Journal articles: '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.

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Flicker, Eva. "Männlichkeitsformen in Outdoor-Reality-TV-Shows am Beispiel "Expedition Österreich"." MedienJournal 29, no. 1 (April 25, 2017): 45–57. http://dx.doi.org/10.24989/medienjournal.v29i1.342.

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Witzel, Kai, Horst J. Koch, and Cornelia Kaminski. "Impact of Medical TV Shows on Preprocedural Fear of Surgical In-House Patients." European Surgical Research 58, no. 3-4 (2017): 121–27. http://dx.doi.org/10.1159/000452795.

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Background and Hypotheses: The growing number of medical television series and the increasing amount of time people spend watching TV will have an influence on what they expect from their treatment in a hospital. We suspect that reality as presented in the media and the actual reality of hospitals are not always conceived of as two different worlds. Many medical TV shows present dramatic, life-threatening operations much more often than they occur in reality. Patients who frequently watch such shows might be induced to believe that even routine operations are often dangerous, which could result in higher levels of fear before such an operation. We suspect then that there is a significant relation between preoperative levels of fear and TV viewing habits. Methods: A standardized questionnaire was used to interview 162 in-house patients who had come to the hospital for an elective standard operation in a German hospital. They were interviewed 1-2 days prior to operation and shortly before discharge from hospital. The questions aimed at their social situation, their TV viewing habits with special consideration of medical TV shows, and the patients' preprocedural fear. Results: The links between levels of education, age, and gender on the one hand, and viewing habits on the other, which have been shown in cultivation research, are supported by our findings. Approximately 50% reported a relevant anxiety level above 4 (on a scale of 0-10). There is a significant association between levels of fear and TV viewing habits. Thirteen subjects (8%) indicated that they suffered the highest imaginable degree of fear, all of them frequent watchers of medical TV shows. Frequent viewers of medical TV shows were definitely more scared than all other patients (p = 0.039). The preoperative level of fear was highest in the age group of under 40 years and significantly lower (p = 0.0042) in the age group of over 70 years. Conclusion: The assumed effects of cultivation with in-house patients caused by watching TV series could be shown to be statistically significant. Watching medical TV shows increases the patients' preoperative fear.

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Woo, Hyung-Jin, and Joseph R. Dominick. "Acculturation, Cultivation, and Daytime TV Talk Shows." Journalism & Mass Communication Quarterly 80, no. 1 (March 2003): 109–27. http://dx.doi.org/10.1177/107769900308000108.

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This study explored the cultivation phenomenon among international college students in the United States by examining the connection between levels of acculturation, daytime TV talk show viewing, and beliefs about social reality. It was expected that international students who were heavy viewers of daytime TV talk shows and who scored low on a measure of acculturation about the United States would hold the most negative perceptions and attitudes concerning U.S. society. Three specific hypotheses were tested. International students who score low on acculturation and watch a great deal of daytime talk shows should (1) overestimate the frequency of certain undesirable behaviors in the United States, (2) have more negative attitudes toward human relationships in the United States, and (3) have more negative perceptions of human relationships in the United States. The first hypothesis received limited support while the second and third received strong support.

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Zhao, Jing Jamie. "A splendid Chinese queer TV? “Crafting” non-normative masculinities in formatted Chinese reality TV shows." Feminist Media Studies 16, no. 1 (December 22, 2015): 164–68. http://dx.doi.org/10.1080/14680777.2016.1120486.

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Smith, Fiona, and Rachael Ironside. "The uncanny place: A critical appraisal of popular paranormal TV shows." Journal of Popular Television 10, no. 1 (March 1, 2022): 95–108. http://dx.doi.org/10.1386/jptv_00072_1.

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This article examines the construction of the uncanny place in reality paranormal television. Two introductory sequences from the British programme Most Haunted (2002‐present) are analysed that investigate ‘ordinary homes’ to consider the way that place is framed. Using textual analysis, the content of these sequences, including visual, auditory and discursive signifiers, is considered to identify themes where the inversion of the ordinary and the de-stabilizing of homeliness emerged. The use of binary oppositions and representations of liminality are identified as frequent tropes in the production of reality paranormal television. It is argued that these elements frame places as potentially uncanny and invite the viewers to participate in the paranormal possibility of the home. The uncanny, it is concluded, forms an integral part of the narratives that construct reality paranormal programmes and their success at sustaining an engaged and exploratory audience.

