Academic literature on the topic 'Reality TV show'
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Journal articles on the topic "Reality TV show"
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Filonenko, Anastasia. "Reality Show in Modern System of Mass Communication (Based on Ukrainian Reality Shows)." Current Issues of Mass Communication, no. 22 (2017): 8–18. http://dx.doi.org/10.17721/2312-5160.2017.22.08-18.
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The purpose of our study was to understand the nature of the reality show phenomenon in the system of mass communication through analysis of Ukrainian media market of reality shows. For this purpose we have used a broad methodological base: a descriptive method for identifying the features of reality show and journalism, a bibliographic method for processing scientific sources, an inductive method to determine the functioning of reality show, the method of comparative analysis to understand relationship between journalism and reality show, historic-typological method to classify reality shows, methods of generalization and structuring to develop a modern structure of mass communication. The main results of the research are the following: we found that reality show is a product of journalistic activity; the concept of “reality show” and “reality television” is clearly determined. Reality show is a format of a television product in which the actions and emotions of true people in real-life or in specially modelled situations are observed, characterized by accomplishment of unusual actions and constant commentary on everything that happens to them. This category includes competitions, dating, makeover, etc. Reality TV is a type of television program that demonstrates non-played situations in which real people, whether ordinary citizens or politicians and stars of show business, find themselves. The value of our research is that the correlation between reality show, its types and reality TV is clearly established. Reality TV consists of: 1) reality shows; 2) studio/gaming shows (talk show, late night show, game show), 3) broadcasting events (sports, music events, awards ceremony, etc.). Reality TV belongs to the category of entertainment television. In this study the classification of reality shows has been improved, a whole series of functions of the reality show programs has been identified (entertainment, information, recreation, education, social integration and public control), it is proved that reality show has a great potential in the context of mass communication.
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Adam, David. "Reality TV show recreates famed social study." Nature 417, no. 6886 (May 2002): 213. http://dx.doi.org/10.1038/417213a.
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Noviani, Ratna. "Ibadah Kelas Ala Reality Show Televisi." Jurnal Pemikiran Sosiologi 1, no. 1 (December 14, 2015): 91. http://dx.doi.org/10.22146/jps.v1i1.23432.
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“ Reality show merupakan jenis tayangan televisi yang semakin diminati, dan bahkan mampu menempati posisi prime time di Indonesia. Kemiskinan dan kehidupan kaum miskin merupakan salah satu tema yang cukup populer yang diangkat dalam tayangan realitas ditelevisi.Tulisan ini membahas fenomena tayang anrealitas di Indonesia, khususnya bagaimana program tayangan realitas mengkonstruksi ibadah keagamaan dan distingsi kelas. Empat tayangan realitas yang disiarkan pada momen bulan suci Ramadan 1432 H yaitu Bukan Puasa Biasa(TransTV), Orang Pinggiran (Trans7), Jika Aku Menjadi-Ramadan (Trans TV), dan Big Brother Indonesia (Trans TV) menjadi focus kajian dalam tulisan ini. Kajian mendalam terhadap ke empat tayangan realitas tersebut menunjukkan bahwa ada proseses tetikasi dan obyektifikasi realitas kemiskinan guna mendefinisikan dan menggarisbawahi ibadah kelas.Tayangan realitas tentang kelas bawah cenderung menampilkan banalitas pesan tentang kemiskinan.Realitas hidup dan ibadah agama kelas bawah hanya menjadi project bagi kelas diatasnya untuk memperbaiki kualitas spiritual keagamaannya dan untuk membangun citra positif tentang sikaya.Persoalan kemiskinan, pada akhirnya, hanya dianggap sebagai problem individual yang bisa dilalui atau diatasi dengan religiu sitas dan ketekunan ibadah individual.”Kata kunci: Reality Show, Televisi, Ibadah, Kelas
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Kardiman, Agustinus, and Haryo Windratno. "Komodifikasi Anak Dalam Program Acara Reality Show Di Trans Tv." InterKomunika 1, no. 1 (September 9, 2016): 28. http://dx.doi.org/10.33376/ik.v1i1.4.
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This research is attempted to uncover forms, processes and ideologies associated with the commodification of children at those impressions by takes perspective of a critical discourse analysis of the commodification of children in the program "Janji Suci Raffi and Gigi" produced by Trans TV. Analysis used is critical discourse analysis Norman Fairclough. Fairclough critical discourse analysis is done in three stages: (1) analysis of texts; (2) the practice of discourse and (3) the practice of social culture. Based on discoveries of the analysis of texts Program "Janji Suci Raffi and Gigi", interviews with several sources and combined with the relevant libraries show that: (1) occurs commodification of children in the show program "Janji Suci Raffi and Gigi" in Trans TV; (2) The commodification of children occurs through the formation process of setting and moments by the production crew and Raffi through Rafatar to show patterns and behaviors as a toddler; (3) The ideology behind the process of commodification of children is a capitalist ideology. The capitalist ideology in Trans TV due to Trans TV is a private broadcasting media who have the goal of business and profit.
