephemeral and situational. In qualitative research, narrative data as opposed to 

numerical data is often collected via techniques including focus groups, on-site observations, and 

interviews. Themes and patterns are looked for in these kinds of data. It comprises evaluating, 

analyzing, and reading data. The ease of analysis and significance of the results are greatly 

influenced by how data is gathered (Wholey et al. 2004). 



25 
 

Lastly, the most current research methodology is a mixed approach, which bases the knowledge 

claims of the inquirer on pragmatic, problem-centered, result-oriented, and pluralistic perspectives 

(Creswell, 2003). It makes an effort to integrate the most effective quantitative and qualitative 

research techniques into its studies. It uses either sequential or concurrent inquiry approaches, 

which entail collecting both quantitative and qualitative data, to better understand research 

difficulties. Choosing a strategy should be based mostly on the research problem (Creswell, 2003). 

3.2. Method Adopted 

 

The quantitative method was chosen for this investigation. Several factors influenced the decision 

to use this approach. First, by using the quantitative approach, the data collected was crosschecked 

using this method making the study's conclusions valid and dependable. This method is the best fit 

for this study as it answered the research questions using the collection of quantitative data and 

strategically analyzing the data. Quantitative research is also objective and based on testing a 

hypothesis or theory composed of variables Naoum (2002). Frechtling and Sharp (1997) as cited 

by Naoum (2002), characterized the common data collection techniques used in quantitative 

research as questionnaires, tests and existing databases. Hard and reliable data are often collected 

in quantitative research and, therefore, emphasizes on quantification. The samples collected are 

often large and illustrative. This means that quantitative research results can be generalized to a 

larger population within acceptable error limits. The question which this research sorts to address 

is how producers use production strategies to enhance audience satisfaction. 

3.3 Research Design 

 

Research design is the structure that controls how the strategy for obtaining and evaluating data is 

put into practice. As a result, it serves as the basis for applying the research plan. It makes it possible 

for the researcher to logically connect findings drawn from empirical data to the original research 



26 
 

question of the study (Bryman 2004; Yin 2003). Blismas (2001) outlined four research techniques 

that academics generally support as workable answers to issues brought up in social science and 

construction management research. He said that to help make the right choice, an assessment is 

necessary. The most popular choices include surveys, action research, experiments, and case 

studies. Common research designs called surveys use questionnaires and telephone and in-person 

interviews to gather data from respondents. A survey maximizes the representativeness of a larger 

population by gathering data from statistically selected samples in a uniform format. Thus, surveys 

are an essential instrument for determining an organization's current state. They may deal with the 

connections between the behaviors and perceptions of various factors (Bryman 2004; Fellows and 

Liu 2003; Janes, 1999). 

Geographically separated respondents can be reached through surveys, which are often affordable. 

Strong communication and, frequently, a high response rate are the outcomes of using the interview 

approach (Sherif 2002). Surveys improve the reliability of observations and replications due to their 

standardised sampling and measurement methods. They are helpful for construction management 

studies because they enable statistical data analysis and extrapolation to a broader population 

(Blismas 2001; Oppenheim 2003). 

A case study is an in-depth, empirical analysis of specific incidents related to the study's focus. In 

its most basic form, case study research is a thorough analysis of a single instance, taking into 

account all of the case's intricacies and distinctive features. It could also include a lot of cases. The 

quantity of examples that may be examined, however, can be limited by the richness of the data 

that has to be collected. Selection decisions are often made based on how representative the 

examples are (Bryman, 2004; Fellows & Lui, 2003). 



27 
 

Understanding the case's history is the main goal of a case study. The greater relevance of case 

study findings may be conceptualized, even if this may limit any interest in theoretical effects or 

empirical generalization (Hammersley and Gomm 2004). Yin (2003) has added to the debate on 

the suitability of case study research design by presenting two related design philosophies: 

showcasing individual case studies and using instances to draw broader conclusions. 

This study followed both a survey and a case study technique because of its tremendous exploratory 

potential and depth of analysis. The framework made it possible to investigate intricate relationships 

between interdependent variables. The investigation proceeded with the understanding of the main 

criticism of case study research design, which is the challenge of generalization. The validity and 

rigor of case study studies were also taken into consideration. A notable constraint of surveys is 

their inability to facilitate comprehensive topic analysis. To mitigate this apparent shortcoming, a 

case study might be employed. 

3.4 Target population and sampling techniques 

 

Asika 2000, states that the population under study consists of all conceivable elements, people, or 

observations connected to a certain occurrence that the researcher is interested in. The target 

population for this study comprised all TV 3 (media general) producers in Accra. 