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Araújo, Rafael Fonseca de. "“What the hell are you talking about?”." Intercâmbio 51 (September 5, 2022): e58359. http://dx.doi.org/10.23925/2237.759x.2022v51.e58359.

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Ao longo das duas últimas décadas o Reality TV obteve enorme sucesso comercial e de audiência, o quetem motivado estudos em diferentes áreas acadêmicas. O propósito deste estudo é identificar dimensões de variação lexical (BERBER SARDINHA, 2014b) dos Reality TV shows Norte-americanos. O corpus do estudo – uma amostra extraída do Corpus of American Reality TV shows, composta por 260 textos de 13 tipos diferentes, totalizando mais de dois milhões de palavras – foi etiquetado com o Biber Tagger e a Análise Multidimensional Lexical (BEREBER SARDINHA, 2019) foi empregada identificando sete dimensões de variação lexicais compreendendo os principais tópicos/discursos desse registro.

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Wang, Grace. "A Shot at Half-Exposure: Asian Americans in Reality TV Shows." Television & New Media 11, no. 5 (March 22, 2010): 404–27. http://dx.doi.org/10.1177/1527476410363482.

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Kaplan, Deborah. "Hoarding Memories: The Work of Nostalgia in Two Reality TV Shows." Journal of Popular Culture 47, no. 6 (January 2014): 1077–91. http://dx.doi.org/10.1111/jpcu.12197.

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Hawes, Colin S., and Shuyu Kong. "Primetime Dispute Resolution: Reality TV Mediation Shows in China's “Harmonious Society”." Law & Society Review 47, no. 4 (October 21, 2013): 739–70. http://dx.doi.org/10.1111/lasr.12046.

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Rezende, Renata, and Eleonora Leite Costa Lavinas. "Gastronomia midiática: reality shows e a estetização da comida na TV." Lumina 11, no. 3 (December 30, 2017): 75–94. http://dx.doi.org/10.34019/1981-4070.2017.v11.21240.

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Este artigo pertence a uma pesquisa ampliada sobre a forma como o tema culinária/gastronomia é apropriado e enquadrado pela mídia televisiva brasileira na atualidade. Se, há algumas décadas, a comida era apresentada na TV como um conjunto de técnicas e práticas culinárias elementares (como o passo a passo de uma receita, por exemplo), hoje o tema parece ter sido ampliado significativamente. Como percurso metodológico, realizamos um mapeamento das produções televisivas, cuja temática é pautada na culinária/gastronomia e, na sequência, por meio de observação simples, um enquadramento das produções, a partir de tipologias. O objetivo é problematizar a forma como se desenvolve a construção narrativa gastronômica na contemporaneidade midiática tendo como recorte particular o gênero televisivo reality show (o qual enquadramos também como tipologia), relacionando-a à estetização da vida contemporânea e ao culto ao espetáculo.

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Abdul Manaf, Aini Maznina, Saodah Wok, Rizalawati Ismail, and Siti Sakinah Abdul Latif. "The Acceptance of TV Islamic Reality Shows by the Malay Community." ʻUlūm Islāmiyyah Journal 10 (June 2013): 93–116. http://dx.doi.org/10.12816/0002863.

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Sarpong, Sam. "Pushing the Boundary: are Reality TV Shows Ruffling Feathers in Africa?" Society 55, no. 1 (December 14, 2017): 53–61. http://dx.doi.org/10.1007/s12115-017-0210-1.

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Furtak, Erin Marie. "What reality TV taught me about everyday assessment." Phi Delta Kappan 101, no. 7 (March 30, 2020): 38–41. http://dx.doi.org/10.1177/0031721720917539.

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Reality TV — or certain design-oriented TV shows — may be better known for their focus on competition, but what we actually see when we look more closely are models of collaboration and assessment that can illuminate important principles of classroom learning. Erin Furtak reflects on the ways that three of these shows — The Great British Baking Show, Top Chef, and Project Runway — embody principles of classroom assessment, such as setting clear learning goals, having authentic conversations about progress, collaboration, and multiple opportunities for success.

