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Journal articles on the topic 'Reality television'

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Published: 4 June 2021
Last updated: 20 February 2023

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1

Dinsdale, Paul. "Reality television." Nursing Standard 16, no. 18 (January 16, 2002): 12–13. http://dx.doi.org/10.7748/ns.16.18.12.s31.

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Moorti, Sujata, and Karen Ross. "Reality television." Feminist Media Studies 4, no. 2 (July 2004): 203–31. http://dx.doi.org/10.1080/1468077042000251256.

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Pindado-Pindado, Julián. "Archetype and reality on TV: Quality, formats and representation." Comunicar 13, no. 25 (October 1, 2005): 101–8. http://dx.doi.org/10.3916/c25-2005-014.

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This article arises from some conclusions of the «Wise´s Report » and examines the difficulties to obtain a quality TV at the moment. Data demonstrate that the audiences consume a lot of popular entertainment This fact proves that the way towards a quality TV is very difficult, after years of television channels modelling the audience´s tastes. It is necessary to start from the TV current reality to obtain a formative and cultural TV that includes the experience of «telephiles» generations. If these generations prefer entertainment formats, these formats must be used for an education in values. El «Informe de los sabios» constituye el punto de partida de este artículo en el que se examina la dificultad que entraña conseguir una televisión de calidad en el momento presente. Los datos demuestran que la audiencia es una gran consumidora de entretenimiento popular, lo que dificulta el camino hacia una televisión de calidad tras años de modelación de gustos por parte de los operadores televisivos. Ello plantea la necesidad de partir de la realidad televisiva actual para conseguir unos mínimos de televisión formativa y cultural que tengan en cuenta la experiencia de las generaciones «teléfilas». Si estas generaciones prefieren formatos de entretenimiento, éstos deben aprovecharse para una educación en valores referidos a la representación del otro.
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Dauncey, Hugh. "French `Reality Television'." European Journal of Communication 11, no. 1 (March 1996): 83–106. http://dx.doi.org/10.1177/0267323196011001004.

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Jordan, Anne D. "Letters: Reality Television." Academe 91, no. 3 (2005): 14. http://dx.doi.org/10.2307/40252776.

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Zrzavy, Phyllis Scrocco. "Understanding Reality Television." Journal of American Culture 29, no. 1 (March 2006): 107–8. http://dx.doi.org/10.1111/j.1542-734x.2006.00320.x.

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SHAPIRO, MICHAEL A., and ANNIE LANG. "Making Television Reality." Communication Research 18, no. 5 (October 1991): 685–705. http://dx.doi.org/10.1177/009365091018005007.

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Gorjón Palos, Laura, and Ana Isabel Isidro de Pedro. "MAMÁ, QUIERO SER “TRONISTA”. EL PODER DE LA PROGRAMACIÓN TELEVISIVA EN ADOLESCENTES." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 2, no. 1 (October 22, 2017): 385. http://dx.doi.org/10.17060/ijodaep.2017.n1.v2.951.

