Academic literature on the topic 'Reality TV Shows'
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Journal articles on the topic "Reality TV Shows"
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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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Faiz, Zikra, Asmaa Azeem, and Ibtasam Thakur. "IMPACT OF REALITY TV SHOWS ON UNIVERSITY STUDENT’S PERFORMANCE." Pakistan Journal of Social Research 04, no. 03 (September 30, 2022): 464–70. http://dx.doi.org/10.52567/pjsr.v4i03.736.
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Reality TV shows are often featured; these are considered as a type of television programs which do not featured by professional actors. The purpose of the present study was to figure out the impact of reality television shows on the young adult students at university-level. The objectives of the present study were to find out the impact of reality TV shows on university students and to find out the pros and cons of a reality TV show for university students. The quantitative approach was adopted, whereas the research design was descriptive to determine the impact of reality TV shows on university students' performance. The researcher collected data through a cross-sectional survey method technique. Total 800 (400 males and 400 females) students were selected using a random sampling technique of probability sampling. The researchers developed a questionnaire which was consisted of two parts; the first part was consisted of demographical information, whereas the second part comprised of 40 closed-ended items, which were consisted of four subscales; influence of reality TV shows, pros and cons of reality TV shows, reality TV shows and impact on learning and education, and role of the show in an Education). The data were analyzed through descriptive and inferential statistical techniques using SPSS version 21. Results of the study showed that reality TV shows negatively impact students' minds. The majority of the participants agreed that they use the WhatsApp compared to other social media Apps. Reality TV shows engage students most of the time, and they never complete their tasks on time. Students are negatively affected by reality shows in more than one ways. Students sometimes associate reality shows with the real world because these shows focus on bullying, violent conduct, and unhealthy competitiveness. It is recommended that government must take steps to prevent the negative impact of reality TV shows on students. Keywords: Reality TV shows, University Students, Pros and Cons.
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Boateng, Jojo. "The Perception of Intimacy: Are Dating Reality TV Shows Affecting Relationships?" Canadian Journal of Family and Youth / Le Journal Canadien de Famille et de la Jeunesse 15, no. 2 (January 1, 2023): 33–43. http://dx.doi.org/10.29173/cjfy29870.
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A common theme that has emerged in relationship literature is the effect that TV reality shows have on determining one's perception and engagement in intimacy. For instance, the introduction of technology has shifted the way we participate in courtship practices. Now, individuals use mediums, such as dating apps, to find a partner and engage in intimacy. However, this discussion has ignored other mediums, such as TV shows, that center intimacy and relationships. In this article, we explore how the emergence of dating reality TV shows has shaped the way we perceive intimacy and engage in dating behaviours, answering the question: how are dating reality TV shows affecting relationships?
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Kyung Mi, Bae. "Elements of TV Travel Shows Motivating Viewers to Travel: Focus on Korean TV Reality Shows." International Journal of IT Business Strategy Management 4, no. 1 (July 31, 2018): 23–28. http://dx.doi.org/10.21742/ijibsm.2018.4.1.05.
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Gavrić, Goran. "From global to reality TV shows in Serbia." Kultura, no. 166 (2020): 170–92. http://dx.doi.org/10.5937/kultura2066170g.
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Redden, Guy. "Is Reality TV Neoliberal?" Television & New Media 19, no. 5 (September 12, 2017): 399–414. http://dx.doi.org/10.1177/1527476417728377.
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Reality TV is a distinctive mode of television programming that has developed exclusively in the last twenty years, raising the question of how it is of its times. Reality shows have often been described as “neoliberal” in their logic. They typically present participants as self-responsible enterprising authors of their own lives in ways consistent with the valorization of market relations by neoliberal theorists. I argue for and expand on this interpretation, arguing the role of the “ordinary people” they feature largely is to perform competitive entrepreneurial subjectivity without expectation of fair recompense, but in the hope of attaining extraordinary rewards. Hereby media industries construct narrative worlds consistent with the economic basis on which they employ, but also with recent neoliberal political economy that has been marked by the decline of collective social support and rising inequality among citizens.
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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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Czapnik, Sławomir, and Ineza Drewniak. "Kobiety a neoliberalna biopolityka. Przypadek polskich reality shows." Teoria Polityki 5 (2021): 127–45. http://dx.doi.org/10.4467/25440845tp.21.009.13789.