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Lewis, Tania. "Adventures in love, risk and romance: Navigating post-traditional social relations on Indian dating shows." European Journal of Cultural Studies 20, no. 1 (July 24, 2016): 56–71. http://dx.doi.org/10.1177/1367549416640551.

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In recent years, Indian TV screens have seen a proliferation of reality shows focused on romance and dating. This essay examines a range of dating formats arguing that such shows offer rich insights into the ways in which contemporary Indian media culture is negotiating and promoting models of gendered individualism and ‘enterprising’ modes of selfhood. Drawing upon data from a study funded by the Australian Research Council on lifestyle and reality TV in South East Asia, our analysis focuses on the complex relationship between the ideals of aspirational modernity and choice-based selfhood promoted by these shows and the realities of ongoing gendered social and economic inequities and the continued cultural potency of religious and familial notions of duty.

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McGuire, Sarah. "A defense of the modern, high-tech redneck on reality TV: Why the world loves Duck Dynasty and its resulting redemptive representation of Rednecks." SURG Journal 7, no. 3 (August 18, 2014): 5–14. http://dx.doi.org/10.21083/surg.v7i3.2972.

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This article uses key terms and concepts from Television Studies to “close read” the reality TV show Duck Dynasty in its visual form. This article questions not only how Duck Dynasty represents rednecks, but also how the representation of the “redneck” is understood by the TV audience. It explores the success of Duck Dynasty as a reality TV show and argues that it redeems “rednecks” from Hollywood’s previous portrayals of the overly caricatured redneck stereotype. The Robertsons have the ability to convey truth – even if it is through a partially fake/mediated realm – and what they actually represent is a more subdued, modern form of redneck identity in comparison to classic Hollywood depictions. However, viewers cannot trust reality TV to wholly or singularly inform how they understand other social groups despite how “real” reality may appear on reality TV shows. Instead of viewing the redneck jokes and portrayal on reality TV as offensive, Duck Dynasty’s jokes and portrayals can be powerful tools for exposing the absurdity of the stereotypes previously perpetuated by Hollywood and can help subvert them. Keywords: Duck Dynasty; Duck Commander; Buck Commander; Robertson; redneck (representations of); reality TV; television studies; hillbilly; Southern culture; stereotypes; sitcom; American dream; American television

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Karimov, Amrullo. "INFO SHOWS ON PRIVATE TV CHANNELS AND THEIR MAIN FEATURES." INTERNATIONAL JOURNAL OF WORD ART 1, no. 3 (January 30, 2020): 221–26. http://dx.doi.org/10.26739/2181-9297-2020-1-31.

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Today, new and modern television projects are emerging in television practice. Terms such as intertainment, infotainment, polythenment are widely used in the field. Traditional television genres underwent extraordinary changes, and mixed-type genres emerged. Talk shows covering the most important socio-political, economic, cultural and educational topics of the time, shows with entertaining content, reality shows based on real events became popular. New methods have also emerged in the development of information programs

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Ren, Wei, and Helen Woodfield. "Chinese females׳ date refusals in reality TV shows: Expressing involvement or independence?" Discourse, Context & Media 13 (September 2016): 89–97. http://dx.doi.org/10.1016/j.dcm.2016.05.008.

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Terek, Lidija. "Violent behavioural patterns in the reality show "Couples"." CM: Communication and Media 15, no. 48 (2021): 37–67. http://dx.doi.org/10.5937/cm15-27578.

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The paper is dealing with the problem of violent behaviour in the reality show "Couples" (Parovi), which is broadcasted on Happy TV, a commercial television with a national frequency in Serbia. Based on the idea that the conditions in reality shows are conducive to violence due to a large amount of character interaction and little plot, and guided by the results of the research that studied violent behaviours in reality shows in the UK, our research aimed to determine which forms of violent behaviour are most prevalent in this reality show, in what situations and under what circumstances violent behaviours mostly occur, as well as who commits violence most often. The results showed that the most common forms of violence were direct emotional/psychological violence, that the most frequent and diverse violent behaviour was expressed by the Production and TV hosts, that nearly all the violent behaviour of participants were a reaction to the Production's and hosts' provocation and manipulation, as well as that individuals , who have a history of violent behaviour, most often behaved violently during the show. The obtained results proved that the Production of this reality show intends to provoke conflicts and violent behaviours, to compensate for the lack of story.