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Sgroi, Renee. "Consuming the Reality TV Wedding." Ethnologies 28, no. 2 (April 23, 2007): 113–31. http://dx.doi.org/10.7202/014985ar.
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This article investigates the intersection of weddings, the wedding industry, consumption, and reality TV by considering the reality TV series,Trista and Ryan’s Wedding.This show featured the real-life wedding of Trista Rehn and Ryan Sutter, who met on the seriesThe Bachelorette.The author argues that reality TV’s emphasis on the “real,” its narrative techniques (including product assimilation), and the wedding industry’s stress on having a “unique” wedding converge on this show to mobilize consumer fantasies and dreams of the traditional white wedding around specific consumer products. She concludes that examinations of weddings in North American culture must take into account not only the practices and rituals involved in these social and cultural events, but also consider the ways in which popular cultural forms such as reality TV work to produce particular kinds of images.
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Terek, Lidija. "Violent behavioural patterns in the reality show "Couples"." CM: Communication and Media 15, no. 48 (2021): 37–67. http://dx.doi.org/10.5937/cm15-27578.
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The paper is dealing with the problem of violent behaviour in the reality show "Couples" (Parovi), which is broadcasted on Happy TV, a commercial television with a national frequency in Serbia. Based on the idea that the conditions in reality shows are conducive to violence due to a large amount of character interaction and little plot, and guided by the results of the research that studied violent behaviours in reality shows in the UK, our research aimed to determine which forms of violent behaviour are most prevalent in this reality show, in what situations and under what circumstances violent behaviours mostly occur, as well as who commits violence most often. The results showed that the most common forms of violence were direct emotional/psychological violence, that the most frequent and diverse violent behaviour was expressed by the Production and TV hosts, that nearly all the violent behaviour of participants were a reaction to the Production's and hosts' provocation and manipulation, as well as that individuals , who have a history of violent behaviour, most often behaved violently during the show. The obtained results proved that the Production of this reality show intends to provoke conflicts and violent behaviours, to compensate for the lack of story.
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McGuire, Sarah. "A defense of the modern, high-tech redneck on reality TV: Why the world loves Duck Dynasty and its resulting redemptive representation of Rednecks." SURG Journal 7, no. 3 (August 18, 2014): 5–14. http://dx.doi.org/10.21083/surg.v7i3.2972.
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This article uses key terms and concepts from Television Studies to “close read” the reality TV show Duck Dynasty in its visual form. This article questions not only how Duck Dynasty represents rednecks, but also how the representation of the “redneck” is understood by the TV audience. It explores the success of Duck Dynasty as a reality TV show and argues that it redeems “rednecks” from Hollywood’s previous portrayals of the overly caricatured redneck stereotype. The Robertsons have the ability to convey truth – even if it is through a partially fake/mediated realm – and what they actually represent is a more subdued, modern form of redneck identity in comparison to classic Hollywood depictions. However, viewers cannot trust reality TV to wholly or singularly inform how they understand other social groups despite how “real” reality may appear on reality TV shows. Instead of viewing the redneck jokes and portrayal on reality TV as offensive, Duck Dynasty’s jokes and portrayals can be powerful tools for exposing the absurdity of the stereotypes previously perpetuated by Hollywood and can help subvert them.
Keywords: Duck Dynasty; Duck Commander; Buck Commander; Robertson; redneck (representations of); reality TV; television studies; hillbilly; Southern culture; stereotypes; sitcom; American dream; American television
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Raducanu, Bogdan, and Daniel Gatica-Perez. "Inferring competitive role patterns in reality TV show through nonverbal analysis." Multimedia Tools and Applications 56, no. 1 (June 8, 2010): 207–26. http://dx.doi.org/10.1007/s11042-010-0545-8.
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McIntyre, Joanna. "Transgender idol: Queer subjectivities and Australian reality TV." European Journal of Cultural Studies 20, no. 1 (July 24, 2016): 87–103. http://dx.doi.org/10.1177/1367549416640535.
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Transgender is a marginalised category to which reality TV has given visibility, yet it is usually overlooked in observations regarding the minority groups that have gained mainstream representation through these programmes. Popular Australian reality TV shows have provided a unique space for the constructive representation of certain queer subjectivities. The Australian reality TV contestants in question present gendering that embraces ambiguity, that is, they demonstrate the deliberate disruption and blurring of gender/sex category divisions. This article examines the ways in which Australian reality TV’s representations of transgender contestants remain robustly queer while also being negotiated and made palatable for ‘family’ television audiences. It asserts the reality TV shows that feature transgender performance orchestrate a balance between queer expression and its containment. This article also takes as a case study a particularly successful Australian transgender reality TV contestant, Courtney Act. It argues Act’s representation of queerness was ‘managed’ within the normative framework of mainstream television yet she is still significantly troubled by gender binaries during her time on Australian screen. In 2014, she appeared as a contestant on the United States’ queer-themed reality TV show RuPaul’s Drag Race and again proved to be a reality TV success. This transnational intersection of transgender performance signalled the productive possibilities of international cross-pollination in regard to affirmative reality TV representations of marginalised subjectivities. At the same time, however, it also revealed the localised nature of reality TV, even in those shows with an international queer appeal.