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Abstract.MOMMY, I WANT TO BE A REALITY SHOW CONTESTANT. THE POWER OF THE TELEVISION PROGRAMMING IN ADOLESCENTSThe media have gained great importance as a socializing agent, building up and transmitting identities through images and speeches, in such a way that they influence, immediately and daily, the behaviors and attitudes of the spectators. One of those media, so deeply rooted in our daily habits that we can hardly detach from both its consumption and the power that it exerts on us, is television (conventional or through Internet). The competition between the television networks and the terrible fight for the audience have led to a change in the programming, in such a way that, at present, a significant percentage of the guide is constituted by the so-called trash TV programs, among which are those exhibiting prejudices and gender stereotypes. This paper aims for examine the television products consumed by adolescents and the impact and influence that the so called “reality shows” have. To do this, a homemade questionnaire of 36 items (with open, closed and Likert-type questions) was used on a sample of 237 subjects, aged between 14 and 23 years old. After data analyzing, grouping, contrasting and interpreting, it was found that television consumption among the subjects of the sample was massive and daily (99.4%), as well as the related comments on the social networks. Similarly, 73% of the subjects claimed to be a follower of at least one reality show, most of them (87.3%) found important advantages to the fact of going out on TV, 35% would like to be people related to fame and a surprising 27% would like to participate in a reality show. The results show the necessity of an education for the television products consumption that put the emphasis on the reflective and critical role of the spectator.Keywords: Trash television; Reality show; SpectatorResumen.Los medios de comunicación han cobrado gran importancia como agente socializador, forjando y transmitiendo identidades a través de imágenes y discursos, de tal modo que influyen, de manera inmediata y cotidiana, en las conductas y actitudes de los espectadores. Y uno de esos medios, tan profundamente arraigado en nuestras costumbres cotidianas que difícilmente podemos desprendernos de su consumo y del poder que ejerce sobre nosotros, es la televisión (convencional o visionada a través de internet). La competencia de las cadenas televisivas y la feroz lucha por la audiencia han llevado a un cambio en la programación, de tal manera que, en la actualidad, un porcentaje importante de la parrilla lo constituyen los denominados programas basura, entre los que no son ajenos aquéllos que exhiben prejuicios y estereotipos de género. Este trabajo pretende examinar los productos televisivos consumidos por los adolescentes y el impacto e influencia que tienen en ellos los denominados “reality shows”. Para ello se utilizó un cuestionario de elaboración propia de 36 ítems (con preguntas abiertas, cerradas y tipo Likert), que fue aplicado a una muestra de 237 sujetos de entre 14 y 23 años. Tras analizar, agrupar, contrastar e interpretar los datos, constatamos que el consumo de televisión entre los sujetos de la muestra es masivo y cotidiano (99,4%), así como los comentarios al respecto en las redes sociales. De igual manera, un 73% de los sujetos manifiesta ser seguidor de, al menos, un reality show, una mayoría (87,3%) encuentra importantes ventajas al hecho de salir en televisión, a un 35% les gustaría ser personas relacionadas con la fama y a un sorprendente 27% les gustaría participar en un reality show. Los resultados muestran la necesidad de una educación para el consumo de los productos televisivos que ponga el énfasis en el papel reflexivo y crítico del espectador.Palabras clave: Televisión basura; Reality show; Espectador
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9

Stiernstedt, Fredrik, and Peter Jakobsson. "Watching reality from a distance: class, genre and reality television." Media, Culture & Society 39, no. 5 (August 15, 2016): 697–714. http://dx.doi.org/10.1177/0163443716663643.

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The cultural significance of reality television is based on its claim to represent social reality. On the level of genre, we might argue that reality television constructs a modern day panorama of the social world and its inhabitants and that it thus makes populations appear. This article presents a class analysis of the population of reality television in which 1 year of television programming and over 1000 participants have been analysed. The purpose of this analysis is to deepen our understanding of the cultural and ideological dimensions of reality television as a genre, and to give a more detailed picture of the imaginaries of class in this form of television. The results bring new knowledge about the reality television genre and modify or revise assumptions from previous studies. Most importantly, we show that upper-class people and people belonging to the social elite are strongly over-represented in the genre and appear much more commonly in reality television than in other genres. This result opens up a re-evaluation of the cultural and ideological dimensions of the reality television genre.
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Tengku Mohd Azzman Shariffadeen, Tengku Siti Aisha, and Aini Maznina A. Manaf. "Religiosity and Its Impact on Twitter Use and Viewing of Islamic Reality Television Shows among University Students in Malaysia (Pengaruh Keagamaan Terhadap Penggunaan Twitter dan Tontonan Program Realiti Islamik Dikalangan Pelajar Universiti di Malaysi)." Journal of Islam in Asia (E-ISSN: 2289-8077) 15, no. 3 (October 12, 2018): 356–82. http://dx.doi.org/10.31436/jia.v15i3.709.

