In the past, soap opera audiences were identified by advertisers and producers in terms of commercial success; advertisers wanted to promote products through radio soap operas and producers were interested in selling air time. (Bielby: 1999, p.35) In present day, soap opera audiences are identified as a social demographic characterizing women's culture.

Annette Kuhn analyzes soap opera audiences by using theories of representation and cultural reproduction. Upon making distinctions between spectators and the social audience that comprise soap opera audiences, she states that soap opera audiences become formed by the feminine representations they view on screen. In this way, soap opera audiences come to identify with women's culture as they encounter aspects of femininity. (Kuhn: 1997, p.150)

Tania Modleski elaborates on Kuhn's point in her analysis of soap opera narratives and soap audiences. Modleski suggests that soap opera viewers become attracted to soap narratives because these narratives address the viewer as an `ideal mother', who provides unconditional love and constant understanding of her children's weaknesses and flaws. (Kuhn: 1997, p.150) In this regard, soap audiences are immersed in women's culture as they are positioned into a female role.

David Morley analyzes soap opera audiences and their attraction to soap operas in terms of overcoming patriarchy. He suggests that female soap audiences identify with soaps because they perceive of soap narratives in terms of structure; although the women within the soaps cannot resolve their problems, the patriarchal structure under which the soap opera is conducted helps to affirm and validate the problems that all women encounter daily. (Morley: 1989, p.31) In this sense, soap opera audiences become aware that patriarchy not only affects women's culture in reality but also comes through in the context of soap opera fantasy.

Mary Ellen Brown references soap opera audiences in relation to women's culture in terms of the discursive functions carried out by audience members. She asserts the view that soap audience members associate with women's culture through solidarity; they adopt the speech style and persona of a particular soap. (Brown: 1990, p.193) In this sense, the act of solidarity accentuates women's culture because it is a feminine attribute which identifies women's communicative style. Brown also subscribes to the view that soap opera discourse represents women's subordinate societal status and that participation in audience, functions to exemplify women's culture within a subordinated state. (Brown: 1989, p.163)

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I want to read about radio soap operas again!

Actually, I want to read about audience ownership...

I want to read about online audiences...