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Moon, Kyuwon. "The social meaning of rising-falling tone in a ‘reality’ TV show." Sociolinguistic Journal of Korea 26, no. 3 (September 30, 2018): 89–116. http://dx.doi.org/10.14353/sjk.2018.26.3.04.
Full textDissertations / Theses on the topic "Reality TV show"
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Bacchin, Rodrigo Boldrin [UNESP]. "Reality-show: a tv na era da globalização." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/98962.
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A presente dissertação tem por objetivo analisar o Big Brother – programa freqüentemente caracterizado como o maior destaque dentre os reality-shows – como um produto característico da indústria cultural na era da globalização. Idealizado pela produtora holandesa Endemol, ele foi o primeiro programa do mundo a ser simultaneamente apresentado em TV aberta, TV a cabo (pay-per-view) e pela Internet. Ele se tornou rapidamente um fenômeno mundial tendo sido, até hoje, exibido em 70 países diferentes. Sua principal característica é ser um programa interativo, produzido para ser consumido em diferentes mídias. Assim sendo, a pesquisa procura compreender como se configura a indústria cultural a partir das novas possibilidades trazidas pelo processo de globalização. Portanto, propõe uma avaliação da validade deste conceito no mundo globalizado, após assinalar algumas das principais características da globalização. Considerando que se trata de um programa televisivo, foi realizada uma análise crítica da televisão, a fim de demonstrar a falsidade da tese de que ela é um meio de comunicação neutro, isento e sem conseqüências. Também, a partir das possibilidades abertas pelo processo de globalização, a dissertação assinala as principais características da televisão na era da globalização, dando destaque à convergência entre a televisão e a Internet. Finalmente, demonstra a especificidade da relação entre os realityshows e a globalização, principalmente com o programa Big Brother. Ainda, destaca a proximidade da produtora Endemol com a dinâmica da globalização, que desponta como um importante ator para a compreensão do objeto de pesquisa. Por fim, debate questões importantes suscitadas pelos reality-shows e especialmente pelo Big Brother, relacionadas a proximidade destes programas com a etapa globalizada do capitalismo.
This dissertation intents to analyze the Big Brother – a TV show usually presented as the most important among the reality-shows – as a typical product of the culture industry in the globalization age. Idealized by the dutch producer Endemol, it was the first program in the world to be simultaneously presented in broadcast TV, cable TV (pay-per-view) and Internet. It quickly became a global phenomenon and, until today, it has been broadcast in 70 different countries. It’s main characteristic is to be a interactive TV show, produced to be consumed in different medias. Therefore, this research intends to comprehend the configuration of the culture industry as a result of the new possibities brought by the globalization process. Consequently, it proposes an evaluation of the validity of this concept in the globalized world, after indicating some of the main characteristic of globalization. Considering that it is a TV show, it was performed a critical analysis about television, intending to demonstrate the falsehood of the thesis that it is a neutral, exempt and without consequences mass media. Besides, through the possibilities brought by the globalization process, this dissertation indicates the main characteristic of television in the globalization age, emphasizing the convergence between television and Internet. Finally, it demonstrates the specificity of the relation between the reality-shows and the globalization, especially the Big Brother. Yet, it emphasizes the proximity involving the producer Endemol with the globalization dinamics, which appears as an important player to comprehend the research object. In conclusion, it discusses important issues brought up by the reality-shows and, specially, by the Big Brother, both related with the proximity of these TV shows with the globalized stage of capitalism.
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Bacchin, Rodrigo Boldrin. "Reality-show : a tv na era da globalização /." Araraquara : [s.n.], 2008. http://hdl.handle.net/11449/98962.