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Islamic reality shows presents an alternative brand of entertainment for the Malaysian Muslim community. This television genre can also be perceived as an innovative form of da’wah. Through watching these shows, television viewers interested in faith-based content can increase their religious knowledge, educate themselves on the Islamic beliefs and practices, and identify with suitable Muslim role models featured on these shows. Thus, a major focus of this study is to examine use of social media and television viewing related to Islamic reality shows among Malaysian undergraduate students. The uses and gratification approach postulates that individual differences, such as viewer religiosity may influence media selection and use. Therefore, we propose that those who perceive religion more positively would be more interested in da’wah content, and would therefore be more likely to use Twitter to follow accounts related to the show. A cross-sectional survey is carried out among undergraduate students enrolled in introductory Islamic revealed knowledge and human sciences courses from the International Islamic University of Malaysia (N = 321). Among others, findings indicate that religious individuals are more likely to follow the Twitter account of their favorite Islamic reality show. Also, while viewer religiosity initially influenced frequency of viewing Islamic reality shows, those who tweeted frequently about the show is also more likely to view Islamic reality shows frequently. Finally, those who gratified their relaxation needs by following their favorite Islamic reality show personality on Twitter is more likely to view the show frequently. The repercussions of these findings on the role of religiosity and its effects on social media use and television viewing, based on the uses and gratification perspective is discussed in the paper. Keywords: Islamic Reality Shows, Religiosity, Television Viewing, Twitter Following Motivations, Uses and Gratification theory. Abstrak Program realiti Islamik merupakan alternatif buat penggemar rancangan hiburan berunsur keagamaan di Malaysia. Genre program televisyen ini juga boleh dipergunakan sebagai salah satu cara untuk berdakwah mengenai Islam. Dengan menonton program realiti Islamik, penonton boleh memupuk minat terhadap Islam, meningkatkan pengetahuan tentang Islam, mempelajari ilmu Islam dengan lebih mudah dan mengenali secara lebih dekat pendakwah muda yang terlibat dalam rancangan berkenaan. Oleh itu, salah satu objektif utama kajian ini ialah untuk meneliti penggunaan media sosial dan tontonan program realiti Islamik dikalangan pelajar universiti Malaysia. Bersandarkan theori uses and gratification, tingkahlaku dan latar belakang penonton memainkan peranan penting dalam mempengaruhi penggunaan media dikalangan individu. Dengan itu, kami menyarankan bahawa mereka yang mempunyai persepsi yang lebih positif terhadap agama akan mempunyai minat yang lebih mendalam terhadap agama, dan jesteru itu lebih cenderung untuk menggunakan Twitter untuk mendapatkan maklumat tentang program tersebut. Borang soal selidik telah disebarkan dikalangan pelajar Universiti Islam Antarabangsa Malaysia yang sedang mengikuti kursus asas dalam bidang sains sosial dan ilmu wahyu (N = 321). Dapatan kajian menunjukkan bahawa mereka yang berminat dengan agama lebih cenderung untuk mengikut akaun Twitter peserta program realiti Islamik. Juga, frekuensi menonton program realiti Islamik lebih dipengaruhi oleh kadar penggunaan Twitter berbanding dengan kadar keagamaan. Akhir sekali, mereka yang mempunya persepsi bahawa program realiti Islamik adalah program televisyen yang santai akan lebih cenderung untuk menonton program itu dimasa hadapan. Impak dapatan kajian terhadap theori uses and gratification serta pengaruh keagamaan terhadap pengunaaan media sosial dan kecenderungan untuk menonton program realiti Islamik di kaca televisyen akan dibincangkan dengan lebih mendalam. Kata Kunci: Program realiti Islamik, Keagamaan, Tontonan Televisyen, Motivasi Penggunaan Twitter, Theori Uses and Gratification.
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Piper, H. "Reality TV * Reality Television and Class * Reacting to Reality Television: Performance, Audience and Value." Screen 55, no. 1 (March 1, 2014): 139–43. http://dx.doi.org/10.1093/screen/hjt045.

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Piper, H. "Understanding Reality Television * Reality TV - Audiences and Popular Factual Television * Reality TV - Realism and Revelation." Screen 47, no. 1 (January 1, 2006): 133–38. http://dx.doi.org/10.1093/screen/hjl012.

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SPRAFKIN, JOYCE, EILEEN KELLY, and KENNETH D. GADOW. "Reality Perceptions of Television." Journal of Developmental & Behavioral Pediatrics 8, no. 3 (June 1987): 149???153. http://dx.doi.org/10.1097/00004703-198706000-00004.

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Taddeo, Julie Anne, and Ken Dvorak. "Reality Television, Part 2." Film & History: An Interdisciplinary Journal of Film and Television Studies 37, no. 2 (2007): 9–11. http://dx.doi.org/10.1353/flm.2007.0067.

