Reality TV Crime Programs

2017 ◽  
Author(s):  
Annette Hill
Keyword(s):  
Real World ◽  
Reality Television ◽  
Video On Demand ◽  
Reality Tv ◽  
Central Component ◽  
Law And Order ◽  
The Real ◽  
The Public ◽  
Origin Story ◽  
True Crime

Crime reality television is a significant origin story in understanding reality entertainment. In the 1980s, crime reality television captured the public’s imagination with cold cases, ongoing criminal investigations, surveillance feeds, and live appeals to the public for information to catch criminals. Early crime reality television borrowed from other factual genres, including news reportage, crime and observational documentary, and crime drama; this mixing of different generic elements helped to create representations of crime that were a combination of dramatized spectacles, surveillance footage, and public appeals. What united this mix of factual and dramatic styles was the sense of liveness; the live address to the public and the caught-in-the-act camerawork contributed to an experience of watching as immediate and real. This feeling of liveness, a central component of television itself, meant that crime reality television was popular entertainment that also connected to the real world, inviting audiences and publics to engage with crime in their local neighborhood, in society, and in public debates about law and order. This was citizen crime television that had commercial and public appeal. At some point in the origin story of reality television, crime was overshadowed by the global development of this entertainment genre. In early studies, books such as Entertaining Crime (Fishman & Cavender, 1998) or Tabloid Television (Langer, 1998) examined the influx of infotainment and sensational news reportage primarily on television in Europe, Australia, and America. These books were about reality television and addressed the first crime wave in the genre. Studies of the 2000s books, such as Reality TV (Hill, 2005) or Staging the Real (Kilborn, 2003), examined docusoaps and competitive reality and talent shows, addressing the second and third waves in the genre. More recently, companions to reality television (Ouellette, 2014) contain research on global reality television formats, as well as scripted reality or business reality, and analyze issues concerning politics, race, class, production, celebrities, branding, and lifestyles. Crime is conspicuous by its relative absence from these discussions: what happened to crime reality television? Today, true crime is flourishing in commercial zones, for example, on branded digital television channels like CBS Reality or the international surveillance format Hunted, and subscription video on demand true crime Making a Murderer. Many of these popular series tap into that feeling of liveness that was so crucial to early crime reality television, particularly the connection between representing crime, law and order, and the real world. This makes crime reality television a rich site of analysis as an intergeneric space where there are tensions surrounding the staging of real crime for entertainment, and its connection to traditional values of authority and duty, representations of ethnicity, gender and social class, and broader moral, legal and political issues.

scholarly journals Chasing the Public: The CBC and the Debate Over Factual Entertainment on Canadian Airwaves

2009 ◽  
Vol 34 (1) ◽  
Author(s):  
Derek Foster
Keyword(s):  
Reality Television ◽  
Public Debate ◽  
Reality Tv ◽  
The Public ◽  
Débat Public

Abstract: This article focuses on the public debate surrounding the CBC as it began to program reality TV. It highlights the tension between a public broadcaster’s popular programming and the expectations of a cultural nationalist public that seeks to hold the institution accountable. It argues for the existence of a “CBC effect” and questions whether the transnational format of reality television on Canada’s national broadcaster augurs changes in Canadian public culture.Résumé : Cet article porte sur le débat public entourant le CBC quand ce dernier a commencé à diffuser de la téléréalité. Il souligne la tension qu’engendre la programmation populiste d’un radiodiffuseur public à l’égard d’un public nationaliste qui s’attend à ce que celui-ci fasse des choix plus cultivés. L’article postule l’existence d’un « effet CBC » et se demande si le format transnational de la téléréalité telle qu’elle passe au radiodiffuseur national du Canada annonce des changements à venier dans la culture publique canadienne.

How Do We Take Real-World Action?

We the Gamers ◽  
2021 ◽  
pp. 65-80
Author(s):  
Karen Schrier
Keyword(s):  
Best Practices ◽  
Public Sphere ◽  
Real World ◽  
The Real ◽  
The Public ◽  
Bay Area ◽  
The Public Sphere ◽  
Black Friday ◽  
The Revolution

Chapter 5 describes how games can support real-world action and change. How can knowledge be applied to the public sphere and serve communities? Why and how should games be used to enable ethics- and civics-in-action? What are the best practices and strategies for supporting connections among civics, ethics, and the real world using games? The chapter includes an overview of why it is necessary to engage in real-world action. It describes the benefits of applying learning to real-world contexts and processes, and why games may support this. It also includes the limitations of using games to apply knowledge, and how to minimize those limitations. Finally, it reviews strategies that teachers can take to use games to take action and make change. It opens with the example EteRNA, and also shares five examples-in-action: Reliving the Revolution, 1979 Revolution: Black Friday, Community PlanIt, Bay Area Regional Planner, and Thunderbird Strike.

scholarly journals A Seamless Broadcasting Scheme with Live Video Support

2012 ◽  
Vol 2012 ◽  
pp. 1-8 ◽  
Author(s):  
Zeng-Yuan Yang ◽  
Yi-Ming Chen ◽  
Li-Ming Tseng
Keyword(s):  
Waiting Time ◽  
Real World ◽  
Video On Demand ◽  
Live Video ◽  
The Real ◽  
Bandwidth Requirement ◽  
On Demand ◽  
Constant Bandwidth