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Ayuningtyas, Winda Eka Pahla, and Munjid Achmad. "UNDERSTANDING THE AMERICAN DREAM FROM KARDASHIAN FAMILY THROUGH KEEPING UP WITH THE KARDASHIAN REALITY SHOW." CrossOver 1, no. 2 (December 31, 2021): 28–43. http://dx.doi.org/10.22515/crossover.v1i2.3973.

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This study explains the relationship between the Kardashians and the American dream that has been championed by Americans to date. It is hypothesized that the more popular culture develops in our lives, the more it will affect the development of our culture. This can be seen from reality shows as a kind of popular culture that many people love. To find out how big the influence is, this study uses the Kardashians as an object to see how they and their reality show influence the community. By using textual analysis and utilizing materialism and capitalism as the theory, this research is expected to reveal the impact of the Kardashians on the development of the American dream. This study takes several texts from the reality show and analyzes them according to the theory used. Then, it is found that technological progress and economic growth, including commercial TV, expose Americans to materialism. The Kardashians commodified it into a captivating moneymaker that reality TV viewers aspire and inspire to consume. In addition, the materialism that they display on reality TV shows also thrives in viewers' minds from which they take advantage by commodifying every aspect of their lives as a form of product to sell so that viewers buy what they advertise.Â Keywords: American Dream, Keeping Up with The Kardashian, Materialism, Capitalism.

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Dolgova, Yulia I., Nikita O. Ershov, and Tran Thi Thuy Dung. "Genre-format features of modern entertainment television." RUDN Journal of Studies in Literature and Journalism 27, no. 3 (October 12, 2022): 573–89. http://dx.doi.org/10.22363/2312-9220-2022-27-3-573-589.

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The highly competitive digital environment makes it necessary to study the content strategies of TV channels that continue to attract a mass audience to the screens. In the example of the program grid of the STS, TNT, and Pyatnitsa TV channels, the genre and format features of entertainment TV were analyzed. The formats in demand for programming are identified, and the seasonal (from August to December 2021) and weekly dynamics of content strategies (Tuesday, Friday, and Sunday) are shown. The list of entertainment television formats was compiled, and the research matrix was created based on the study of theoretical sources and a pilot study. The analysis showed that the selected TV channels have different content strategies. However, more successful TV channels that have been on the market for longer are building their content strategy, turning mainly to non-journalistic content formats, primarily television films and series. Among journalistic entertainment programs, humorous shows, travel shows, and reality shows were in demand. The content strategies of all TV channels on weekdays, Fridays, and Sundays were different.

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Lee, Seunghee. "A Study on Media Framing of Gender Role Stereotypes in Reality TV Shows." Korean Journal of Journalism & Communication Studies 63, no. 1 (February 28, 2019): 325–68. http://dx.doi.org/10.20879/kjjcs.2019.63.1.010.

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Ashikali, Eleni-Marina, Helga Dittmar, and Susan Ayers. "The effect of cosmetic surgery reality tv shows on adolescent girls’ body image." Psychology of Popular Media Culture 3, no. 3 (July 2014): 141–53. http://dx.doi.org/10.1037/ppm0000022.

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Stat, Terri Yablonsky. "As Seen on TV: Dr. G: Medical Examiner Shows Reality of Forensic Pathology." Critical Values 1, no. 2 (April 1, 2008): 25–27. http://dx.doi.org/10.1093/criticalvalues/1.2.25.

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Jung, Grace. "Aspirational paternity and the female gaze on Korean reality–variety TV." Media, Culture & Society 42, no. 2 (June 12, 2019): 191–206. http://dx.doi.org/10.1177/0163443719853506.

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Korean public broadcasters are reconstructing local fatherhood through two popular reality–variety shows Dad! Where Are We Going? (MBC, 2013–2015) and The Return of Superman (KBS, 2013–) wherein celebrity dads look after their children for 2 days without the help of their wives. The shows exemplify Korean ‘telemodernity’, which describes Asia’s aspirational modernity channeled through lifestyle television programs. These examples of Korean telemodernity strive toward a Western exemplary of fatherhood by breaking from the earlier generation’s paternity, described through an internalized orientalist self-perception as emotionally unavailable. The paternal masculinity that these shows idealize is visible through the mise-en-scene that frames scenarios around the female (mother’s) gaze of approval or disapproval. In a nation panicked by low childbirths, these shows are biopolitical in their design to encourage heteronormative coupling and reproduction among women more so than promote household egalitarianism.