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Hosty, Gary S. "Too much reality television." Psychiatrist 34, no. 7 (July 2010): 306. http://dx.doi.org/10.1192/pb.34.7.306.

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ARULCHELVAN, Sriram. "UNDERSTANDING REALITY TELEVISION: A STUDY OF TAMIL TELEVISION REALITY SHOWS IMPACT ON AUDIENCE." Anthropological Researches and Studies 9, no. 1 (September 2, 2019): 79–86. http://dx.doi.org/10.26758/9.1.8.

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Smit, A. "Media Audiences: Television, Meaning and Emotion * Reality Television, Affect and Intimacy: Reality Matters." Screen 51, no. 1 (March 1, 2010): 92–95. http://dx.doi.org/10.1093/screen/hjp050.

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Dillon, Kelly P., and Elizabeth B. Jones. "How “real” is reality television? Marginalized group representativeness in competitive reality television programming." Psychology of Popular Media Culture 8, no. 3 (July 2019): 319–28. http://dx.doi.org/10.1037/ppm0000193.

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Kanaker, Osama, and Zulkiple A. Ghani. "BROADCASTERS’ PERCEPTION OF TELEVISION PROGRAMS: A STUDY ON AL-HIJRAH ISLAMIC MALAYSIAN TELEVISION CHANNEL." ‘Abqari Journal 13, no. 1 (January 18, 2019): 7–17. http://dx.doi.org/10.33102/abqari.vol13no1.52.

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This paper identifies four main characteristics of Islamic television programs. They are reality and objectivity, comprehensiveness, moderation and application of Islamic distinctive features. A questionnaire was distributed to the broadcasters of Al-Hijrah Television to determine their perception on the characteristics of applying the aforementioned characteristics to their programs. Programs of Al-Hijrah Television were also observed to further investigate the application of the characteristics to Al-Hijrah Television programs. The main finding of this paper is that despite the satisfaction of Al-Hijrah Television broadcasters, the application of the four characteristics to Islamic television programs does not suffice the need of the audience. It was also found out that drama programs are more effective than traditional programs in delivering the Islamic message despite the rarity of Islamic drama. Keywords: characteristics, programs, Islamic television, Al-Hijrah Television. Abstrak Kajian ini mengenal pasti empat ciri utama program televisyen Islam. Antaranya adalah realiti dan objektiviti, komprehensif, kesederhanaan dan ciri-ciri Islam yang tersendiri. Satu borang soal selidik telah diedarkan kepada semua penyiar Al-Hijrah untuk menentukan persepsi mereka terhadap penggunaan ciri-ciri tersebut ke atas program mereka. Program - program Al-Hijrah juga telah dipantau untuk diteliti lebih lanjut lagi dalam mengaplikasikan ciri-ciri tersebut. Walaupun dapatan kajian ini dapat memberi kepuasan kepada semua penyiar Al-Hijrah, namun penggunaan empat ciri tersebut untuk program - program televisyen Islam masih tidak memenuhi kehendak penonton. Kajian mendapati bahawa program - program drama lebih berkesan berbanding program - program tradisional dalam menyampaikan mesej Islam walaupun kurangnya drama versi Islam. Kata kunci: ciri-ciri, program, televisyen Islamik, Televisyen Al-Hijrah.
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Yametti Vargas, Aldo. "Cuidado!!!: Malos educadores afectan la sociedad." Revista Temas Sociológicos, no. 10 (January 23, 2017): 233. http://dx.doi.org/10.29344/07194145.10.200.

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El artículo aborda la compleja relación del impacto de los mass-media en la población. Cómo a partir de mensajes mediáticos se crea una realidad que es introyectada por la población y actúa en consecuencia. Internet, Televisión, Radio y prensa escrita van colocando los temas de conversión cotidiana de la gente común e influyendo en sus comportamientos cotidianos.Palabras clave Manipulación / televisión / Internet / radio / prensa / realidadAbstract:The article approaches the complex relationship of the impact of mass-media in the population. How, from media-generated messages, a reality is created that is digested by the people who act consequently. Internet, Television, Radio and the written press introduce the daily topics of change for common people and influence in their daily behaviors.Key words Manipulation / television / Internet / radio / press / reality
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Yametti Vargas, Aldo. "Cuidado!!!: Malos educadores afectan la sociedad." Revista Temas Sociológicos, no. 10 (January 23, 2017): 233. http://dx.doi.org/10.29344/07196458.10.200.