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Celem artykułu jest pogłębiona analiza wizerunku kobiet w polskiej Reality TV, przeprowadzona przy użyciu kategorii biopolityki Michela Foucaulta, uzupełnionej przez myśl Marksowską i marksistowską. Tekst składa się z trzech rozdziałów. Pierwszy dotyczy show Superniania, które pomogło zwrócić uwagę na kwestię biowładzy w sferze reprodukcji. Drugi rozdział omawia show randkowe, Hotel Paradise i Love Island. Wyspa Miłości, poruszając zagadnienia seksu i miłości. Ostatnia część skupia się na programie Damy i wieśniaczki, który pokazuje klasowy wymiar sprawowania biowładzy nad kobietami. Women and Neo-Liberal Biopolitics: A Case of Polish Reality Shows The aim of this article is to analyze women’s image in Polish Reality TV, using Michel Foucault’s category of biopolitics and Marxian and Marxist thought. Text contains three chapters. Firstly, authors are describing show Superniania (Supernanny) and depiction of biopower in an area of reproduction. Then, two dating shows, Hotel Paradise (Paradise Hotel) and Love Island. Wyspa Miłości (Love Island), are crucial in understanding important issues of sex and love. Last chapter is devoted to the show Damy i wieśniaczki (Ladies and Peasant Women), especially in a class context of biopower over women.
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Oloo, Oloo. "Ong’ong’a: Edutainment through Reality TV Shows in China and its Export." Studies in Humanities and Education 2, no. 2 (December 18, 2021): 40–46. http://dx.doi.org/10.48185/she.v2i2.398.
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In recent years, the Chinese media has grown vastly with the country’s interest in the investment in the developing countries. As the relationship with these countries become, so as the influence of Chinese culture towards the nations through the ever-growing Chinese media. Since the implementation of significant projects in Africa, Caribbean and Asia countries by Chinese government, the Chinese media have been characterized in localizing their TV contents to compete with the host countries and stretching their sense of soft power to these nations. Although they have faced significant challenges in terms of cultural difference, and technological development, the Chinese reality TV shows have continued to be part of the regular host countries' TV program diet while facing fierce standpoint from the initial global dominant media in these markets. This paper analyses these trends in focus on the Chinese reality TV shows that have hit the host countries' market as well as the motivation of their evolution. The article traces the extent of these strategies to be leveraged by states to balance their local production and foster cordial relation with China in a context of edutainment. It is imperative to analyze the development of this crucial phenomenon in the ontological perspective of the internationalization and marketization of products. The article addresses these issues by drawing attention from different players in this conspicuous field.
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Papacharissi, Zizi, and Andrew L. Mendelson. "An Exploratory Study of Reality Appeal: Uses and Gratifications of Reality TV Shows." Journal of Broadcasting & Electronic Media 51, no. 2 (July 12, 2007): 355–70. http://dx.doi.org/10.1080/08838150701307152.
Full textDissertations / Theses on the topic "Reality TV Shows"
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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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Mo, Juexiao. "ARG design for orientation of college students in mainland China." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/118351/2/Juexiao%20Mo%20Thesis.pdf.
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This project - ZOOMBREAK, is an Alternate Reality Game (ARG) designed to serve as an alternative to traditional university orientation events, especially in the context of China. It leverages the social engagement of an ARG to encourage participation, facilitate cooperation between new students, and build a culture of camaraderie. The exegetical document evidences a rigorous design-based research approach strengthened by a thorough context and case study analysis to inform the overall design concept and techniques for delivery. The analysis has included formats such as games, television shows, and marketing campaigns with similar themes and objectives, which informed the creation, evaluation, and refinement of the work. Hence, this exegesis may be used as a guide and reference for similar projects in the future.
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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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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.
Books on the topic "Reality TV Shows"
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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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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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The Reality Television Quiz Book 1000 Questions On Reality Tv Shows. Apex Publishing Ltd, 2010.
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Justice Performed: Courtroom TV Shows and the Theaters of Popular Law. Bloomsbury Publishing Plc, 2015.
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Kozinn, Sarah. Justice Performed: Courtroom TV Shows and the Theaters of Popular Law. Bloomsbury Publishing Plc, 2015.
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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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TV global espectáculos locales: El género de realidad en México y España. Guadalajara: Universidad de Guadalajara, Centro Universitario de Ciencias Sociales y Humanidades, 2003.
Find full textBook chapters on the topic "Reality TV Shows"
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Kirkpatrick, Scott. "Pitching Reality TV Shows." In Mastering the Pitch, 87–112. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003146728-5.
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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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Nešović, Dunja. "Bottom Text of RuPaul’s Drag Race: Reality TV shows and Internet Memes." In Digitalni horizonti kulture, umetnosti i medija, 285–98. Beograd: Institut za pozorište, film, radio i televiziju; Fakultet dramskih umetnosti; CLIO, 2021. http://dx.doi.org/10.18485/fdu_dhkum.2021.ch14.
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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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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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"Reality Tv Shows." In The TV Studio Production Handbook. I.B. Tauris, 2016. http://dx.doi.org/10.5040/9781350989313.ch-013.
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"Appendix: Reality TV Shows That." In Real Sister, 203–6. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813575094-012.