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Jian, Miaoju. "Negotiating Paternalism and the Enterprising Self in Taiwanese Talent Shows." Media International Australia 147, no. 1 (May 2013): 122–33. http://dx.doi.org/10.1177/1329878x1314700113.

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Talent shows have rocketed to popularity in Taiwan in recent years, as demonstrated in the high rating programs, One Million Star (超級星光大道) and Super Idol (超級偶像). This article focuses on the Taiwan talent show phenomenon as an exemplar of today's contradictory and exploitable reality TV ‘celebrity economy’. Through the oft-repeated assertion of ‘yes, teacher’ (謝謝老師), Taiwan's talent shows manage to combine a globalising self-enterprising ethos of neo-liberal labour conditions with a Confucian-patriarchal culture. Within this context, powerful judges become mentors, with obedient contestants positioned as their apprentices. This article scrutinises the interdependence between this power-laden relationship in the talent shows and the self-enterprising practices of Taiwan's entertainment industry. It argues that, rather than democratising the TV empire, these shows have, paradoxically, contributed to the revival and consolidation of the previously presumed to be outmoded figure of the ‘star authority’.

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Suna, Laura. "Negotiating Belonging as Cultural Proximity in the Process of Adapting Global Reality TV Formats." Media and Communication 6, no. 3 (September 11, 2018): 30–39. http://dx.doi.org/10.17645/mac.v6i3.1502.

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This article focuses on aspects of belonging the producers of reality TV programmes address in the staging of emotions. Based on interview statements by 12 experts from the field of national and international reality TV format production, we argue as follows: on the one hand, producers in reality TV shows address belonging as a perceived cultural proximity to trans-local meta-narratives of a longing for change, romantic love, competition and victory. The producers associate these trans-local meta-narratives with allegedly universal emotions. On the other hand, the producers address belonging as a perceived cultural proximity to local cultural discourses on beauty ideals and combine these with a specific local cultural performance of emotions. The results show that an emotional repertoire is developed and negotiated in the adaptation process of trans-local formats. It refers to universalistic understanding of emotional display and negotiates specific “feeling rules” accordingly.

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Bell, Phillip. "Real New Formats of Television: Looking at Big Brother." Media International Australia 100, no. 1 (August 2001): 105–14. http://dx.doi.org/10.1177/1329878x0110000111.

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Recent ‘reality TV’ formats, such as Channel Ten's Big Brother, exhibit many features of ethnography, and attend to ‘real’ aspects of human behaviour in ways reminiscent of experimental psychological simulations of institutional roles conducted in the 1960s. Reality TV integrates and re-mixes genres of observational cinema and of game shows and situation comedy, purporting to reveal the very nature of people stripped of their conventional social support and competing for biological or social rewards. Yet these formats construct tight, artificial recontextualisations of existing social practices (around sex, courtship, work). Controlled, scripted games are therefore played out which beg the question of how ‘naturally’ people do (or should) behave, both in ‘reality’ and on television.

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Lukyanova, Galina. "Framing in Russian TV News: How to Shape Reality?" SHS Web of Conferences 50 (2018): 01098. http://dx.doi.org/10.1051/shsconf/20185001098.

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In a democratic society, the mass media play an enormous role, as they broadcast various points of view that exist in the society. By using various media effects, authors of information messages influence the formation of certain attitude to a particular political event reflected in the media, thus contributing to the legitimation or de-legitimation of political power. The purpose of this study is to examine the news on Russian federal television channels in order to identify frames that play a role in the process of political power legitimation. Qualitative content analysis shows that media framing is actively used by leading state TV channels as a technology for legitimizing the power. The most frequently used frames are “the Great Power,” “Ineptitude of Other Countries,” “Confrontation / Opposition,” “International Intervention,” and “the Strong Leader.”