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El artículo aborda la compleja relación del impacto de los mass-media en la población. Cómo a partir de mensajes mediáticos se crea una realidad que es introyectada por la población y actúa en consecuencia. Internet, Televisión, Radio y prensa escrita van colocando los temas de conversión cotidiana de la gente común e influyendo en sus comportamientos cotidianos.Palabras clave Manipulación / televisión / Internet / radio / prensa / realidadAbstract:The article approaches the complex relationship of the impact of mass-media in the population. How, from media-generated messages, a reality is created that is digested by the people who act consequently. Internet, Television, Radio and the written press introduce the daily topics of change for common people and influence in their daily behaviors.Key words Manipulation / television / Internet / radio / press / reality
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Venkatesh, Sithara. "An Autoethnography of Child Artists in Tamil Dance Reality Television Production." Artha Journal of Social Sciences 19, no. 3 (December 10, 2020): 71–92. http://dx.doi.org/10.12724/ajss.54.5.

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Reality Television shows that revolve around the lives of children have become popular to audiences of all ages, which is evident in their success across diverse channels and various demographics (Palmer, 2013). With the increase in the number of reality shows and child participants in them, emerges a critical need of questioning the power of those in authority and are in- charge of production over the powerless group (the children) who aren’t of an age to legally possess the right to consent on their work, but have become the primary focus of almost every aspect of media commercialisation. An analysis of the conditions and effects of child participation in reality shows is extremely complex as it is difficult to make a child share his/her experience with others. It is also true that the history of children’s daily experiences are extremely difficult to trace, since children themselves have had little or no access to those public forms of expression (Holland, 2004). This paper is an autoethnographic study that explores Tamil dance reality television's child artists during the period 2008-2020.The bodily performances of the dance reality television’s child artists and crew are studied by focusing on the intersections of body and space and with them developing in this context the concept of Biopolitics, as advanced by Michel Foucault (1979). The qualitative study covers a sample of 8 dance reality shows in five different Tamil channels with a focus on 12 child artists and how they spend their everyday lives in the shooting sets, rehearsal studios and other media production spaces. The researcher, being an insider in the reality television programmes, as a freelance floor director and coordinator for more than ten years now, provides this paper a significant leverage of the same and uses methods of memory work and self-reflexive writing along with in-depth interviews.
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Hearn, Alison. "Witches and bitches: Reality television, housewifization and the new hidden abode of production." European Journal of Cultural Studies 20, no. 1 (September 19, 2016): 10–24. http://dx.doi.org/10.1177/1367549416640553.

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The governance of affect by capital has seen its ideological legitimation and emblematic site of production in the mainstream television industry, specifically reality television programs, as they provide templates for affective self-presentation to the public at large. As even a cursory glance at most reality television production demonstrates, it is most often women’s bodies and self-concepts that bear the burden of signifying and legitimating the message of this new economic formation: ‘conform to our template, be seen, and build a reputation!’ This article will focus on the Real Housewives franchise, which along with its network Bravo is credited with saving the fortunes of NBC, as the paradigmatic example of these new narrative trends and business models. It will interrogate the historical resonances and discontinuities between the economy of affective visibility now apparent on reality television and its modes of production and the origins of the ‘real’ housewife in early capitalism. At this time, women’s skills, bodies and reproductive capacities were violently restructured; forbidden from earning a wage or having money, women’s work inside and outside the home was simultaneously appropriated and concealed. As reality television inaugurates new kinds of labor and value creation in the 21st century, it does so in ways that are deeply gendered or ‘housewifized’; reality television’s forms of hidden, precarious, and unregulated labour recall the appropriation and denigration of the value of women’s work by systems of capitalist expansion in the 16th and 17th centuries.
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Penzhorn, Heidi, and Magriet Pitout. "interactive nature of reality television." Communicare: Journal for Communication Studies in Africa 25, no. 2 (October 20, 2022): 85–102. http://dx.doi.org/10.36615/jcsa.v25i2.1746.