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Resumo: A presente dissertação tem por objetivo analisar o Big Brother - programa freqüentemente caracterizado como o maior destaque dentre os reality-shows - como um produto característico da indústria cultural na era da globalização. Idealizado pela produtora holandesa Endemol, ele foi o primeiro programa do mundo a ser simultaneamente apresentado em TV aberta, TV a cabo (pay-per-view) e pela Internet. Ele se tornou rapidamente um fenômeno mundial tendo sido, até hoje, exibido em 70 países diferentes. Sua principal característica é ser um programa interativo, produzido para ser consumido em diferentes mídias. Assim sendo, a pesquisa procura compreender como se configura a indústria cultural a partir das novas possibilidades trazidas pelo processo de globalização. Portanto, propõe uma avaliação da validade deste conceito no mundo globalizado, após assinalar algumas das principais características da globalização. Considerando que se trata de um programa televisivo, foi realizada uma análise crítica da televisão, a fim de demonstrar a falsidade da tese de que ela é um meio de comunicação neutro, isento e sem conseqüências. Também, a partir das possibilidades abertas pelo processo de globalização, a dissertação assinala as principais características da televisão na era da globalização, dando destaque à convergência entre a televisão e a Internet. Finalmente, demonstra a especificidade da relação entre os realityshows e a globalização, principalmente com o programa Big Brother. Ainda, destaca a proximidade da produtora Endemol com a dinâmica da globalização, que desponta como um importante ator para a compreensão do objeto de pesquisa. Por fim, debate questões importantes suscitadas pelos reality-shows e especialmente pelo Big Brother, relacionadas a proximidade destes programas com a etapa globalizada do capitalismo.Abstract: This dissertation intents to analyze the Big Brother - a TV show usually presented as the most important among the reality-shows - as a typical product of the culture industry in the globalization age. Idealized by the dutch producer Endemol, it was the first program in the world to be simultaneously presented in broadcast TV, cable TV (pay-per-view) and Internet. It quickly became a global phenomenon and, until today, it has been broadcast in 70 different countries. It's main characteristic is to be a interactive TV show, produced to be consumed in different medias. Therefore, this research intends to comprehend the configuration of the culture industry as a result of the new possibities brought by the globalization process. Consequently, it proposes an evaluation of the validity of this concept in the globalized world, after indicating some of the main characteristic of globalization. Considering that it is a TV show, it was performed a critical analysis about television, intending to demonstrate the falsehood of the thesis that it is a neutral, exempt and without consequences mass media. Besides, through the possibilities brought by the globalization process, this dissertation indicates the main characteristic of television in the globalization age, emphasizing the convergence between television and Internet. Finally, it demonstrates the specificity of the relation between the reality-shows and the globalization, especially the Big Brother. Yet, it emphasizes the proximity involving the producer Endemol with the globalization dinamics, which appears as an important player to comprehend the research object. In conclusion, it discusses important issues brought up by the reality-shows and, specially, by the Big Brother, both related with the proximity of these TV shows with the globalized stage of capitalism.
Orientador: Raul Fiker
Coorientador: Renato Bueno Franco
Banca: José Pedro Antunes
Banca: Luiz Antonio Calmon Nabuco Lastória
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Cannito, Newton Guimarães. "A TV 1.5 - A televisão na era digital." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-21102010-103237/.
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O objetivo deste trabalho é refletir sobre o que acontecerá com a televisão no ambiente das plataformas digitais. Cientes de que o digital trouxe a era da convergência entre mídias, nós, além de analisar a TV digital, iremos refletir sobre como o conteúdo televisivo se propaga por todas plataformas. Partimos em nossa análise de definições de televisão e de digital, e constatamos que o digital não ameaça de extinção as mídias anteriores; pelo contrário, é uma tecnologia que as potencializa. Nossa hipótese é que o mesmo acontecerá em relação à televisão: em vez de tornar a televisão obsoleta, a tecnologia digital contribuirá para que ela efetive todas as suas potencialidades. Nosso trabalho se esforça em quebrar alguns mitos que contaminam o debate sobre televisão na era digital. Defendemos a especificidade da televisão e mostramos que mesmo no ambiente digital ela vai manter e potencializar suas características.The objective of the present study is to reflect on the future of television in the environment of digital platforms. We are aware that digital technology has brought upon us the era of media convergence. In this context we analyze digital TV and reflect on how television content is spread throughout all platforms. In our analysis we have used the definitions of television and digital as a starting point to realize that digital does not threaten the previous media; on the contrary, it\'s a technology which supports the previous ones. Our hypothesis is that television will have the same fate: instead of making television obsolete, digital technology will contribute to the development of its full potential. Our study is an effort to break the myths that the debate over television in the digital era commonly entail. We defend the specificity of television and establish that even in the digital environment it should and can retain its original characteristics.
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Malko, Anastasia. "A study of the reality game show concept “Survivor” : how national identities are represented in a transnational reality format." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-21726.
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Since TV became the most influential medium globally, the media content followed and as a result, a variety of programmes became international. When it came to entertainment, reality game show Survivor became a pioneer in crossing national borders when the programme’s format was licensed and sold worldwide. The ability of a single reality TV show format to appeal to different nations is remarkable and noteworthy, which consequently makes it an interesting field of research. Therefore, this essay focuses on analysing the narrative structures of the Survivor format productions in Sweden, the USA and Russia in pursuance of revealing representations and reproductions of the nations. It answers the questions about the narrative structures of the programmes, as well as about their common construction, and describes how the national identities are portrayed in a transnational reality game show format. In order to make the study extensive but at the same time significant, a structural narrative analysis with a comparative approach was chosen as a method. The selection was based on the importance of analysing the content of narratives in order to comprehend their illustrations of reality and, among other things, national identities. Mainly referring to a theory of nations as “imagined communities” and a theory about “banal nationalism”, the essay presents an analysis of the narrative structures. These structures, in their turn, expose the nation-specific elements that represent and reproduce the idea of nation. It is argued that national expressions are in general based on traditions and rituals of the nations. These representations are frequently unnoticed in everyday life; however they become noteworthy in the context of reality TV game shows such as Survivor.