3.5 Sampling 

 

A Sample is a subset of a population that has to possess characteristics that make it representative 

of the entire population, according to Bless and Higson-Smith (2000). Likewise, samples are 

defined by Bryman and Bell (2003) as the population selected for research. Using data from a subset 

of a bigger group allows one to conclude the population as a whole. For quantitative research to 

draw valid results, a representative sample that accurately reflects the population is necessary. The 

sample size must be sufficiently big to support population-wide generalizations. Blanche et al. 



28 
 

(2006) highlights that both a big non-random sample and a very tiny random sample can be severely 

unrepresentative. 

3.6 Sampling Methods 

 

In social science research, sampling strategies are frequently divided into two categories, 

probability sampling and non-probability sampling (Bailey, 1994; Neuman, 2006). The likelihood 

of picking each respondent in probability sampling is unknown, but the probability of selecting 

each respondent in non-probability sampling is known (Neuman, 2006). To get a breadth of 

information, a probability sample is intended to catch a huge number of instances that are 

collectively typical of the population of interest (Teddlie& Yu, 2007). 

Stratified random sampling is a type of probability sampling that allows the researcher to determine 

the sample depending on certain specific features in the sample, such as urban and rural populations 

(Teddlie& Yu, 2007). The stratified random sampling approach enables the researcher to split the 

population into subpopulations (strata) and collect a sample from each (Neuman 2006). In 

quantitative investigations, stratified random sampling procedures are most commonly utilized 

(Bailey, 1994; Neuman, 2006; Teddlie& Yu, 2007). 

Purposive sampling is a type of non-probability sampling that is used to pick a limited number of 

instances to acquire more detailed information from a smaller number of participants (Teddlie& 

Yu, 2007). To choose samples for the study, straightforward sampling procedures was utilised. 

3.7 Data Collection 

 

Both primary and secondary information was gathered for the study. To appreciate essential ideas 

relevant materials from secondary sources such as books, journals, and the internet, among others 

were consulted. Primary data, on the other hand, was gathered using surveys. 



29 
 

3.8 Questionnaire 

 

Questionnaires, according to Zikmund (2003), are a basic yet successful research instrument. They 

are cost-effective and eliminate data distortions caused by interviewer bias introduced during the 

interview process. A questionnaire is an essential instrument for acquiring primary data on 

individuals, their behaviour, attitudes, views, and knowledge about certain subjects. Because the 

study's goal was to identify personal attitudes and views, some of which may be sensitive, the 

anonymous character of the questionnaire allowed respondents to freely express their inner beliefs, 

attitudes, and opinions. Aside from these benefits, the survey questionnaire allowed for the 

gathering of standardised data on the same variables for the whole sampled population (Parfitt 1997; 

quoted in Zahari, 2007). 

3.9 Data Analysis 

 

The study used questionnaires to collect quantitative data. After cleaning up the data from the 

questionnaire survey and fixing the few errors found in the questionnaire completion, the data was 

coded and input into SPSS 2.0. The data collected was analysed to provide a descriptive image. 

Descriptive statistics identify fundamental patterns in data. The statistical diagram was drawn using 

frequencies and percentages that were acceptable and relevant to this investigation. 

3.10 Conclusion 

 

The chapter discussed the suitable methodology for the study, the sample size to be explored and 

how data would be collected for analysis. The next chapter would discuss the data collected, the 

analysis method and the findings made. 



30 
 

CHAPTER FOUR 

 

DATA ANALYSIS AND FINDINGS 
 

4.0 Introduction 

 

This chapter discusses the research findings, argues the work originality, and explains the 

significant contributions the study added to existing literature. 

4.1 Discussion of research findings 

 

This study sought to examine the production strategies of the media in enhancing audience 

satisfaction in Ghana. Media designed and produce programmers to showcase the rich cultural 

heritage and diversity of the various tribes in Ghana. Existing literature has established that various 

programme produced by the media contributes to the socio-economic development in society. The 

objective of the study was to determine the effects of viewing production shows on the level of their 

expectations among the audience. The study found out that the producers of shows use TV networks 

and the press which regularly broadcast the programmers' trailers and cover the developments of 

the shows, to sustain public attention. 

The study also revealed that the use of social media publicity comes with its meritocracy and this 

has been of great benefit to influence audience attention. The research study showed that TV3 uses 

integrated, and omnichannel communication as well as a celebrity or influencer endorsement 

method to convey vital messages to the audience. 

Finally, the research finds that, in terms of producing shows, producers use strategic means to 

produce shows in order to meet the needs of the audience. 