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Tharmapoopathy, Mathuri, Santosh Kumar, and Abishan Thavarajah. "Interview skills – psychiatry reel to reality." BJPsych Open 7, S1 (June 2021): S295. http://dx.doi.org/10.1192/bjo.2021.783.

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AimsThis reel analysis identifies quotes and actions of fictional characters from TV shows, namely: Hercules Poirot, Sherlock Holmes and House who can demonstrate learning points for clinical students to use within real psychiatric practice, using scientific theories such as the Hypothetico-deductive model, Empirical falsification and Occam's razor. This analysis explores what an ideal psychiatric interview consists of and what can be learnt from these characters and implemented within medical education.MethodEach show was watched by one researcher over the period of March to August 2020. The researcher noted insightful quotes which were relevant to one of the three philosophical theories. Quotes were included if they demonstrated deduction skills, revealed a character's ethos and supported the Calgary-Cambridge model of interviewing such as building rapport. 32 quotations were collected in total and narrowed to 6 quotations. These were then analysed, learning points were made and linked to the Calgary Cambridge model.ResultDr House demonstrates objectivity when taking a patient's history. He utilises empirical falsification when diagnosing to avoid missing a differential diagnosis. Detective Poirot displays how empathic listening allows disclosure of details in the history, which would have otherwise been omitted. Additionally, he illustrates the importance of collateral interviewing which allows one to identify misinterpretations and inconsistencies. Sherlock teaches us the importance of perception regarding mismatching information which can help to gather new facts. All three characters interview beginning with open questions to more closed questions, supplementing with deductive reasoning in order to solve cases. Objectivity, empirical falsification, empathetic listening and deductive reasoning are the key skills displayed by these characters, that medical students can most use in their own practices.ConclusionThe perfect interview discovers new information through synchronised collaboration, whilst adhering to the Hypothetico-deductive model of thought. A combination of the Calgary-Cambridge model of interviewing and skillset of the TV characters should be considered for implementation in some aspects of psychiatric interviewing. Medical education can utilise these TV shows to teach students how to conduct history-taking.

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Omoera, Osakue Stevenson, and Isaac L. Ihekwoaba. "A comparative study of urban and rural reality tv viewership patterns of who wants to be a millionaire in Nigeria." Telos Revista de Estudios Interdisciplinarios en Ciencias Sociales 24, no. 3 (September 3, 2022): 799–818. http://dx.doi.org/10.36390/telos243.21.

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Socio-economic tastes of urban and rural reality television (Reality TV) viewers appear diverse and may account for divergent lifestyles, especially concerning media exposure. This article investigated comparatively the viewership levels of Reality TV shows by urban and rural dwellers in Rivers State, Nigeria, using Who Wants to be a Millionaire as a fulcrum of analysis and discussion. Relevant data were gathered from 387 respondents, using a questionnaire that was designed, validated, and randomly administered in Port Harcourt Local Government Area (PHALGA), Obio-Akpor Local Government Area (OBALGA), and Emuoha Local Government Area (EMULGA), which were purposively selected as PHALGA and OBALGA constituted the cosmopolitan areas while EMULGA was regarded as a rural setting in Rivers State of Nigeria. Using Motivational Theory and the Entertainment-Education (EE) concept, the article employed quantitative and qualitative methods to examine the perception of reality television (Reality TV) by urban and rural dwellers and the influence the programme has on them. Data generated were analyzed and revealed that there was a significant difference in urban and rural viewership patterns of reality television. The conclusion reached is that the programme was perceived positively as indicated by its broad-based audience and its very educational content.

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Irda, Elisabet, and Tomy Michael. "PERLINDUNGAN HUKUM TERHADAP TAYANGAN INFOTAIMENT YANG BERHUBUNGAN DENGAN SIARAN TV DAN ANAK." Akrab Juara : Jurnal Ilmu-ilmu Sosial 7, no. 1 (February 4, 2022): 65. http://dx.doi.org/10.58487/akrabjuara.v7i1.1756.