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MENDES, Patrícia Monteiro Cruz. "Saúde imaginária: a reprogramação do corpo no reality show." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/20158.
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CAPES
A presente tese aborda a televisão enquanto tecnologia do imaginário que promove uma biopolítica da saúde ao disseminar o nexo cuidados com o corpo e aparência. O estudo foi alicerçado em compreender como o imaginário midiático utiliza a associação entre cuidados com o corpo e responsabilização dos indivíduos para produzir uma estética específica de saúde, que estamos chamando de saúde imaginária. Partindo da sociologia compreensiva, utilizamos o conceito de biopolítica em Foucault e as noções de imaginário em Maffesoli e Durand como base teórico-metodológica para a análise do material empírico: os reality shows Medida Certa e Além do Peso, veiculados pela TV Globo e TV Record, respectivamente. As confluências entre o sistema foucaultiano de corpo e as reflexões do imaginário social permitiram compreender a aparência como uma estrutura antropológica que põe o corpo em comunicação. Assim, para a análise do corpus, identificamos as formas do imaginário midiático por meio da proposição de um modelo teórico-metodológico centrado em três categorias: corpo sem formas, baseado no imaginário social sobre os riscos da gordura/sedentarismo à saúde; modelagem midiática dos corpos, com a formação/estimulação de uma imaginação sobre os esforços em busca dos pesos e medidas da saúde; e corpo prêt-à-porter, considerando a apresentação da imagem de uma estética saudável pronta para exposição/consumo. Com base nisso, foi possível compreender que o imaginário midiático dissemina uma noção de saúde cujas imagens e conteúdos estão materializados nas formas dos corpos.
This dissertation addresses the television as an imaginary technology that promotes health in the biopolitics to spread the caring with the body and appearance. The study was based to understand how the imaginary media uses the association between body care and the responsibility of individuals to produce a specific health appearance, that we call the imaginary health. Starting from the comprehensive sociology, we use the concept of biopolitics in Foucault and imaginary notions of Maffesoli and Durand as a theoretical and methodological basis for the analysis of the empirical material: the reality shows Medida Certa and Além do Peso, televised by TV Globo and TV Record respectively. The confluences of the Foucault system body and the reflections of the social imaginary allowed understanding the appearance as an anthropological structure that puts the body into communication. Thus, to analyze the corpus, we identified the forms of the imaginary media by proposing a theoretical and methodological model based on three categories: body without forms, based on the social imaginary about the risks of fat / inactivity to health; media modeling of the bodies, with formation / stimulation of an imagination on the efforts in search of weight and health measures; and prêt-à-porter body considering the presentation of the image of a healthy aesthetic ready for exposure / consumption. Based on this, it was possible to understand that the media imaginary spread a sense of health whose images and contents are materialized in the shapes of bodies.
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Swiatkowski, Paulina, and Paulina Swiatkowski. "Reality TV, Relational Aggression, And Romance: The Effects of Reality Show Viewing On Relational Aggression and Relational Quality in Romantic Relationships." Diss., The University of Arizona, 2018. http://hdl.handle.net/10150/626679.
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Reality shows remain a prominent genre of today’s media culture. More importantly, plot lines tend to be dominated by interpersonal relationship trajectories, which often include conflict such as relational aggression (Coyne, Robins, & Nelson, 2010). When relational aggression is included in analyses that compare the content of scripted and reality shows, researchers find that aggression is more likely to occur in reality shows than scripted shows (Coyne et al., 2010). Furthermore, reality shows are often described as “unscripted,” portraying “real” people during their “ordinary” days (Riddle & De Simone, 2013). Relational aggression is link to physical violence and other poor social and psychological effects (e.g., Caetano, Vaeth, & Ramisetty-Mikler, 2008; Linder, Crick, & Collins, 2002) and, therefore, needs better understanding. Therefore, the present study’s theoretical foundation in cultivation theory, theory of reasoned action, social cognitive theory, and social comparison theory sought to understand how reality shows influence adult viewers and their perceptions and behaviors within romantic relationships. Four-week longitudinal data from 117 dyads was analyzed for potential media effects and how those effects could influence relational aggression within relationships and relational quality. The results suggest minimal media effects but do support negative longitudinal effects of relational aggression on relational quality. Limitations and future directions are discussed.
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Hensley, Eric Charles. "Conflict of Interest: The Intersection of AAVE and Contention Among Cast Members in a 'Reality' TV Show." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/579264.