31 
 

4.2 Discussion of work originality 

 

This study is original as it followed the required standards of the School of Graduate Studies and 

Research, UniMAC-IJ. Also, all research articles and online publications used were duly 

acknowledged for authenticity. The research question or hypothesis, the purpose of the study, and 

detailed research methods originated the study. The results of the research were accurately and 

carefully reported. 

4.3 Data analysis 

 

This chapter also deals with the analysis of data and its interpretation. Data was collected through 

the use of a designed questionnaires. The researcher analyzed the responses acquired from the 

eighty (80) questionnaires constructed by the use of charts, graphs and tables. 

4.4. Demographic information 

 

Eighty (80) questionnaires were randomly distributed to eighty (80) respondents in the Greater 

Accra Region of Ghana. All eighty (80) questionnaires were collected from respondents and none 

of the questionnaires was disqualified. A greater number of the research respondents were females. 

There were (sixty) 60 females out of the total number of eighty (80) respondents representing 

Seventy-five percent (75%) out of the total percentage of respondents. The males were twenty (20) 

out of the eighty (80) respondents representing twenty- five (25%) percent of the total number of 

respondents. 



32 
 

The chart below shows the gender distribution of respondent’s 
 
 

 
Figure 1: Demographic information 

 

SOURCE: Field Survey Data (2024) 

 
The questionnaire for this study provided an age range of eighteen to twenty-five (18 -25), twenty- 

six to thirty- three (26-33), thirty – four to forty – one (34 - 41), and forty- two and above (42 and 

above). On the age distribution of respondents, eight (8) respondents constituting ten percent (10%) 

were between eighteen and twenty-five (18-25) years old. Twenty (20) respondents constituting 

Twenty-five percent (25%) were between twenty-six and thirty-three (26-33) years old, eighteen 

(18) respondents constituting twenty-two-point five percent (22.5%) were between thirty-four and 

forty-one (34-41) years old, thirty-four (34) respondents constituting forty-two-point five percent 

(42.5%) were forty- two and above (42 and above). 

GENDER OF RESPONDENTS 
 

Series1 Series2 

80 

60 

20 

M A L E F E M A L E T O T A L 



33 
 

 

 

The Table blow depicts the marital status of respondents out of the eighty (80) respondents. 

 
Forty-five (45) of the respondents representing fifty- six point twenty- five percent (56.25%) out 

of the total respondents were single, twenty-five (25) of the respondents representing thirty-one 

point twenty- five percent (31.25%) out of the total respondents were divorced and ten (10) of the 

respondents representing twelve- point fifty percent (12.50%) of the respondents were married. 

 

 

 
 

 
Figure 2 marital status of respondents 

SOURCE: Field Survey Data (2024) 

MARITAL STATUS OF RESPONDENTS 

80 

 
70 

 
60 

 
50 

 
40 

 
30 

 
20 

 
10 

 
0 

Single Divorced Married Total 

Series1 Series2 Series3 



34 
 

The figure below depicts the percentage of qualification each respondent has out of the sixty (80) 

respondents. Respondents who have WASSCE certificate were fifteen (15) representing percent 

(18.75%) out of the total respondents, those with diploma/ HND qualification were twenty-five (25) 

representing thirty-one point twenty- five percent (31.25%), respondents with first degree were 

forty (40) representing twenty-two percent (50%) 

 

 

 
 

 
Figure 3 Educational status of respondents 

 

SOURCE: field data survey (2024) 

EDUCATIONAL BACKGROUND 
Series1 Series2 

80 

 
70 

 
60 

 
50 

 
40 

 
30 

 
20 

Series2 

10 
Series1 

0 

Diploma Degree Wassce Total 



35 
 

Frequency of TV watching 

Frequency Percentage 

Figure 4 How often do you watch TV? 
 

 

 

 

 

 
 

 90  

80     

70     

60     

50     

40     

30     

20     

10     

 
Often 

0  
Always 

 
Regularly 

 
Rarely 

 
Total 

 

 

 

Figure 4 Frequency of TV watching 
 

SOURCE: Field survey, (2024) 

 
From the preceding table, respondents were asked "How often do you watch TV" fifteen (15) of 

the respondents representing eighteen percent (18%) of the total respondents responded frequently, 

twenty-five (25) of the respondents representing thirty-one (31% of the total percent) responded 

always, thirty (30) of the respondents representing thirty-eight (38%) said regularly, and ten (10) 

of the respondents representing thirteen percent (13%) said rarely. 