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Ames, Melissa. "Escaping Reality by Watching Reality TV?" In Small Screen, Big Feels, 42–56. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180069.003.0003.
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Chapter Two turns to reality television, exploring three theories of emotion that explain the rise of this televisual genre in the wake of 9/11. A study of the 2000-2010 programming schedule reveals the cultural anxieties with which producers and viewers of these shows (dis)engage. Although often considered superficial, lowbrow entertainment products meant primarily for escapist purposes, this essay argues that reality television programs grapple with important societal concerns: surveillance culture and privacy rights; the pressure of identity performance in the social media era; and shifting social, domestic, and familial expectations for men and women.
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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.
Conference papers on the topic "Reality TV Shows"
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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.
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Wang, Ningning, and Jiaqi Xiang. "Research on the Creative Techniques of “Reality Show” TV Programs." In 2021 Conference on Art and Design: Inheritance and Innovation (ADII 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220205.050.
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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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Válková, Hana, and Marcela Janíková. "Movement and Health in virtual topics of pedagogy practice of Physical Education students at FSpS MU." In Život ve zdraví 2021. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0076-2021-4.
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The starting point of the article is the question - how to address the pedagogic practices of university PE students at the time of pandemic measures, i.e., the closure of secondary schools and universities and the transition to alternative forms. Overview of standard teaching practices for TV on FSPS according to accreditation valid from academic year 2019/2020 is described as so as innovative inputs are described. Alternative performance in PP1, PP2 and PP3 practices, students pedagogy portfolio consisted of: compulsory activities - compulsory-optional activities – participation in “tripartite”. Tripartite is a specific form for on-line personal communication of all actors of pedagogic practice at a determined school: student – guiding schoolteacher – FSpS tutor. The basic method was the assessment of documents processed by 149 students, participating in alternative (virtual, on-line) format of pedagogical practice, i.e. analysis of their work (portfolio) and methodological sheets, pedagogical diaries and reports, schemes for teaching, video shots. Activities oriented on healthy lifestyle were formulated: theoretical topic, practical exercise focused on: a) fitness, b) relaxing. The analysed inputs were assessed by descriptive statistics. Results show that all 149 students included the healthy lifestyle activities in determined variants in their tasks. It can be deduced students are prepared for teaching this topic. From the other hand students expressed these outputs were the simplest to realize in alternative form. In conclusion students, guiding teachers and FSpS tutors expressed together: despite of the fact the virtual form cannot in any way replace direct pedagogic activity virtually conceived practices were not a waste of time. Outputs oriented on movement and health can also be part of the contents for the period of teaching PE in regular conditions. This idea is in line with WHO's objectives.
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Hirz, Mario, Alexander Kreis, Alexander Fragner, and Severin Stadler. "Combined approach of interior concept development for automated driving cars." In FISITA World Congress 2021. FISITA, 2021. http://dx.doi.org/10.46720/f2021-acm-127.
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"Automated driving provides large potentials in view of customer comfort, safe transportation and optimized traffic management. Whereas partially automated driving functions are understood as driver assistance technologies, fully automated functionalities are increasingly developed preparing the way towards self-driving cars. With rising level of automation, the degrees of freedom for driver and passengers increase, too, which enables the establishment of new vehicle interior concepts. In self-driving mode, cars do not require interaction of the driver - in this way, riding time can be used for working, relaxing, recreation or interacting with the other passengers. These new possibilities require a re-design or even completely new development of the traditional passenger cabin architectures. In this context, new interior concepts continuously are introduced by car manufacturer, supplier and styling- as well as engineering institutions, but they often lack in their feasibility for an implementation into real cars. Exemplary, people are sitting in cars on rotatable seats face to face, but there is not sufficient space for legs and feet. Other concepts show passengers lying on some kind of lounges and watching TV during the ride, but there are no safety measures applied for protection in case of accidents. Many of these new concepts have in common, that they do not consider sufficiently different boundary conditions regarding human ergonomics, comfort and vehicle interior safety. The submitted work introduces a combined approach of interior concept development under consideration of the enhanced possibilities provided by automated driving cars. The approach combines virtual investigations based on computational styling- and design models with ergonomic testing by use of an automated physical seating buck. The integrated approach enables consideration of different influencing parameters, e.g. vehicle packaging, seating position, ergonomics evaluation, passenger view- and safety-relevant aspects, even during early conception and layout phases of development. An integration of human models enables effective implementation of test results delivered by the physical system, which facilitates a smart connection between the working fields of project engineers, component designers, ergonomic specialists, safety and crash departments, designers and all of the other involved parties to support conceptual ergonomic layout processes of new passenger cabin concepts. Especially if complemented with modern visualization techniques, such as augmented- and virtual reality, the introduced fully parametric layout procedure has the potential to improve the precision of design decisions supporting successful conceptual interior development for future cars."