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This study investigates the proliferation of racial stereotypes in Reality TV, particularly those which represent African Americans as being inherently more aggressive and combative than White Americans. One way these stereotypes are sustained is by the artificial association between features of African American Vernacular English (AAVE) and conflict constructed in Reality TV. This study focuses in particular on the Reality TV show Bad Girls Club and how the show is edited to embrace this stereotype. The purposes of this study are: (a) to identify where these stereotypes exist and how they are represented in the show (b) to identify ways in which this TV show is edited to sustain and proliferate these stereotypes and (c) to understand how analyses such as this one can shed light on the association between African American Women, AAVE, and conflict.
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Nygren, Sirinard, and Jenny Persson. ""Lite snyggare, lite mer partyaktiga, lite mer Paradise" : En kritisk diskursanalys av kön och sexualitet i Paradise Hotel." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-101710.
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The purpose of this thesis is to examine how power structures concerning gender and sexuality emerge through the use of language in the Swedish reality show Paradise Hotel. Of particular interest is the representation of heterosexual relations in the show. Because of its interest in the relationship between power, gender and sexuality, the thesis is based on theories from gender and discourse studies. The specific theories referred to are Michel Foucault’s understanding of power, stereotypes according to Stuart Hall, Yvonne Hirdman’s gender system and contract theory, Judith Butler’s heterosexual matrix and R.W. Connell’s theory of hegemonic masculinity. The empirical data consists of eight episodes of Paradise Hotel from 2014, which has been transcribed and analysed through the use of Norman Furlough’s critical discourse analysis (CDA). The results showed that Paradise Hotel portrays the male and female participants as fundamentally different and therefore they are allowed to behave in different ways. Among other things, it appeared that men have a high sex drive and they expect to get this need satisfied. The women on the other hand are discredited if they have sex with many partners. As a part of the concept of Paradise Hotel is to share rooms with a partner of the opposite sex there are certain expectations of intimacy. The male participants exercise power by claiming their partners as possessions. Neither do they respect the female boundaries regarding their bodies and sexuality. The women also participate in maintaining the patriarchal order in the show. However, some of the female participants oppose to a norm saying women should be sexually passive. For competition purposes they use their bodies and cunning in order to influence the men. Notably, while some of the discourses that emerged in the analysis reflect social power structures, others are reserved to Paradise Hotel since there are rules that only apply to the show.
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Sander, Johanna. "New Style in Sitcom : exploring genre terms of contemporary American comedy TV series through their utilization of documentary style." Thesis, Linköpings universitet, Institutionen för studier av samhällsutveckling och kultur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-108470.
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Through exploring the use of documentary style in a selection of contemporary American comedy series, this thesis closes in on the question whether texts that stylistically differ from traditional sitcom can still be regarded as part of the sitcom genre. The contemporary American TV series that are being analyzed are The Office, Arrested Development, Modern Family, Parks and Recreation, Brooklyn Nine-Nine and The Michael J. Fox Show. As the series’ place within sitcom becomes apparent, the analysis ultimately leads to a critical investigation of the term “comedy verite.” Questioning the concepts applicability for the American series and their development leads to the investigation of new definitions. This analysis of contemporary televisual styles reveals a myriad of deeper issues and elucidates how stylistic developments point towards broader developments of the TV medium – towards a medium more and more defined by, or even drenched in, “reality.”
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Araújo, Rafael Fonseca de. "A linguagem dos reality TV shows norte-americanos: análise e classificação." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19961.
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This thesis presents a Multi-dimensional (MD) analysis (Biber, 1988 et seq.) of a Corpus of American Reality TV Shows (CARTS). Reality television can be described as unscripted television shows with non-professional actors being observed by cameras in preconfigured environments (Kavka, 2012) and despite of being a relatively new TV genre is a cornerstone of contemporary US television programming, since according to some critics it has remade television culture (Murray and Quellette 2004). The major goal of the study was to provide a lexical-grammatical description of the verbal language of Reality TV shows by investigating a corpus of 780 texts taken from 39 popular American Reality TV shows, totaling over 6 million tokens. The specific goals were to compare CARTS against the four dimensions of general English register variation as well as against the five dimensions of American television register variation (Berber Sardinha;; Veirano Pinto, in press). CARTS texts were classified into four main program types (Competition, Documentary, Talent and Professional, and Transformation) and into 13 sub-program types, namely, celebrities, dating, gamedoc, docusoap, hidden cameras, reality sitcoms, business, cooking, fashion, performing, expert guidance, self-improvement and social experimental. The corpus was balanced so that each major category had the same number of texts. CARTS was tagged for part of speech with the Biber Tagger and analyzed by the Bibber Tag Count which calculated the normalized frequencies of the 128 linguistics features considered in the research. The results present the additive MD analysis by showing how reality TV shows are similar or different from others spoken and written English registers (from Biber seminal 1988 study), as well as how the various manifestations of Reality TV compare to television registers on US. Since there is no precedent for studies within Corpus Linguistics dedicated to researching the lexical-grammatical profile of Reality TV Shows in a multidimensional perspective, this research intends to fill this gap