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Infotaiment shows have an impact that cannot be separated from the influence of the mass media. The influence can be in the form of behavior, fashion and even attitudes towards certain ideologies. It all depends on how prepared humans are to deal with television information. If what is shown is a good achievement achieved by a celebrity, this can be used as a lesson for his fans. But if what is shown is behavior that violates immoral norms, it is certainly not good. Ironically, infotainment shows more emphasis on the lifestyle of celebrities, starting from minimal clothing, hairstyles and social interactions, which in fact they adopt more of a western lifestyle. This has a very dangerous impact if it is continuously shown to the public, especially to children who are easy to follow things that are often seen by children. The rise of television shows with soap operas and reality shows is in dire need of infotainment, and vice versa where infotainment is an inseparable part of television shows.

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McVey, Alex. "Police officer or social media star? Live PD and microcelebrity." Journal of Fandom Studies 8, no. 3 (September 1, 2020): 237–49. http://dx.doi.org/10.1386/jfs_00021_1.

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This article examines the rhetorical strategies of microcelebrity in the reality TV show Live PD. Live PD is an important text for understanding how police work with the entertainment industry to create selective strategies of self-presentation in the wake of the media challenges posed by the Black Lives Matter movement. It shows how police draw on new media and social media to shape public discourse about police and promote alternative images of police officers. It also shows how police mobilize the techniques of reality TV, fan engagement and social media to respond to emergent crises of police credibility. This article argues that Live PD’s rhetorics of microcelebrity use intimate visual access and fan engagement to create new modes of cultural attachment to police power while also substituting affective sensations of intimacy for substantive demands of police accountability.

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Painter, David Lynn, Alison Kubala, and Sarah Parsloe. "Playing doctor on TV: physician portrayals and interactions on medical drama, comedy, and reality shows." Atlantic Journal of Communication 28, no. 5 (November 15, 2019): 322–36. http://dx.doi.org/10.1080/15456870.2020.1691002.

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Svetlana, M. Tuzova-Schyokina. "The aesthetic experience as the goal and the form at the mass-media (travelog)." Yugra State University Bulletin 11, no. 1 (December 15, 2015): 147–51. http://dx.doi.org/10.17816/byusu2015111147-151.

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This article is concerned about the features of the travelog as a way of constructing special aesthetic reality. The analysis of the practice shows that the main goal of the TV-travelog is forming of the aesthetic experience.

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Ahmad, Rizwan. "Analysis of Media Bias—Glenn Beck TV Shows: A Content Analysis." Journal of Creative Communications 17, no. 1 (November 8, 2021): 67–87. http://dx.doi.org/10.1177/09732586211048990.

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This study provides an overview of the media’s role in shaping public discourse and belief through framing news stories in a biased perspective and setting an agenda that is in keeping with the interests of the corporate and institutional funders of the media apparatus. Support for such an analysis is provided by a literature review that covers many critical aspects of news framing, agenda setting and cultivation theory, especially with respect to the emergence of a new ‘network society’. The ‘content analysis’ approach is utilised to search for biased content via the use of coders and decoders in some 140 randomly selected sampled links of the ‘Glenn Beck’ show during the two periods of time from 1 January 2010 to 30 June 2010, and from 1 January 2011 to 30 June 2011, each of these periods consisting of 70 samples. The results ultimately show that the programme almost unilaterally provides supportive views of moral conservative values, and slight negative portrayals of Muslims. The programme presents critical views of President Obama and his policies, although the finding in opposing Obama’s policies is not statistically significant. The significance of these findings is discussed within the larger context of media bias and its influence on political reality, as well as public discourse and belief; although the study and hence, the findings suggesting ‘bias’ do not represent the entire media industry representing conservative values.

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Zhukov, V. "Trends of unification and originality of reality shows in the cultural space of Ukraine." Culture of Ukraine, no. 78 (December 23, 2022): 60–64. http://dx.doi.org/10.31516/2410-5325.078.07.

