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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
Mestre
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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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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
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WANG, Jie. "The Popularity of Dating TV Reality Shows in China : On the Perspective of Audience." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-15652.
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Problem: The dating reality show If You Are the One, won the largest audience rating in China after 2 weeks of its debut. The sudden popularity led to more and more TV stations rushing to produce dating reality shows, and the majority gets even higher ratings from critics, from media, the Chinese government and common Chinese citizens. Method: Quantitative analysis of a multi-question online survey by logistic regression to determine whether certain variables, identified through academic research, correlate with satisfaction and use by audiences. Result: There are three types of audience. One is eager to get married and aims at finding true love through dating shows or getting some guidance for finding their perfect match. The second is already married and consider their relationship with their spouse to be a major life issue. They will hope to receive beneficial advice from watching dating shows. The third type simply watches for entertainment, to relax after a day of harsh work and study. All the audiences watch dating shows, more or less trust on the authenticity of TV and dating shows.
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Memani, Lindani. "IN PURSUIT OF A BLACK IDENTITY IN CONTEMPORARY SOUTH AFRICA: CULTURE, CLASS, AND GENDER IN WEDDING REALITY TV SHOWS, TV AUDIENCE COMMENTS, AND WEDDING SPEECHES." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/dissertations/1373.
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This research reveals the opaque social hierarchies which work to structure Black life in contemporary South Africa. Using a multi-modal critical discourse analysis, and four theories: hegemony, neoliberalism, post-feminism and African womanism, this study analyzes the representation of weddings in Our Perfect Wedding and Top Billing Weddings, two South African wedding reality television programs. In addition, the study examines the TV programs’ audience narratives in online spaces. Analyzing online conversations helps to show how audiences actively engage with and interpret messages disseminated by the TV shows as they talk back to the shows and among themselves. The study also examines wedding speeches to understand their role in relation to gender issues in contemporary South Africa. The findings demonstrate that neoliberal and post-feminist narratives are used to exemplify what is contemporary and attractive. Tied to this, practices and appearances moderated by whiteness are represented as beautiful and normative whereas Blackness and Black feminine looks are either mainstreamed or discarded. The representations create a binary that is hard to resist between what is represented as modern and attractive versus the African culture that is represented as inconsequential and disposable. Regarding the TV shows’ audiences there is a tension between those who embrace the high class televisual representations of white weddings and those calling for a return to African cultural practices and an appreciation of Blackness. Such calls illustrate nostalgia for Blackness. For this reason, these narratives offer insight into the intersection of class and culture and illustrate that Black South Africans are navigating an identity struggle confronted with attractive contemporary life unfolding in a space where African practices are largely marginalized. Furthermore, wedding speeches with perspectives drawn from the African culture and Biblical scriptures reveal that marriage is constructed around patriarchal beliefs. Wedding speeches structure gender roles and define hegemonic African manhood, a prominent identity that towers over African womanhood. Christian and African cultural beliefs converge to normalize women’s subordination and male supremacy in the Black South African society, a contradiction to the attractive images portrayed on TV. The televisual representation of weddings, online responses to the representations and wedding speeches demonstrate an intersection of issues of culture, class, and gender in modern day South Africa. This intersection demonstrates that Black people are in pursuit of a Black identity confronted with issues of contemporary living while attempting to adhere to what has long been defined as inherent Black cultural practices with highly structured gender roles. Neoliberal and post-feminist narratives, while embraced for their attractive features of glamor in the form of white weddings, are also feared and resisted for displacing Blackness. Gender norms also complicate the identity picture as they are influenced by African practices that lag behind proclaimed gender equality in present day South Africa.
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Reinhardt, Janina [Verfasser]. "Regularity and Variation in French Direct Interrogatives : The Morphosyntax and Intonation of Question Forms in Reality TV Shows, Audio Books and Teaching Materials / Janina Reinhardt." Konstanz : KOPS Universität Konstanz, 2019. http://d-nb.info/1188202723/34.
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Wolontis, Kira. "She Probably Did Not Get a Rose : A Case Study of Audience Reception of the Swedish Adaption of The Bachelor." Thesis, Stockholms universitet, JMK, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-183188.