O presente trabalho apresenta uma Análise Multidimensional (BIBER, 1988 et seq.) do Corpus of American Reality TV Shows (CARTS). Reality TV shows podem ser descritos como programas de televisão sem roteiro, com atores não profissionais sendo observados por câmeras em ambiente pré-configurados (KAVKA, 2012) e apesar de ser um gênero de televisão relativamente novo é considerado um marco na programação da televisão nos EUA, uma vez que reinventou a cultura da televisão (MURRAY e QUELLETTE, 2004). O principal objetivo do estudo é fornecer uma descrição dos padrões léxico-gramaticais da linguagem verbal dos Reality TV shows. Os objetivos específicos foram comparar o CARTS com as cinco principais dimensões de variação da Língua Inglesa (BIBER, 1988 et seq.), bem como em contraste com as quatro dimensões de variação de registro da televisão norte-americana (BERBER SARDINHA e VEIRANO PINTO, no prelo). O CARTS é formado por 780 textos extraídos de 39 reality TV shows norte-americanos populares, totalizando cerca de 6 milhões de palavras. Os textos do corpus foram classificados em quatro principais categorias Competição, Documentário, Talento e Profissão, e Transformação que, por sua vez, foram subdivididas em 13 subcategorias nomeadas: celebridades, namoro, jogo-documentário, novela-documentário, câmeras escondidas e portáteis, reality sitcom, business, culinária, moda, artistas de palco, orientação de especialistas, melhoria pessoal e experimento social. O corpus foi balanceado para que cada categoria tivesse a mesma quantidade de textos, etiquetado gramaticalmente com o Biber Tagger e processado pelo Biber Tag Count que calcula a frequência normalizada das 128 variáveis linguísticas consideradas no estudo. Os resultados da Análise Multidimensional demonstram como os reality TV shows se assemelham ou se diferenciam dos demais registros da Língua Inglesa propostos por Biber (1988) em seu estudo seminal, tal como as várias manifestações de Reality TV se comparam aos registros da televisão norte-americana. Uma vez que não há precedentes de estudos, dentro da Linguística de Corpus, dedicados à investigação do perfil léxico- gramatical dos reality TV shows em uma perspectiva multidimensional, a presente pesquisa pretende preencher esta lacuna
Books on the topic "Reality TV show"
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Johnson-Woods, Toni. Big bother: Why did that reality-tv show become such a phenomenon? St. Lucia, Qld: University of Queensland Press, 2002.
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Get on TV!: The insider's guide to pitching the producers and promoting yourself. Naperville, Ill: Sourcebooks, 2006.
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Allen, John T. Real Planets: Sam Burton & the Alien Reality TV Show. PublishAmerica, 2005.
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Eva, Flicker, and Breinbauer Ines Maria, eds. Wissenschaft fährt "Taxi Orange": Befunde zur Österreichischen Reality-TV-Show. Wien: Promedia, 2001.
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Anderson, DMA/Donna Michelle. The Show Starter Reality TV Made Simple System: Ten Steps to Creating and Pitching a Sellable Reality Show. Movie in a Box Books, 2006.
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Caudle, Dr Melissa. The Reality of Reality TV : Reality Show Business Plans: Everything you need to know to get your reality show green-light that nobody wants to share but me. CreateSpace Independent Publishing Platform, 2011.
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Friedlander, Jennifer. The Faux and the Schmo. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190676124.003.0006.
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This chapter engages with the reality TV show parody The Joe Schmo Show, whose premise rests upon a cast of actors convincing an earnest participant that he is competing in a Big Brother–style reality. It compares The Joe Schmo Show with a series of made-for-TV movies based around “true events” and “real people,” with which it aired contemporaneously. It argues that, unlike docu-dramas which enable viewers to “see through” the fictionalized scene, The Joe Schmo Show functions in an unexpectedly disruptive way. Through setting up a seemingly irresistible scene for “seeing through” the ruse and then exploiting its attendant traps, the show accomplishes the subversive task of undermining the power of the ideological call of mastery associated with the realist form.
Book chapters on the topic "Reality TV show"
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Gordon, Cynthia. "‘You are killing your kids’: framing and impoliteness in a health makeover reality TV show." In Real Talk: Reality Television and Discourse Analysis in Action, 245–65. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137313461_12.
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Moultrie, Monique. "Black female sexual agency and racialized holy sex in black Christian reality TV shows." In Religion and Reality TV, 31–45. 1 [edition]. | London; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315545950-3.
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Ganguly, Lauhona. "Reality TV Shows, Private Television Networks and Social Change in India." In International Cultural Policies and Power, 181–93. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230278011_15.
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Lunt, Peter, and Mervi Pantti. "Popular Culture and the Public Sphere: Currents of Feeling and Social Control in Talk Shows and Reality TV." In Media and Public Spheres, 162–74. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230206359_13.
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"6. Trauma as popular cultural script: from talk show to lifestyle programming." In Reality TV, 108–17. Columbia University Press, 2005. http://dx.doi.org/10.7312/bire476405-007.