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This article explores the motivating factors for viewer participation in the reality television programme,Project Fame. It looks at the interactive component of reality television, arguing that viewers areactive in their media consumption. The theoretical foundation of this study is based on the usesand gratifications theory as well as the cultural studies approach to reception theory.On a methodological level, this study applies qualitative research methods in order to determinewhat factors motivate viewers to participate interactively in the television programme. Supportedby the categories of need gratifications, this study concludes that cognitive, affective and personalintegrative needs motivate viewers to utilise the various interactive opportunities and thatviewers expect gratifications from participating interactively. In addition, reception theory is usedto further explain viewers’ active participation and interpretation of media messages in a socialand cultural context.
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Ramafoko, Lebo, Gavin Andersson, and Renay Weiner. "Reality Television for Community Development." Nordicom Review 33, Special-Issue (December 1, 2012): 149–62. http://dx.doi.org/10.2478/nor-2013-0032.

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Abstract Kwanda was an innovative community development initiative of the Soul City Institute and partners. Five deprived communities were challenged to make their areas `look better, feel better and work better’ by addressing health and development issues. Responses to this challenge were documented in a 13-episode reality TV series that culminated in a viewer vote for the most successful community. The series attracted more than a million viewers on late-night television, and feedback indicated that many viewers were motivated to take action. The evaluation of the initiative led to the conclusion that Kwanda offers possibilities for using the reality TV format to foster community development and the scaling-up of development messaging. Importantly, Kwanda demonstrated that when communities organise on their own behalf, government is better able to deliver. The evaluation also raised several questions for the Kwanda partners which would need to be taken into account in future efforts.
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Deller, Ruth A. "A companion to reality television." Information, Communication & Society 19, no. 12 (April 2016): 1803–5. http://dx.doi.org/10.1080/1369118x.2016.1170185.

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Nikken, Peter, and Allerd L. Peeters. "Children's perceptions of television reality." Journal of Broadcasting & Electronic Media 32, no. 4 (September 1988): 441–52. http://dx.doi.org/10.1080/08838158809386715.

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Bonsu, Samuel K., Aron Darmody, and Marie‐Agnès Parmentier. "Arrested emotions in reality television." Consumption Markets & Culture 13, no. 1 (January 6, 2010): 91–107. http://dx.doi.org/10.1080/10253860903346781.

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Dayan, Steven. "Revision Plastic Surgery Reality Television." JAMA 319, no. 21 (June 5, 2018): 2156. http://dx.doi.org/10.1001/jama.2018.5756.

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Dickason, Renée. "Capturing the ‘Real’ in British Television Fiction: Experiments in/of Realism— An Abiding and Evolving Notion." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 3 (May 1, 2011): 82. http://dx.doi.org/10.12681/syn.16922.

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The realistic mode of depiction has been an abiding feature of British television fictions intended for British audiences ever since the rebirth of the medium after the Second World War. After briefly evoking the origins of realism in British audio-visual media and some of the reasons for its continued popularity with both viewers and broadcasters, this article examines how the constant challenge of “putting ‘reality’ together” (Schlesinger) has been met by innovation and experiment in differing social, political, and economic climates since the mid-1950s and how the perception of television realism itself has evolved. In the context of reality television and today’s post-modern hybrids which blur the distinctions between fact and fiction, entertainment and information, this article concludes with a reflection on whether British television’s (re)creation of reality is an end in itself or whether it is a means of achieving other objectives.
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BOURDIEU, PIERRE. "Television." European Review 9, no. 3 (July 2001): 245–56. http://dx.doi.org/10.1017/s1062798701000230.

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Television claims to report reality but largely creates its own reality. There is very little autonomy, largely because the competition for ‘market share’ is so intense. The pressure to fill the space is strong; hence, it must be something for everyone. Everyone is looking over their shoulder to see what their rivals are saying; to know what to say, you need to know what everyone else is saying. This leads to homogenization and political conformity. Politics and economics lead to an internal censorship. ‘News’ is selective, favouring the extremes, blood, sex, crime, riots, not what ordinary people experience. Television calls for dramatization and the exaggeration of the importance of events. In debate, the fast, superficial thinker is favoured over the original and profound. Can you refuse to talk on television? There is a desire to be seen that is exploited.
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Šardická, Kateřina. "How Public Television Experiments with Reality TV." Iluminace 31, no. 2 (June 1, 2019): 67–87. http://dx.doi.org/10.58193/ilu.1620.