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Reality TV is a well-appreciated concept in the world of entertainment. The purpose of this study is to approach the viewing of reality television, with the intention to explore if men and women react to and interpret gender roles differently in a chosen reality TV show. Further social factors, such as nationality, age, sexuality and education will simultaneously play a crucial part in the analysis. The Swedish adaption of the well-known format The Bachelor was chosen for this case study to examine if the situations in the show would provoke different reactions and interpretations among the respondents. The thesis delivers two qualitative methodological approaches to capture the reactions and interpretations among the test persons. A focus group discussion with eight Finnish men and women was conducted along with eight individual interviews with Swedish men and women, with the intention of gaining insightful and valuable knowledge regarding how men and women interpret what they see. The study’s findings suggest that there are both differences and similarities among men and women in their reactions and interpretations of gender roles in the chosen show, and that further social factors aid and affect in constructing the different interpretations.
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Christovová, Nela. "Mediální konstrukce reality v žánru reality TV." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-350529.
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This thesis focuses on the manner how a phenomenon often called "media construction of reality" occurs in the Reality TV. This popular television genre is known for mixing reality captured on an omnipresent camera together with fiction elements in order to amuse the audience. In the theoretical part, I will focus on the concepts that are crucial for this phenomenon such as Berger's and Luckmann's social construction of reality, gatekeeping or agenda setting. Also, I will describe the history of Reality TV as a genre and also will focus on main subgenres that can be seen on television these days. In the practical part, I will use narrative analysis to identify how the media are constructing reality in television programmes. The sample for the analysis will consist of 80 episodes from 11 different TV shows of American and British production. These have already spread out of their country of origin and are familiar to Czech audience from local TV channels. My main thesis is that media construction of reality can happen from the very beginning - i.e. from rules establishing to shooting and postproduction. All these phases will be analyzed in this paper.
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Burianová, Kateřina. "Faktory úspěchu TV kuchařů aneb TV chefs' values." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-328738.
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There is only little attention payed to cooking shows in academic world. Mostly only mass media and public give their opinion on this topic. Due to many shows that exist and their spread, it is sufficient to concentrate on them also in academic writings. This diploma thesis tries to define cooking shows as genre. In analytic part it concentrates on one important aspect of cooking shows - their chefs. At first this thesis gives theoretic ground to cooking shows. It describes theories which are dealing with food. Then it takes a look on theories describing processes in contemporary culture. It is followed by chapter about reality TV and reality shows. History part about cooking shows contents also description of most important cooking shows and their chefs, both foregin and Czech production. At the end of theory part the position of cooking shows as TV genre is stated. In this thesis, new and unique term was created - TV chefs' values. It describes set of factors, which are important for TV chefs' to have to suceed. These factors are natural acting, sense of humor, loving food and vocational education in the field. The reseaarch was based on watching three cooking shows and interviews with people responsible for choosing chefs to these cooking shows.
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Mrázková, Tereza. "Případová studie pořadu Tlouštíci - reality show jako cesta ke štěstí." Master's thesis, 2021. http://www.nusl.cz/ntk/nusl-448364.
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Diploma thesis Case study of the reality show Tlouštíci - reality show as a way to happiness aims to explore how the definition of the makeover reality television is interpreted and implemented in individual moments of the show's creation (contents, creators, participants), which understands change of lifestyle as a way to increase quality of life. The main sources of information for this diploma theses are the contents of the individial episodes of the show Tlouštíci, interviews with the creators of the show and the participant, and non-participant observation of the castings and the shooting of the second series. The theoretical part of the thesis discusses the issue of obesity from a medical and social point of view and the development of depictions and views on obesity. The work is also based on the topic of relationship between a doctor and an obese patient. In the theoretical part the diploma thesis further analyzes the theory and history of reality television shows, specifically makeover reality television. The practical part then examines the contents, interviews and observations that were made and with the help of a case study of the work examines how the makeover of reality TV can be interprete dat each level as a way to happiness. Then the diploma thesis interprets the results of the...
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Cruz, Ana Rita Freitas. "Os concorrentes dos reality shows em Portugal : motivações e percursos de vida : estudo de caso do reality show "A Quinta"." Master's thesis, 2017. http://hdl.handle.net/10400.14/22896.
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Desde 2000, aquando a estreia do programa Big Brother em Portugal, que o género
Reality TV tem vindo a marcar o panorama televisivo português e, mais em concreto, o
subgénero Reality Game Show. As adaptações ao formato são muitas e, desde então, este
tem-se tornado num êxito de audiências. Depois de em 2004 ter estreado a Quinta das
Celebridades, a TVI reformula, em 2015, o mesmo formato, renomeando-o como A Quinta.