36 
 

What time of the day do you watch TV 

Frequency Percentage 

Figure 5 What time of day do you watch TV 
 

 

 

 

 

 

 

 

 
 

90  

80       

70       

60       

50       

40       

30       

20       

10       

0  
Evening 

 
Afternoon 

 
Morning 

 
None 

 
Midnight 

 
Total 

 

 

 

Figure 5 Time of watching 
 

SOURCE: Field survey, (2024) 

 
According to the table above, respondents were asked "What time of day do you watch TV" Thirty- 

five (35) of the respondents representing forty-four percent (44%) of the total percentage said they 

watch TV in the evening, and twenty-eight (28) of the respondents representing thirty-five percent 

(35%) of the total percentage said they watch TV. Afternoon was chosen by fifteen (15) 

respondents, representing eighteen percent (18%) of the total respondents, whereas two (2) 

respondents, representing three percent (3%) of the total respondents, chose midnight. 



37 
 

What genres of programming do you prefer? 

Frequency Percentage 

 

 

 

 
 

90  

80      

70      

60      

50      

40      

30      

20      

10      

0  
News 

 
Entertainment 

 
Sports 

 
Education Documentaries 

 
Total 

 

 

 

 

Figure 6 Type of shows 
 

SOURCE: Field survey, (2024) 

 

According to the table above, respondents were asked "What genres of programming do you 

prefer." (21) of the respondents representing (26.50%) of the total percentage said they prefer news, 

(14) of the respondents representing (18%) of the total percent said entertainment, (5) of the 

respondents representing (6.5%) said sports, (25) respondents representing (31% of the total 

respondents) said education, and (15) of the respondents representing (18.75%) said documentaries. 



38 
 

Table 1. Content satisfaction 
 

Responses Frequency Percentage 

Strongly agree 39 48.75% 

Agree 24 30% 

Neutral 15 18.75% 

Disagree 0 0% 

Strongly Disagree 2 2.5% 

Total 80 100% 

Table 1 Content satisfaction 
 

SOURCE: field survey (2024) 

 

From the above table, respondents were asked “Do you feel satisfied by the overall content 

produced by media” (39) of the respondents representing (48.75%) out of the total percentage said 

they strongly agree, (24) of the respondents representing (30%) out of the total percent said they 

agree, fifteen (15) of the respondents representing (18.75%) out of the total respondents said neutral, 

and (2) of the respondents representing (2.5%) out of the total respondent Strongly disagree. 



39 
 

Table 2: Content Preference 
 
 

Responses Frequency Percentage 

Strongly Agree 35 43.75 % 

Agree 28 35 % 

Neutral 15 18.75% 

Disagree 0 0 % 

Strongly Disagree 2 2.5 % 

Total 80 100 % 

Table 2 Content Preference 
 

SOURCE: Field Survey, 2024 

 

From the above table, respondents were asked “I prefer watching local content over 

international content.” (35) of the respondents representing (43.75%) out of the total percentage 

said they strongly agree, (28) the respondents representing (35%) out of the total percent said they 

agree, (15) of the respondents representing (18.75%) out of the total respondents said neutral, and 

(2) of the respondents representing (2.5%) out of the total percent strongly disagree. 



40 
 

Table 3: Content Satisfaction 

 

Responses Frequency Percentage 

Strongly agree 35 43. 75% 

Agree 28 35% 

Neutral 9 11.25% 

Disagree 5 6.25% 

Strongly Disagree 3 3.75% 

Total 80 100% 

Table 3 Content Satisfaction 
 

SOURCE: Field survey, 2024 

 

 
From the above table, respondents were asked “I am satisfied with the overall content 

produced by the media.” (35) of the respondents representing (43.75%) out of the total 

percentage said they strongly agree, (28) of the respondents representing (35%) out of the total 

percent said they agree, (9) of the respondents representing (11.25%) out of the total respondents 

said neutral, (5) of the respondents representing (6.25%) out of the total percent disagree and (3) 

respondent representing (3.75%) out of the total respondent Strongly disagree. 



41 
 

Table 4: Quality of production 

 

Response Frequency Percentage 

Strongly agree 36 45% 

Agree 29 36.25% 

Neutral 8 10% 

Disagree 4 5% 

Strongly Disagree 3 3.75% 

Total 80 100% 

Table 4 Production quality 
 

SOURCE: Field survey, 2024 

 

From the above table, respondents were asked “Do you feel that the quality of production is 

strong?” (36) representing forty-five percent (45%) out of the total percentage said they strongly 

agree, (29) of the respondents representing (36.25%) out of the total percent said they agree, (8) 

of the respondents representing percent (10%) out of the total respondents said neutral, (4) of the 

respondents representing (5%) disagree and (3) respondent representing (3.57%) out of the total 

respondent Strongly disagree. 