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ESSANY, M. "The Show and Tell of Reality TV." In Reality Check: The Business and Art of Producing Reality TV, 77–134. Elsevier, 2008. http://dx.doi.org/10.1016/b978-0-240-81030-0.00005-7.
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Gaines, Alisha. "Empathy TV." In Black for a Day. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469632834.003.0005.
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The fourth chapter takes on the televisual rescripting of Sprigle, Griffin, and Halsell with a reading of the FX cable series, Black.White., a 2006 reality television show where two middle class families—one black and one white—“switched” races to experience racial difference. This chapter attends to how Black.White. moves the genealogy of empathetic racial impersonation from the theatrical stage, newspaper, trade books, and film to the visual logics of television. This shift reveals an investment in empathetic racial impersonation at a moment dominated by the changing discourses about race and race relations in the 21st century. Importantly, this chapter expands discussions of racial experimentation beyond the U.S. South. Set in Los Angeles, this “reality” show spuriously reinscribes the black/white binary even though Los Angeles has long been recognized as a multiracial city. By focusing on the fraught relationship between the two families, this chapter contends that Black.White. dramatically exposes the limits of empathetic racial experimentation as a tool of racial reconciliation. Ultimately, it evidences an empathetic failure in the cross-racial promise supposedly demonstrated by this seemingly new, but ultimately decades old, impersonation experiment. It also considers the histories and politics of whiteface.
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Sadowski-Smith, Claudia. "The Post-Soviet Diaspora on Transnational Reality TV." In New Immigrant Whiteness. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479847730.003.0002.
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This chapter examines Lifetime’s short-lived Russian Dolls and ABC’s Dancing with the Stars, a widely watched US reality TV show. Both shows exemplify the emergence of narratives that associate the post-Soviet diaspora with idealized accounts of turn of the twentieth century European immigrant adaptation and upward mobility. While they focus on 1.5 generation immigrant participants, many of whom likely came to the United States as religious refugees, the two shows consistently represent their emerging collective “Russian” identity as just another ethnicized version of pan-European whiteness. Post-Soviet migrant cast members are portrayed as following in the footsteps of idealized and homogenized early European migrants, and they are set in firm opposition to Latina/os. The chapter also examines media commentary surrounding the two shows, interviews with participants, their social media posts, and their participation in a Ukrainian TV show where their identity is differently constructed to highlight migrants’ engagement with growing anti-immigration sentiment and their efforts to establish new collective transnational and diasporic identities, which are not represented on DWTS and Russian Dolls.
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Lavie-Dinur, Amit, and Yuval Karniel. "Privacy and exposure on Israel’s reality TV show, Big Brother." In Israeli Television, 283–97. Routledge, 2020. http://dx.doi.org/10.4324/9781003032960-25.
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Lefait, Sébastien. "The Viktor Navorski Show: Surveillance, Paranoia and Reality TV in The Terminal." In Steven Spielberg, 277–90. Presses universitaires de la Méditerranée, 2018. http://dx.doi.org/10.4000/books.pulm.5243.
Full textConference papers on the topic "Reality TV show"
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Clarke, N., W. A. Clarke, and A. L. Nel. "Producing an Engineering Reality TV Show at a University: Key Learning Points." In 2012 IEEE 12th International Conference on Advanced Learning Technologies (ICALT). IEEE, 2012. http://dx.doi.org/10.1109/icalt.2012.207.
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Kohl, Marie-Anne. "Die weinende Jury. »Geschlechtslose« Tränen bei globalen Musik-Castingshows?" In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.59.
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Tears are flowing. Whether Yvonne Catterfeld, Kazim as-Sahir, Unati Msenga-na, Liu Huan, Simon Cowell or Lira – they are all part of a jury of global music casting show formats such as The Voice, Idol or Got Talent and show their tears in front of the camera, seemingly ashamed and yet completely uninhibited. Their tears flow in reaction to ‘particularly soulful’ music titles or to the candidates’ tragic personal stories, paired with the ‘right’ song selection. The display of great emotions is an essential element of reality TV formats. With Sara Ahmed, they can be understood in the sense of an ‘affective economy’ as an effect of their circulation, their staging as a specific ‘emotional style’ of dealing with emotions (Eva Illouz). The circulation of affects in casting shows is a global one, since the formats, developed in Europe, have produced local versions in over 60 countries worldwide. Emotions play an important role in the successful localization of the formats and define a complex area of conflict between a sensitization to socio-cultural characteristics and the ‘reproduction of culturalistic concepts’ (Laura Sūna) or clichés. In European cultural history, tears have developed a special significance as guarantors of the authenticity of empathy (Sigrid Weigel), and are generally associated with femininity, however at the same time have been film-historically recoded as ‘gender-neutral’ (Renate Möhrmann). Keeping in mind that all these casting show formats have been exported from Europe, these observations are of special interest, especially since one can see men and women crying equally in the Arabic, German or South African versions of e. g. The Voice. This article questions the concurrence of musical performance, display of tears, gender performance and the translocal dramaturgy of music casting shows.