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Tetik, Anlı Tuna, and Dilay Özgüven. "Reality Crime Programs in Turkish Television: The Notorious Case of Palu Family on Müge." ATHENS JOURNAL OF MASS MEDIA AND COMMUNICATIONS 7, no. 2 (February 17, 2021): 136–50. http://dx.doi.org/10.30958/ajmmc.7-2-4.

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The crime drama has always been popular on radio and television. Following this popular programming type, these programs found its way into reality crime programs. The reality crime programs emerged in U.S television in the late 1980s as the combination of news, crime dramas, and even horror genre. The reality crime programs placed themselves mainly in two formats in the television world. There is a vignette format where actors reenact actual crimes, and another one is the live-action format. It is the 1990s for Turkey to introduce reality television to the audience. One of the popular programs that were first broadcasted on ATV in 2008 hosted by Müge Anlı is the Müge Anlı ile Tatlı Sert. After we discuss the popularity of the reality crime television and the cases from American television, MATS is discussed as a certain criminal case from Turkey. This case is publicly recognized as Palu Family. This article argues how the case of the Palu Family became a televised public psychosis in MATS which is a hybrid reality crime program. With this regard, we will study family violence, sexual abuse, and homicide that have become publicly available to the audience. Keywords: reality TV, reality crime programs, infotainment, crime, Turkish television, Müge Anlı
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Hrnjić Kuduzović, Zarfa. "Reality televizija: Ogledalo stvarnosti ili iluzija u svijetu spektakla?" Obrazovanje odraslih/Adult Education 10, no. 1 2010 (2010): 137–48. http://dx.doi.org/10.53617/issn2744-2047.2010.10.1.137.

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Development of the reality programmes was originally conceived as an entertaining and documentary concept although now the spectacularising of banalities ''corrodes'' its educational potential, transforming it into an advertainment and the voyeuristic spectator into a passive homo videns. Nevertheless, this hybrid genre revived optimistic prediction about implementing democratic potential of television by focusing on the common man.
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35

Lougen, Colleen. "Book Review: The Bizarre World of Reality Television." Reference & User Services Quarterly 59, no. 1 (December 11, 2019): 82. http://dx.doi.org/10.5860/rusq.59.1.7236.

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The Bizarre World of Reality Television explores the origins, rapid progression, and quirky contents of reality television programming. Written by Stuart Lenig (Columbia State Community College), this unique and compact work is an entertaining read that dissects reality television through a post-modernistic lens, detailing the economic, cultural, and social factors.
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36

Chiou, Lesley, and Mary Lopez. "The reality of reality television: Does reality TV influence local crime rates?" Economics Letters 108, no. 3 (September 2010): 330–33. http://dx.doi.org/10.1016/j.econlet.2010.06.009.

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37

Jayalath, H. A. K. A. M. "A Study of the Dynamics and Trends of Reality Television Program Format and the Relationship of Such Programs with Social Media." Vidyodaya Journal of Humanities and Social Sciences 07, no. 02 (October 15, 2022): 203–17. http://dx.doi.org/10.31357/fhss/vjhss.v07i02.15.

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In giving the home audience an experience that combines both images and sound, surpassing the potential of the traditional mediums of print and radio, the audience rallying around the television increased by the day. Reality shows originated as a result of the introducing new programme models to the television. Attempts were made to portray real life forms of people in a more realistic way through the reality format. A majority of the audience were inclined towards watching reality programmes and the trend was to see the rise of modern social media activism. Thus, the research problem herein was to analyse whether the strategic use of social media, causes reality television programs to become more popular. The purpose of this study was to determine whether the close association of reality television programs with social media directly influenced the increase in popularity of reality television programs due to recent dynamics and trends in the reality program format. The study was conducted by analytically studying books written on reality shows, research-related information that has been published far and utilizing data on the present context. The use of new technology, especially in reality shows, has changed the face of the realist model. Various data showed that different cultural changes were taking place in each of the social systems in an attempt to attract more audiences apart from reality. The study also establishes that reality themes that originated in the United States may have spread to other parts of the world. The data also reflect that many countries are imitating reality shows produced in the United States. With the rise of social media in the modern Internet age, all television channels have used social media to promote their programs. Due to the large number of young individuals watching TV shows on social media, reality shows were also broadcasted live on social media and television stations released episodes considered to have the best reach on social media. Accordingly, this study highlights that there is currently no single existence for reality shows without social media activism.
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Utilova, Natalia Ivanovna. "Television Civilization and Image of Reality." Journal of Flm Arts and Film Studies 4, no. 2-3 (September 15, 2012): 274–85. http://dx.doi.org/10.17816/vgik42-3274-285.

