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Books on the topic 'Reality TV show'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

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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2

Get on TV!: The insider's guide to pitching the producers and promoting yourself. Naperville, Ill: Sourcebooks, 2006.

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3

Sensational TV: Trash or journalism? Springfield, N.J: Enslow, 1996.

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4

Seedhouse, Erik. Mars One: The Ultimate Reality TV Show? Springer, 2016.

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5

Allen, John T. Real Planets: Sam Burton & the Alien Reality TV Show. PublishAmerica, 2005.

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6

Eva, Flicker, and Breinbauer Ines Maria, eds. Wissenschaft fährt "Taxi Orange": Befunde zur Österreichischen Reality-TV-Show. Wien: Promedia, 2001.

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7

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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8

The After Life. USA: The Edge Press/DiaryUnlimited, 2012.

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9

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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10

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.

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11

Est - Map of the Universe: E.S.T. New York: DiaryUnlimited, 2012.

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12

Est. USA: The Edge Press/DiaryUnlimited, 2012.

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13

Friedlander, Jennifer. A Ruse for the Real. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190676124.003.0005.

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This chapter analyzes “Bitte liebt Österreich” (“Please Love Austria”), the controversial public art installation created by the late German conceptual artist and provocateur Christoph Schlingensief. Schlingensief staged a variation on the reality TV show Big Brother, in which asylum seekers were housed in a structure in a public square in Vienna, Austria. Passersby were invited to cast their vote each night for which detainee should be evicted the following day. By staging his intervention as a “game” that borrowed from the familiar “reality TV” genre, Schlingensief invites us to consider the question of whether using a fictional, game-like mode of representation to describe a politically reactionary event may help to subvert it. He thus offers an important twist to the logic which undergirds the position that realistic depictions of revolutionary events can themselves be politically potent.

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14

The Reality Television Quiz Book 1000 Questions On Reality Tv Shows. Apex Publishing Ltd, 2010.

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15

TV global espectáculos locales: El género de realidad en México y España. Guadalajara: Universidad de Guadalajara, Centro Universitario de Ciencias Sociales y Humanidades, 2003.

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16

Gabriela, Gómez Rodríguez, and Renero Quintanar Martha, eds. TV global espectáculos locales: El género de realidad en México y España. Guadalajara: Universidad de Guadalajara, Centro Universitario de Ciencias Sociales y Humanidades, 2003.

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17

Ames, Melissa. Small Screen, Big Feels. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180069.001.0001.

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While television has always played a role in recording and curating history, shaping cultural memory, and influencing public sentiment, the changing nature of the medium in the post-network era finds viewers experiencing and participating in this process in new ways. They skim through commercials, live tweet press conferences and award shows, and tune into reality shows to escape reality. This new era, defined by the heightened anxiety and fear ushered in by 9/11, has been documented by our media consumption, production, and reaction. In Small Screen, Big Feels, Melissa Ames asserts that TV has been instrumental in cultivating a shared memory of emotionally charged events unfolding in the United States since September 11, 2001. She analyzes specific shows and genres to illustrate the ways in which cultural fears are embedded into our entertainment in series such as The Walking Dead and Lost or critiqued through programs like The Daily Show. In the final section of the book, Ames provides three audience studies that showcase how viewers consume and circulate emotions in the post-network era: analyses of live tweets from Shonda Rhimes's drama, How to Get Away with Murder (2010--2020), ABC's reality franchises, The Bachelor (2002--present) and The Bachelorette (2003--present), and political coverage of the 2016 Presidential Debates. Though film has been closely studied through the lens of affect theory, little research has been done to apply the same methods to television. Engaging an impressively wide range of texts, genres, media, and formats, Ames offers a trenchant analysis of how televisual programming in the United States responded to and reinforced a cultural climate grounded in fear and anxiety.

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18

Hart, Adam Charles. Monstrous Forms. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190916237.001.0001.

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It makes us jump. It makes us scream. It haunts our nightmares. So why do we watch horror? Why do we play it? What could possibly be appealing about a genre that tries to terrify us? Why would we subject ourselves to shriek-inducing shocks, or spend dozens of hours watching a television show about grotesque flesh-eating monsters? Horror offers us a connection to fears that are otherwise unspeakable, even inconceivable, so why do we seek it out? Monstrous Forms offers a theory of horror that works through the genre across a broad range of contemporary moving-image media: film, television, videogames, YouTube, gifs, streaming, virtual reality. This book analyzes our experience of and engagement with horror by focusing on its form, paying special attention to the common ground, the styles, and forms that move between mediums. It looks at the ways that moving-image horror addresses its audiences; the ways that it elicits, or demands, responses from its viewers, players, browsers. Camera movement (or “camera” movement), jump scares, offscreen monsters—horror innovates and perfects styles that directly provoke and stimulate the bodies in front of the screen. Analyzing films including Paranormal Activity, It Follows, and Get Out; videogames including Amnesia: The Dark Descent, Layers of Fear, and Until Dawn; and TV shows including The Walking Dead and American Horror Story, Monstrous Forms argues for understanding horror through its sensational address and dissects the forms that make that address so effective.