Com o objetivo de perceber quais as motivações que levam estes concorrentes a participarem
nestes formatos, baseando-nos também no culto pelas celebridades, este trabalho aborda esta
problemática, tendo como caso de estudo o programa A Quinta, que foi escolhido por incluir
concorrentes anónimos e famosos e também por ser emitido no decorrer do estágio realizado
na TVI.
Deste modo, foram realizadas entrevistas aos ex-concorrentes deste programa
utilizando a análise categorial de entrevistas para que se pudesse ter uma melhor perceção e
divisão dos temas-chave que queríamos realçar. Com a análise das entrevistas chegámos à
conclusão de que, efetivamente, a maior parte destes concorrentes entra nestes programas
pela fama e também pela situação financeira.Since 2000, when the debut of Big Brother program in Portugal, the Reality TV genre has marked the portuguese television and, more specifically, the subgenre Reality Gameshow. There are many adaptations to the format, and it has since become an audiences success. After having released Quinta das Celebridades in 2004, the portuguese channel TVI reformulated the same format in 2015, renaming it as A Quinta. In order to understand the motivations that lead these competitors to participate in these formats, also based on celebrity worship, this work addresses this problema, taking as a case study the program A Quinta, wich was chosen to include anonymous and famous competitors and also for being emitted during the stage realized in TVI. In this way, interviews with the former competitors of this program were carried out using the categorical analysis of interviews so that one could have a better perception and division of the key themes that we wanted to highlight. With the analysis of the interviews we have come to the conclusion that, in fact, most of these competitors enter into these programs for fame and also for the financial situation.
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王維玲. "A reaserach on dream construction of reality talent show: a case study of the tv show " Million Star"." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/42750173147883333851.
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Yang, Fan, and 楊帆. "The localization of Korean reality TV show in China: Where are we going, Dad?" Thesis, 2016. http://ndltd.ncl.edu.tw/handle/78960319459577459045.
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碩士國立交通大學
傳播研究所
104
In recent years, along with the frequently global pattern trade of the TV show , the industry in East Asia gradually emerge. Specially, the TV show trade between China and Korea is developing rapidly. The year of 2013 is called the blowout period of Chinese model inputing. A total of 30 TV shows were inputed and broadcasted in China. “Where are we going, Dad?” is a success of practice being introduced from Korea to China. Based on the above observations , this study aims to analyze the Chinese and Korean markets, and then to explore the localization of South Korean’s TV shows , specially for “Where are we going , Dad?”. The analysis shows the TV market in China remains under the control of government’s policy , such as the Policy of Limited Entertainment .On the other hand, the localization of South Korean TV show in productive system targets at implantable marketing and documentary footage. For the texts of TV show in China, they contain frequently conflict and documentary-style shooting to satisfy the Chinese audiences’ tastes. But the presence of star families will refer to excessive consumption of stars and class conciousness .
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Moore, Pavlína. "Stereotypizace náctiletých matek v britských reality show." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-392888.
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This thesis captures and describes the stereotypes of teenage and underage mothers regularly represented in British and American reality shows, broadcasted in the United Kingdom. The task of this paper is to explore and define the most frequent stereotypes presented by these TV shows on randomly selected samples. The thesis is divided into two parts. The first part deals with the phenomenon of teenage and underage mothers in the UK as a result of underclass demonisation, poverty shaming and social stigma in the context of British culture and society. The second part of this thesis applies the theoretical findings and analyses the common stereotypes represented and displayed in particular reality shows broadcasted in the UK using qualitative content analysis.
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Moravčíková, Dominika. "Mýtus národa a autenticita folklóru ve slovenské folklórní talentové TV show Zem spieva (2017)." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-404432.
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This master's diploma thesis discusses the mechanisms by which the Slovak public television talent show Zem spieva (2017) creates the concept of folklore perfor- mance as a means of building and expressing national identity. This thesis also discusses the mechanisms by which the show creates a platform for negotiating the criteria of high standard folklore performance which should present a consistent reconstruction of tradition. These two effects of the show Zem spieva are in this thesis perceived as conceptually conflicting: on the one hand, there are essentialist ideas about the genetic predisposition of members of the Slovak nation for folklore performance; on the other hand, there are doctrines focused on the reconstruction of the tradition on the folklore stage. These doctrines are followed by an expert jury composed of prominent members of the folklore community. This thesis argues that the concept of performing folklore on stage perceived as an intellectual problem of the reconstruction of tradition is in the show subversive and therefore gradually replaced by emotionally and patriotically defined criteria of high quality folklore performance. This preferred measure preserves cultural cohesion in terms of sa- tisfying the needs of the mass audience. Following the conflict of the mentioned...