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The purpose of the article is to analyze the causes and consequences of the unification of reality shows in the cultural space of Ukraine. The research methodology is based on a cultural approach to the study of the latest television morphology. The article discusses the main levels at which the trend of unification of reality shows in the Ukrainian TV-Internet space takes place. The article is complemented by an art history analysis of the features of reality shows as the latest morphological formation of a tool for embodying changes in the structure of the narrative by a modern viewer. An analysis of the consequences of the reality show unification trend in the context of post-postmodern culture is presented. Sociocultural changes are revealed in the structure of the viewer’s vision of real life through the prism of a reality show. The convergence of heroes and characters of a reality show is analyzed as a result of unification and changes in the structure of recipients’ thinking. The origi-nality of modern Ukrainian reality shows is noted, most of which have a social orientation, tell about the life, characters of Ukrainians, their dreams and goals based on ethno-cultural traditions. The scientific novelty lies in revealing the levels of unification and originality of Ukrainian reality shows, the manifestations of unification and originality trends in the cultural space of Ukraine are highlighted. Conclusions. The reality show takes on the functions of a tool for ensuring the interpenetration of cultures and at the same time broadcasting domestic cultural codes to the global world. The reality show is a reflection and at the same time an element that forms post-postmodern culture, perceiving, transmitting and using its phenomena, new forms and meanings.

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Tartaglia, Stefano, Silvia Gattino, and Caterina Bimbo. "The different dimensions of risk perception: The role of individual traits and watching TV." Psihologija 52, no. 4 (2019): 347–61. http://dx.doi.org/10.2298/psi181102007t.

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The goal of this study was to investigate the relation between watching various types of TV programs and risk perception. Because risk perception is a complex phenomenon, we focused also on the role of personal (gender, educational level, personality) and contextual characteristics (living in a large, mid-sized, or small city) in the development of social concerns. A self-reported pen and paper questionnaire was administered to 316 Italian adults. We conducted an exploratory factor analysis to identify different groups of perceived risk causes, which revealed three factors: Violence, Politics and Economy, and Environment. We verified the relations among factors of risk perception, TV genres, and personal dimensions via structural equation modelling. Viewing News and Public Affairs was positively related to all dimensions; Films and TV series were positively related to Violence, and Reality and Variety Shows is not related to any factor of risk perception. Educational level was negatively related to all risk perception factors and to watching Reality and Variety Shows. Neuroticism was positively associated with Violence and Politics and Economy, whereas living in a large city was negatively related to Violence.

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Kohl, Marie-Anne. "Dancing with Empty Water Bottles at L’ Afrique a un incroyable talent, Brought to You by Nestlé." Matatu 51, no. 1 (June 18, 2020): 169–92. http://dx.doi.org/10.1163/18757421-05101005.

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Abstract Departing from a close reading of a particular performance to examplify localisation processes of the global Reality TV talent show format, this paper offers an analysis of the relationship between talent shows and patronage. Based on a concrete music and dance performance analysis, it further contributes to the more general discussion of transnational format trade and format adaptation by putting a focus on the entanglement of patronage, intervention and transformation. The analysis of the performance in question addresses how the musicians and dancers approached a concrete problem by creating a sense of belonging, involvement and disorientation through aesthetic means. With their critical stance, they position themselves in a specific local performing arts tradition, which itself is connected to earlier theatre and TV talent contests. Referring to the concept of glocalisation, I suggest that local topics of critique and intervention are part of the localising effect of the Reality TV talent show format.

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Rubinstein, Gidi. "Modesty Doesn’t Become Me." Journal of Individual Differences 37, no. 4 (October 2016): 223–30. http://dx.doi.org/10.1027/1614-0001/a000209.

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Abstract. The objective of this study is to compare the Big Five of personality and the narcissism levels between candidates who auditioned for the show and control individuals, who had no intention to participate in a reality TV show. Ninety-two candidates who auditioned for the show and 94 control individuals who had no intention to do so filled in a demographic questionnaire, Costa and McCrae’s (1992) NEO-FFI-R, and Raskin and Hall’s (1981) Narcissistic Personality Inventory (NPI). The candidates were significantly less agreeable and neurotic, but more extroverted, conscientious, and narcissistic, than noncandidates. Gender personality differences between candidates and noncandidates are also presented. Reality TV shows are one of the modalities of the narcissistic culture, through which narcissistic individuals may channel their need for admiration.

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Jorissen, Allison, F. Richard Ferraro, and Nikki Sandau. "The Effect of Thinness Promoting Reality TV Shows on Being At-Risk for an Eating Disorder." Psi Chi Journal of Psychological Research 13, no. 4 (2008): 164–67. http://dx.doi.org/10.24839/1089-4136.jn13.4.164.

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Journal articles on the topic 'Reality TV Shows'

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