42 
 

Table 5: Audience feedback 

 

Responses Frequency Percentage 

Strongly agree 40 50% 

Agree 30 37.5% 

Neutral 9 11.25% 

Disagree 0 0% 

Strongly Disagree 1 1.25% 

Total 80 100% 

Table 5 Audience feedback 
 

SOURCE: Field Data Survey (2024) 

 

From the above table, respondents were asked “Audience feedback is valued and considered 

before production is done.” (40) of the respondents representing (50%) of the total percentage said 

they strongly agree, (30) of the respondents representing (37.5%) out of the total percent said they 

agree, (9) of the respondents representing (11.25%) out of the total respondents said neutral, and 

(1) respondent representing (1.25%) of the total respondent Strongly disagree. 



43 
 

Table 6: Interactive programming 

 

Response Frequency Percentage 

Strongly agree 37 46 .25% 

Agree 29 36.23% 

Neutral 8 10% 

Disagree 5 6.25% 

Strongly Disagree 1 1.25% 

Total 80 100% 

Table 6 Interactive Programming 
 

SOURCE: FIELD DATA SURVEY (2024) 

 

From the above table, respondents were asked “Interactive programming enhances my viewing 

experience.” (37) of the respondents representing (46.25%) out of the total percentage said they 

strongly agreed, (29) of the respondents representing (36.23%) out of the total percent said they 

agree, (8) of the respondents representing (10%) out of the total respondents said neutral, (5) of 

the respondents representing (6.25%) out of the total respondents disagree and one (1) respondent 

representing (1.25%) out of the total respondent strongly disagree. 



44 
 

Table 7: Talent In Productions 

 

Responses Frequency Percentage 

Strongly agree 39 48.75% 

Agree 27 33.75% 

Neutral 7 8.75% 

Disagree 5 6.25% 

Strongly Disagree 2 2.5% 

Total 80 100% 

Table 7 Production Talent 
 

SOURCE: Field Data Survey (2024) 

 

From the above table, respondents were asked “The use of talent in productions is important so 

far as audience satisfaction is concern” (39) of the respondents representing (48.75%) out of the 

total respondents said they strongly agree, (27) the respondents representing (33.75%) out of the 

total respondents said they agree, (7) of the respondents representing (8.75 %) out of the total 

respondents said neutral, (5) of the respondents representing (6.25%) out of the total respondents 

disagree and (2) respondents representing (2.5%) out of the total respondent strongly disagree. 



45 
 

Table 8: Relevant Social and Cultural Issues 

 

Responses Frequency Percentage 

Strongly agree 36 45% 

Agree 27 33.75% 

Neutral 10 12.5% 

Disagree 7 8.75% 

Strongly Disagree 0 0% 

Total 80 100% 

Table 8 Relevant Social & Cultural Issues 
 

SOURCE: Field Data Survey (2024) 

 

From the above table, respondents were asked “The media addresses relevant social and cultural 

issues in its programming” (36) of the respondents representing (45%) out of the total respondents 

said they strongly agree, (27) of the respondents representing (33.75%) out of the total respondents 

said they agree, (10) of the respondents representing (12.5%) out of the total respondents said 

neutral, (7) of the respondents representing (8.75%) out of the total respondents disagree. 



46 
 

Table 9: Audience Feedback 

 

Response Frequency Percentage 

Strongly disagree 30 37.5% 

Agree 28 35% 

Neutral 12 15% 

Disagree 8 10% 

Strongly Disagree 2 2.5% 

Total 80 100% 

Table 9 Audience Feedback 
 

SOURCE: Field Data Survey (2024) 

 

From the above table, respondents were asked “Is audience feedback important in shaping the 

production content.” (30) of the respondents representing (37.5%) out of the total respondents said 

they strongly agree, (28) respondents representing (35%) out of the total respondents said they 

agree, (12) of the respondents representing (15%) out of the total respondents said neutral, (8) of 

the respondents representing (10%) disagree and 2 of the respondents representing (2.5%) out of 

the total respondents strongly disagree. 



47 
 

Table 10 Production teams address cultural sensitivity in their content 

 

Responses Frequency Percentage 

Strongly agree 36 45% 

Agree 24 30% 

Neutral 9 11.25% 

Disagree 7 8.75 

Strongly Disagree 4 5% 

Total 80 100% 

Table 10 Production teams 
 

SOURCE: Field Data Survey (2024) 

 

From the above table, respondents were asked “if Production teams address cultural sensitivity in 

their content” (36) of the respondents representing (45%) out of the total respondents said they 

strongly agree, (24) of the respondents representing (30%) out of the total respondents said they 

agree, (9) of the respondents representing (8.75%) out of the total respondents said neutral, (7) 

respondents representing (8.75%) out of the total respondents disagree and (4) of the respondents 

representing (5%) out of the total respondents strongly disagree. 