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The article considers television up-to-date tendencies in the age of globalization. The emergence of digital technologies not only changes the process of TV multi-genre production making but has an impact on the whole of audiovisual culture and trustworthiness of the mirrored reality.
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39

McBride, Stephanie. "Film and Television: Reality TV Bites." Circa, no. 107 (2004): 14. http://dx.doi.org/10.2307/25564083.

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40

Tyree, Tia. "African American Stereotypes in Reality Television." Howard Journal of Communications 22, no. 4 (October 2011): 394–413. http://dx.doi.org/10.1080/10646175.2011.617217.

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41

Montemurro, Beth. "Toward a Sociology of Reality Television." Sociology Compass 2, no. 1 (December 19, 2007): 84–106. http://dx.doi.org/10.1111/j.1751-9020.2007.00064.x.

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42

Potter, W. James. "Perceived reality in television effects research." Journal of Broadcasting & Electronic Media 32, no. 1 (January 1988): 23–41. http://dx.doi.org/10.1080/08838158809386682.

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Striffler, S. "Undercover Boss: CBS reality television series." Labor Studies in Working-Class History of the Americas 9, no. 4 (December 1, 2012): 83–85. http://dx.doi.org/10.1215/15476715-1726054.

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Fulton, James D., Elizabeth Macdonald, and Peter J. W. Scott. "Television: Fantastic Reality or Realistic Fantasy?" Journal of the American Geriatrics Society 38, no. 7 (July 1990): 829. http://dx.doi.org/10.1111/j.1532-5415.1990.tb01480.x.

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Leone, Ron, Wendy Chapman Peek, and Kimberly L. Bissell. "Reality Television and Third-Person Perception." Journal of Broadcasting & Electronic Media 50, no. 2 (June 2006): 253–69. http://dx.doi.org/10.1207/s15506878jobem5002_5.

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Brooks, A., and J. Grand. "Engineered Reality: Prototyping Inventions for Television." IEEE Pervasive Computing 7, no. 3 (July 2008): 24–31. http://dx.doi.org/10.1109/mprv.2008.46.

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47

Nikunen, Kaarina. "Media, passion and humanitarian reality television." European Journal of Cultural Studies 19, no. 3 (October 12, 2015): 265–82. http://dx.doi.org/10.1177/1367549415609324.

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48

Hughes, Peter. "Review: Reality TV: Remaking Television Culture." Media International Australia 137, no. 1 (November 2010): 172–73. http://dx.doi.org/10.1177/1329878x1013700135.

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Krakower, Thalia Margalit, Martha Montello, Christine Mitchell, and Robert D. Truog. "The Ethics of Reality Medical Television." Journal of Clinical Ethics 24, no. 1 (March 1, 2013): 50–57. http://dx.doi.org/10.1086/jce201324106.

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Lavie, Noa. "‘Reality’ Television Critique in Israel: How ‘Quality’ Became ‘Morality’." Cultural Sociology 10, no. 4 (September 18, 2016): 502–22. http://dx.doi.org/10.1177/1749975516650231.

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‘Reality’ television is a global and highly popular television phenomenon. Despite its public and academic critique as cultural ‘trash’, the genre enjoys great economic legitimacy. In recent years, other ‘trashy’ television genres, such as soap operas, have gained aesthetic-artistic legitimacy alongside their economic legitimacy. Taking a Bourdieusian approach and using the discourse about Israeli ‘reality’ shows as a case study, this article addresses the question of whether a similar process is evident in television critics’ attitudes towards reality television. Using quantitative and qualitative content analysis of reviews of ‘reality’ shows between 2003 and 2014, the article shows that the main question debated in such reviews is the genre’s morality rather than its aesthetic value: for Israeli critics, it is the moral attributes of these shows, not their aesthetic or artistic worth, which determine their ‘quality’.
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