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簡子軒. "The IMC Strategy of Pop Stars’ Image: A Case Study of Reality Talented Contest TV Show “ Super Idol”." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/87549425739743144643.
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Sinkovičová, Eva. "Faktory strachu. Funguje strach v žánru Reality TV jako nástroj sebereflexe i manipulace?" Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-392934.
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This thesis focuses on matters of Reality TV that share a main element - fear. The theoretical part of the thesis first introduces the genre itself, its history and classification. Secondly, the team fear is defined and analysed as a phenomenon through literature overview of the term in sociology, anthropology, philosophy and psychology. The thesis also outlines how fear was depicted in arts throughout history. The practical part of the thesis starts with a description of the methodology of the research and its design. Afterwards there are introduced Reality TV shows about fear which are subjects of the thesis, followed by analysis of their form and style. The final part of the practical part of the thesis consists of a research report revealing results acquired by qualitative survey on the basis of a grounded theory method. .
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Tsung, Chih-Wei, and 叢志偉. "The Impact of the U.S. Tourism Reality TV Show “The Amazing Race” on Taiwanese Audiences’ Viewing Behavior and Tourism Destination Images." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/81458386611643668307.
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碩士國立臺北教育大學
社會與區域發展學系碩士班
102
Under the popularity of tourism reality TV shows, reality TV has gradually become one of the sources offering audiences tourism destination images around the world. Out of the research motivation, in this study, the "The Amazing Race" program, which has the widest audience groups, is taken as the example, relevant literatures are referred to write the interview outline, and the interview method is used to conduct the one-to-one interview with 11 respondents and organize their interview transcripts, to analyze the impact of the U.S. tourism reality TV shows on Taiwanese audiences’ viewing behavior and tourism destination images. The results show that the TV shows with tourism, contests, and reality improve Taiwanese audiences’ enthusiastic involvement in the "The Amazing Race" program. Although Taiwanese audiences doubt the authenticity of tourism reality TV shows, their viewing behavior is not affected. With regard to tourism destination images, in this study, Vietnam, Botswana, and Germany are taken as the examples to compare the impact on local tourism destination images among Vietnam, which is near Taiwan, Botswana, with which Taiwanese are unfamiliar, and Germany, which is an advanced country after the tourism reality TV shows are watched. The results show that audiences’ tourism destination image of Vietnam and Germany is deeply influenced by organic images. The contents of the program make audiences have more specific local images. If the program does not comply with the organic image of audiences, audiences choose to doubt that the reality TV shows include necessary modifications and assembling for program production, and are less affected by local tourism destination images. In contrast, audiences’ tourism destination images are influenced more by the tourism reality TV show to Botswana and audiences select the most impressive images in the reality TV show to represent the most representative tourism destination image of Botswana.
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Zvěřinová, Zuzana. "Profil publika pořadů typu reality show vysílaných v českých televizích s důrazem na motivy sledování pořadu Hotel Paradise u vysokoškoláků." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-339161.
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The thesis has a goal to investigate the audience of reality shows available on Czech broadcasting market. Different types of shows will be analysed using selected parameters through the quantitative analysis. We will look for the similar and different parameters of audiences. The thesis is mostly focused on the show Hotel Paradise and its qualitative analysis.
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Králová, Michaela. "Talentové show v České republice a ve světě - analýza vybraných talentových formátů a jejich postupů v televizním vysílání a jejich vliv na chování publika." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-330459.
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In my dissertation I survey the historic progress of the reality TV and the reality show, focussing on the specific genre of the talent shows, which stands for the current phenomenon of the entertainment industry in TV broadcasting. Using the method of the oral history I'll explain in detail the principals of running these shows on chosen formats and point out how different or same strategies can appear in shows all over the world. Further I'll focus on the structure and the level of a production, main features of the audience personality and behaviour, for example forming the relationship between the viewer and the participants on the basing on personal stories or praising and idealising the competitors. The next step of my analysis will be a depiction of the economic thesis and rules, which run the talent shows, which give them a direction and drive them on the TV market. I'll give an insight into the terms as the affective economics, building lovemarks or an inspiring fan, which are characteristic for the era of the convergence of media, which are considerably covered by talent shows. In the end my work depicts also the role of the jury and their specific trail, which are necessary for the viewer ratings and potential success of the certain show. Further my work will point out the typical marks...