48 
 

Table 11: Advertising affect audience satisfaction in media productions. 

 

Responses Frequency Percentage 

Strongly agree 29 36.25% 

Agree 20 25% 

Neutral 17 21.25% 

Disagree 10 12.5% 

Strongly Disagree 4 5% 

Total 80 100% 

Table 11Advertising effects 
 

SOURCE: Field Data Survey (2024) 

 

From the above table, respondents were asked “Advertising affect audience satisfaction in media 

productions.” (29) of the respondents representing (36.25%) out of the total respondents said they 

strongly agreed, (20) of the respondents representing (25%) out of the total respondents said they 

agree, (17) of the respondents representing (12.25%) out of the total respondents said neutral, and 

(10) of the respondents representing (12.5%) out of the total respondent disagree and (4) of the 

respondents representing (5) out of the total respondents strongly disagree. 



49 
 

Table 12: The timing for content release influence audience reaction. 
 
 

Responses Frequency Percentage 

Strongly agree 35 43.75% 

Agree 28 35% 

Neutral 15 18.75% 

Disagree 0 0% 

Strongly Disagree 2 2.5 % 

Total 80 100% 

Table 12 Content release timing 
 

SOURCE: Field Survey, 2024 

 

From the above table, respondents were asked “The timing for content release influence audience 

reaction.” (35) of the respondents representing (43.75%) out of the total percentage said they 

strongly agree, (28) of the respondents representing (35%) out of the total percent said they agree, 

(15) of the respondents representing (18.75%) out of the total respondents said neutral, and (2) 

respondents representing (2.5%) of the total respondent Strongly disagree. 



50 
 

Table 13: “Production teams employ strategies to maintain relevance in a rapidly changing market. 
 
 

Responses Frequency Percentage 

Strongly Agree 36 45% 

Agree 24 30% 

Neutral 9 11.25% 

Disagree 7 8.75% 

Strongly Disagree 4 5% 

Total 80 100% 

Table 13 Production Strategies 
 

SOURCE: field data survey (2024) 

 

From the above table, respondents were asked “Production teams employ strategies to maintain 

relevance in a rapidly changing market.” (36) of the respondents representing (45%) out of the total 

percent said they strongly agree, (24) of the respondents representing (30%) out of the total 

respondents said they agree, (9) of the respondents representing (11.25%) out of the total 

respondents said neutral, (7) of the respondents representing (8.75%) out of the total respondents 

disagree and (4) respondent representing (5%) of the total respondent strongly disagree. 



51 
 

Table 4.2.8. Audience segmentation inform production decisions. 
 
 

Responses Frequency Percentage 

Strongly Agree 38 47.5% 

Agree 22 27.5 % 

Neutral 10 12.5% 

Disagree 7 8.75% 

Strongly Disagree 3 3.75% 

Total 80 100% 

Table 14 Audience Segmentation 
 

SOURCE: field data survey (2024) 

 

From the above table, respondents were asked “Audience segmentation inform production 

decisions.” (38) of the respondents representing (47.5%) out of the total respondents said they 

strongly agree, (22) the respondents representing (27.5%) out of the total respondents said they 

agree, (10) of the respondents representing (12.5%) out of the total respondents said neutral, (7) 

of the respondents representing (8.75%)out of the total respondents disagree and (3) of the 

respondents representing (3.75%) out of the total respondent strongly disagree. 



52 
 

Table 4.2.5. Emotional appeal in media content significantly impact audience satisfaction. 
 
 

Responses Frequency Percentage 

Strongly agree 29 36.25% 

Agree 20 25% 

Neutral 17 21.25% 

Disagree 10 12.5% 

Strongly Disagree 4 5% 

Total 80 100% 

Table 15 Emotional Appeal 
 

SOURCE: field data survey (2024) 

 

From the above table, respondents were asked “Emotional appeal in media content significantly 

impact audience satisfaction...” (29) of the respondents representing (36.25%) out of the total 

respondents said they strongly agreed, (20) of the respondents representing (25%) out of the total 

respondents said they agree, (17) of the respondents representing (12.25%) out of the total 

respondents said neutral, and (10) of the respondents representing (12.5%) out of the total 

respondent disagree and (4) of the respondents representing (5) out of the total respondents strongly 

disagree. 