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19

Hird, Derek, and Geng Song, eds. The Cosmopolitan Dream. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888455850.001.0001.

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What does it mean to be a mainland Chinese man in a transcultural world? What resources do mainland Chinese men utilise to perform a masculinity that is both Chinese and cosmopolitan? This volume demonstrates that the newly emerging formations of mainland Chinese masculinity, whether located in China or overseas, can only be fully understood through attending to the transnational dimensions of their construction. This volume maps multiple instantiations of the 'transnational turn' in Chinese masculinities, including portrayals of the transnational business masculinity of globe-trotting Chinese businessmen in Chinese and German TV dramas, transcultural models of caring fatherhood in Chinese reality TV shows, the transnational journeys of young Chinese entrepreneurs in search of a sense of cultural identity in Chinese blockbuster movies, filmic portrayals of Chinese gay identities ‘haunted’ by premodern masculine models, the integration of sexually liberated Western masculinities and historical caizi images in contemporary fiction, the culinary masculinity of cosmopolitan Chinese TV chefs, the representation of Chinese masculinities in Japan and in online Chinese-language forums in the US, the effect of migration to Africa on Chinese fathering subjectivities, and Chinese fathers' involvement in the growing transnational phenomenon of 'birth tourism' in California.

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20

Miklitsch, Robert. The Glass Web. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040689.003.0010.

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Since 3-D was originally developed, like CinemaScope, in response to the catastrophic decline of the movie audience, studios were eager to exploit three-dimension and apply it to genres such as the “meller” or “thriller.” Set in the “exotic” world of live TV, featuring a three-dimensional femme fatale, and revolving around the production of a true-crime television show called “Crime of the Week,” The GlassWeb appeared in 1953, the annus mirabilis of 3-D movies. However, despite certain spectacular 3-D passages, the visual style of The Glass Web tends toward the “zero degree,” reflecting the dominant postwar trend toward television and neo-realism. In just this sense, The Glass Web represents an uncommon mixture of classical Hollywood cinema and TV, a witch’s brew of the “silver” and “small screen,” classic expressionist noir and Dragnet, that reads, in retrospect, as both “retro” and prescient.

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21

Chakravorty, Pallabi. This is How We Dance Now! Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199477760.001.0001.

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How is cosmopolitan modernity performed in a liberalizing India? From the spectacular celebrity culture of dance television reality shows and Bollywood films to dance-making in the movie and TV studios, dance halls, rehearsals, and auditions in obscure corners of Mumbai and Kolkata, this book explores the voices, aspirations, and dance practices of a new generation of dancers and choreographers. As the old system of dance pedagogy is broken down by the growth of media, migration, and a deepening democracy, the concept of ‘remix’ has replaced it. It explains, in a word, both the new practices of bodily knowledge transmission and the new aesthetics of Indian dance. This book situates Bollywood dance and dance reality shows at the centre of the changing visual culture in India, and illuminates new and original intersections of ideas from the fields of anthropology, dance studies, philosophy, media studies, gender studies, and postcolonial theory. It tells the story of the transformation of Indian dance by drawing from the deep wells of theories from these fields, but also from the vantage point of intimate ethnographic eyes.

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22

Barnhurst, Kevin G. Groups Supplanted Persons. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040184.003.0004.

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This chapter focuses on the decline of people news. For several decades people news was growing element in the media landscape. By the early 1970s, The New York Times was running the Notes on People column. By the 1990s a growth area for U.S. television networks was the prime-time News magazine, a genre oriented to people stories. Reality shows, always an element of American TV, grew into a dominant genre by the early twenty-first century and made supposed “real” people the center of attention. However, by the end of the twentieth century, studies noted that people were disappearing from the front page. One cause of the depopulation of front pages is that news stories are getting longer. Even if the average news report included a stable number of persons, they would populate the news more thinly as the typical story grew longer—fewer of them would appear on any page. As the new century began, more groups stood alone as the actors in news, and ordinary named individuals almost never did.

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