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Rosová, Kateřina. "Koncept rodiny v české společnosti a její mediální obraz v seriálu "Ulice": podobnosti a rozdíly." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-415565.
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This diploma thesis focuses on the concept of family in Czech society and on the media image in the series "Ulice". The aim of this thesis is to find the two concepts, then compare and contrast them. The research is qualitative, the used methods are content analysis and in-depth interview. The thesis begins with a theoretical part, where topics related to media constructions of reality, series "Ulice" and Czech family are explained. The theoretical part sets grounds for creating hypotheses. In the practical part, the last completed series of the series "Ulice" is analysed. The content of the viewed episodes is analysed using content analysis, followed by a verification of the hypotheses based on the theoretical part. A media image of family in the series "Ulice" is created based on the results of the content analysis. Subsequently, in-depth interviews are conducted with five Czech families, who are chosen intentionally. The concept of the Czech family in society is compiled based on the data from those interviews. Finally, the media picture of the Czech family in "Ulice" series and its concept in Czech society is compared, their similarities and differences are described. The key words are Czech family, TV show, "Ulice," media construction of reality, quality research, content analysis and...
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Hernandez, Virginia Rose. ""I'm sorry this hasn't been a fairy tale" : examining romance reality TV through The bachelor." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3277.
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Romance reality programming has become a major player in the television field, with the most successful shows garnering huge ratings and massive audiences over the course of numerous seasons. But while the concept of finding love in a competitive environment on the national stage is new, romance reality TV programs seem to regenerate outdated stereotypes which work in a retrograde fashion to envisage love in traditional, pre-feminist heteronormative and patriarchal structures. Combining a background of literature on reality TV which gives insight to the manipulative tendencies of the industry; feminist scholarship on the acculturating and indoctrinating nature of classic fairy tales; and writings on the prevalence of postfeminist ideology that emphasizes self-surveillance/subjectification, the rhetoric of self-empowerment, and natural differences between the sexes, this thesis examines one of the most ubiquitous romance reality shows, The bachelor. Through the lens of nine tropes--beauty, passivity, marriage, victimization, vilification, romance rhetoric, gender roles, consumerism, and the male gaze--I analyze a full season of episodes, tallying the occurrences in each category. Using these tally numbers as general indicators and providing examples of each theme, I argue that the lessons conveyed to audiences by The bachelor and other romance reality programs bear a striking resemblance to classic fairy tales morals in which positive outcomes for heroines directly correlate to their perceived femininity, including conventionally feminine virtues like physical beauty, moral turpitude, and adherence to normative gender roles. The presence of postfeminism in the media contributes to making these outdated fairy tales themes seem congruent with female agency and empowerment by uncritically casting the failure to find love as a personal one. At the same time, men are placed in advantageous positions of authority and power, affirming the inevitability and desirability of patriarchal relationship arrangements.text
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Wang, Yung-Hsuan, and 王詠萱. "The Reception of Taiwanese Audiences regarding China’s Image Presented by Chinese Outdoor Reality TV Shows: A Study On Where Are We Going, Dad?" Thesis, 2018. http://ndltd.ncl.edu.tw/handle/82cy2y.
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碩士國立臺灣師範大學
社會教育學系
107
Chinese variety shows have become more and more popular in Taiwan since 2013. This study focuses on the outdoor reality show Where Are We Going, Dad?, analyzing China’s image portrayed by this show, as well as investigating the interpretations by Taiwanese audiences of different generations and experiences based on the reception theory and through in-depth interviews. Research results show that interviewed audiences of different backgrounds take on diverse decoding positions. For instances, those who have ever been to China undertake oppositional decodings regarding the presentation of the reality show, while those who have never been to China adopt preferred decodings. It is worth noting that regarding different dimensions of China’s image, interviewed audiences take on the perspectives from diverse interpretative communities; for example, audiences interpret “the dimension of people” in line with the view of generations, while they decode “the dimension of culture” with the experiences of visiting China. In addition, audiences pay attention, based on their interests, to particular presentations and undertake diverse decodings. In general, audiences’ decoding positions change with multiple interpretative communities. In the end, this study points out that the China’s image presented by the reality show reveals the core value and the capacity of social construction of China’s media. This study further indicates reflections on the media literacy of audiences, the production of variety shows in Taiwan, and the media industry in China. For further research, this study also propounds several suggestions.