53 
 

Table 4.2.6 “Producers can effectively utilize data analytics to enhance audience satisfaction” 

Responses Frequency Percentage 

Strongly disagree 36 45% 

Agree 24 30% 

Neutral 9 11.25% 

Disagree 7 8.75% 

Strongly Disagree 4 5% 

Total 80 100% 

Table 16 Producers 
 

SOURCE: field data survey (2024) 

 

From the above table, respondents were asked “Producers can effectively utilize data analytics to 

enhance audience satisfaction” (36) of the respondents representing (45%) out of the total 

percent said they strongly agree, (24) of the respondents representing (30%) out of the total 

respondents said they agree, (9) of the respondents representing (11.25%) out of the total 

respondents said neutral, (7) of the respondents representing (8.75%) out of the total respondents 

disagree and (4) respondent representing (5%) of the total respondent strongly disagree. 



54 
 

Table 4.2.7. Producers’ employ strategies to ensure content remains relevant across different 

platforms. 

 

Responses Frequency Percentage 

Strongly disagree 40 50% 

Agree 32 40% 

Neutral 5 6.25% 

Disagree 2 2.5% 

Strongly Disagree 1 1.25% 

Total 80 100% 

Table 17 Producer Strategies 
 

SOURCE: field data survey (2024) 

 

From the above table, respondents were asked “Producers’ employee strategies to ensure content 

remains relevant across different platforms.” forty (40) of the respondents representing (50%) out 

of the total respondents said they strongly agree, (32) of the respondents representing (40%) out of 

the total respondents said they agree, (5) of the respondents representing (6.25%) out of the total 

respondents said neutral, (2) of the respondents representing (2.5%) disagree and (1) respondent 

representing (1.25%) of the  total respondent strongly disagree. 



55 
 

Table 4.2.8 Innovation is key in terms of production 

 

Responses Frequency Percentage 

Strongly agree 36 45% 

Agree 27 33.75% 

Neutral 10 12.5% 

Disagree 7 8.75% 

Strongly Disagree 0 0% 

Total 80 100% 

Table 18 Innovative Production 
 

SOURCE: field data survey (2024) 

 

 
From the above table, respondents were asked “Innovation is key in terms of production” (36) of 

the respondents representing (45%) out of the total respondents said they strongly agree, (27) of 

the respondents representing (33.75%) out of the total respondents said they agree, (10) of the 

respondents representing (12.5%) out of the total respondents said neutral, (7) of the respondents 

representing (8.75%) out of the total respondents disagree. 



56 
 

Table 4.2.9 I will recommend Producers provides the information that I need. 
 
 

Responses Frequency Percentage 

Strongly agree 36 45% 

Agree 24 30% 

Neutral 9 11.25% 

Disagree 7 8.75 

Strongly Disagree 4 5% 

Total 80 100% 

Table 19 Recommendations for producer 
 

SOURCE: field data survey (2024) 

 

 

From the above table, respondents “I will recommend Producers provides the information that I 

need.” (36) of the respondents representing (45%) out of the total respondents said they strongly 

agree, (24) of the respondents representing (30%) out of the total respondents said they agree, (9) 

of the respondents representing (8.75%) out of the total respondents said neutral, (7) respondents 

representing (8.75%) out of the total respondents disagree and (4) of the respondents representing 

(5%) out of the total respondents strongly disagree. 



57 
 

Table 4.3. 1 Competition influence production strategies in media. 
 
 

Responses Frequency Percentage 

Strongly agree 29 36.25% 

Agree 20 25% 

Neutral 17 21.25% 

Disagree 10 12.5% 

Strongly Disagree 4 5% 

Total 80 100% 

Table 20 Competition Influence 
 

SOURCE: field data survey (2024) 

 

From the above table, respondents were asked “Competition influence production strategies in 

media.” (29) of the respondents representing (36.25%) out of the total respondents said they 

strongly agreed, (20) of the respondents representing (25%) out of the total respondents said they 

agree, (17) of the respondents representing (12.25%) out of the total respondents said neutral, and 

(10) of the respondents representing (12.5%) out of the total respondent disagree and (4) of the 

respondents representing  (5) out of the total respondents strongly disagree. 



58 
 

Table 4.3.2 I trust content produced as a source of information. 

 

Response Frequency Percentage 

Strongly agree 33 41.25% 

Agree 26 32.5% 

Neutral 15 18.75% 

Disagree 4 5% 

Strongly Disagree 2 2.5% 

Total 80 100% 

Table 21 Trust Content 
 

SOURCE: field data survey (2024) 

 

From the above table, respondents were asked “I trust content produced as a source of information.” 

 

(33) of the respondents representing (33%) out of the total respondents said they strongly agree, 

 

(26) of the respondents representing (32.5%) out of the total respondents said they agree, (15) of 

the respondents representing (18.75%) out of the total respondents said neutral, (4) of the 

respondents representing (5%) out of the total respondents disagreed and 2 of the respondents 

representing 2 point five percent (2.5%) out of the total respondents strongly disagreed. 



59 
 

Table 4.3.3 The diversity of viewpoints in media content shapes attitude. 

 

Responses Frequency Percentage 

Strongly Agree 35 43.75 % 

Agree 28 35 % 

Neutral 15 18.75% 

Disagree 0 0 % 

Strongly Disagree 2 2.5 % 

Total 80 100 % 

Table 22 Viewpoint diversity 
 

SOURCE: Field Survey, (2024) 

 

From the above table, respondents were asked “The diversity of viewpoints in media content 

shapes attitude.” (35) of the respondents representing (43.75%) out of the total percentage said 

they strongly agree, (28) the respondents representing (35%) out of the total percent said they 

agree, (15) of the respondents representing (18.75%) out of the total respondents said neutral, and 

(2) of the respondents representing (2.5%) out of the total percent strongly disagree. A 



60 
 

Table 4.3.4 Does that media content addresses current social issues and trends. 
 
 

Response Frequency Percentage 

Strongly agree 36 45% 

Agree 29 36.25% 

Neutral 8 10% 

Disagree 4 5% 

Strongly Disagree 3 3.75% 

Total 80 100% 

Table 23 Media Content 
 

SOURCE: Field survey, (2024) 

 

From the above table, respondents were asked “Does that media content addresses current social 

issues and trends.” (36) representing forty-five percent (45%) out of the total percentage said they 

strongly agree, (29) of the respondents representing (36.25%) out of the total percent said they agree, 

(8) of the respondents representing percent (10%) out of the total respondents said neutral, (4) of the 

respondents representing (5%) disagree and (3) respondent representing (3.57%) out of the total 

respondent Strongly disagree. 



61 
 

4.5 Conclusion 

 

This chapter discussed the research findings, argued the works originality, and analysed the findings 

from the questionnaire that was distributed. The findings were analysed using tables and bar charts. 

The next chapter would talk about the summary made and recommendations to enhance the 

literature. 



62 
 

CHAPTER FIVE 

 

SUMMARY, CONCLUSION AND RECOMMENDATION 

 
5.0 Introduction 

 

This chapter presents the summary, conclusion and recommendations found in the study. The 

chapter is used to recommend ideas to help solve the challenges that were found in the study. It also 

provides recommendations for future research and academia. 

5.1 Summary 

 

Producers needs to adopt strategies that the media organizations can use to improve audience 

Satisfaction. It essential for production team to understanding audience needs and make it their 

priority. Another crucial aspect is to addresses challenges such as balancing commercial goals with 

audience satisfaction 

5.2 Conclusion 

 

Based on the findings of the study, it was established that; the different show are produces for 

various reasons such as; entertainment, motivation, education and shaping of personal skills or 

talent. This has impacted by creating a dependency system where people will pick tips on how 

develop on their knowledge and skills to avoid pitfalls as far as life is concern. Production strategies 

by the media also help educate the public on current, health and social issues and this give people 

the opportunity to be well informed. Also, the study establishes that, production strategies 

influenced people to showcase various talents which prepares them for future. Lastly, production 

strategies influenced the perception of individuals in terms of decision making. 

5.3 Recommendation 

 

Based on the findings of the study, is recommend that media producers should reduce the non- 

essential controversy during the production of educative shows and increase the percentage of facts 



63 
 

available to the audience, maybe through a fact sheet or expressed opinion this is because from the 

study majority of the respondent remembered nonfactual issues and circumstances like the never- 

ending controversies. The other recommendation is that the media programme should include a 

notice to the audiences clarifying that, their activities on certain shows are highly controlled and 

might not completely reflect the ongoing in the natural scenarios away from the cameras. The study 

also recommends that; the government should put in place policies that encourage the production 

of programmers that stress and encourage the preservation of the African culture and those that 

promote moral values among the youth to create balance with the easily available programmers that 

propagate global cultures. There is also a need to carry out a detailed study on the influence of 

reality shows on the specific moral character of all youth in urban areas. This will help in, in-depth 

isolation of the nature and magnitude of reality television's influence on the element of the youth. 

5.4 Conclusion 

 
This chapter has presented the summaries found in the study, drawn a conclusion and written out 

recommendations found in the study that can be improved for further studies. 



64 
 

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Media content and consumption: Chall