Broadcasting schemes, such as the fast broadcasting and harmonic broadcasting schemes, significantly reduce the bandwidth requirement of video-on-demand services. In the real world, some history events are very hot. For example, every year in March, thousands of people connect to Internet to watch the live show of Oscar Night. Such actions easily cause the networks contested. However, the schemes mentioned previously cannot alleviate the problem because they do not support live broadcasting. In this paper, we analyze the requirements for transferring live videos. Based on the requirements, a time skewing approach is proposed to enable the broadcasting schemes to support live broadcasting. However, the improved schemes require extra bandwidth for live broadcasting once the length of live shows exceeds the default. Accordingly, we proposed a scalable binomial broadcasting scheme to transfer live videos using constant bandwidth by increasing clients’ waiting time. When the scheme finds that the length of a video exceeds the default, it doubles the length of to-be-played segments and then its required bandwidth is constant.

scholarly journals Noisemakers! Putting the Analog in Digital Humanities

2019 ◽  
Vol 6 (1) ◽  
pp. 59-68
Author(s):  
Serena Ferrando ◽  
Mark Wardecker
Keyword(s):  
Virtual Reality ◽  
Real World ◽  
Digital Humanities ◽  
Public Realm ◽  
The Real ◽  
The Public ◽  
Multisensory Experience

Noisefest! is an interactive, multisensory experience centered around a small Maine town and rooted in the sounds and noise of its streets. Comprising a Virtual Reality tour, soundwalks and remixes, a 2D laser cut geographical map with Arduino controllers, and a Futuristic noise intoner, one of the objectives of this collaborative, transdisciplinary, and theory-based project is to create concrete opportunities for students to participate in the “real” world and engage with the materiality of noise and its manifestations by interacting with the soundscape through novel, interactive, and multisensory practices. Noisefest! is also an example of how one can creatively and artistically extend the reach of the digital humanities beyond the borders of academia and into the public realm.

scholarly journals Bluey, Requestival, Play School and ME@Home: the ABC (Kids) of communication cultures during lockdown

2020 ◽  
pp. 1329878X2095252
Author(s):  
Liz Giuffre
Keyword(s):  
Young Adults ◽  
Real World ◽  
The Real ◽  
The Public ◽  
Age Appropriate ◽  
Public Broadcaster ◽  
Children And Young Adults ◽  
Households With Children

When a nationwide lockdown was declared in Australia in March 2020, the role of the ABC as the public broadcaster became vital. Unprecedented pressure was placed on parents and carers as families were cut off from their physical networks and communities beyond immediate household groups. This article focuses on the specialist material created and curated by the ABC to entertain, educate and continue to provide cultural connection for households with children and young adults, particularly broadcast and post-broadcast outlets ABC Kids, ABC ME and Triple J. Notably, these outlets were able to provide both a connection to the ‘real world’ and ‘real events’ happening outside during this time, but they were also able to provide materials to escape and appease audience anxiety pitched at a level that is age appropriate.

Safe in Unsafe Places: Leisure, Passionate Avocations, and the Problematizing of Everyday Public Life

1996 ◽  
Vol 4 (2) ◽  
pp. 169-188 ◽  
Author(s):  
Ann Leffler ◽  
Elinor Lerner ◽  
Dair L. Gillespie
Keyword(s):  
Real World ◽  
Social Life ◽  
Public Places ◽  
The Real ◽  
The Public ◽  
Sports Events ◽  
Auto Ethnography ◽  
Other World ◽  
Participant Observer ◽  
And Training

AbstractLeisure is often distingtrished frorn and considered subsidiary to some other world, the "real" world. This paper explores how participation in passionate avocations _ leisure pursuits both generating and requiring heavy personal identity investments_ affects the public interface between the "real " world and the alternate world of the passionate avocation. We use the world of dog sport enthusiasts to problematize polar conceptualizations of certain important aspects of social life. In particular, we examine shifting experiential definitions of "safe" and "unsafe" public places by looking at how participation in dog sports shapes both the possibility of certain kinds of public interactions and also participants' public identities _ how they define themselves and are defined in public. The data come from four major sources. First, since 1992 we have interviewed approximately 50 enthusiasts in various dog sports. Second, by training and showing our own dogs, we enjoy participant observer access to a variety of dog-related activities and people. Third, we are involved in several Internet groups about dogs. Finally, using a technique Denzin (1989) terms "auto -ethnography, " two of the authors toured the country for nine months, attending dog sports events and training sessions and conducting interviews.

scholarly journals KALATIDHA KARYA SENO GUMIRA AJIDARMA: SEBUAH POTRET BURAM KEMANUSIAAN

Humanus ◽  
2014 ◽  
Vol 12 (2) ◽  
pp. 143
Author(s):  
Imas Maryanah
Keyword(s):  
Public Opinion ◽  
Key Words ◽  
Real World ◽  
Real Life ◽  
The Real ◽  
The Public ◽  
Running Away ◽  
The World

AbstractThe changing dynamic of human lives makes most of them ignorant to the values of right and wrong. Truth, freedom, and justice have become scarce and beyond real.Cruelty has caused fear, restlessness, and misery. In order to be free from excruciatingpressure, Kalatidha describes a picture of how someone has lived in his dream happily.The dreams and goals he is been longing for are only enjoyed in that surreal world, theworld freed from norms, ideas, and public opinion. “Running away” is the word used todescribe how people lock themselves away from the real world.  For him, the real world he understands is the world that can give him joy,happiness, and cheerfulness. Things that are immoral in the eyes of the public are noshame to him. One thing he is sure of, that life is a journey, and how he live it. Emptinessis no longer misery, but a process that has to be passed through the journey. Kalatidhahas become a picture of how inner unrest becomes a focus of deceitful real life pantings.Deceit and dishonesty are stupid, and craziness is an act of hopelessness.  Key words : Dream, Journey, Deceit AbstrakDinamika gambaran kehidupan manusia yang terus-menerus berubah menyebabkan sebagian manusia tidak mengindahkan lagi, mana yang harus dilakukanmana yang dilarang. Kebenaran, kebebasan, keadilan menjadi barang langka yanghanya menjadi impian belaka. Kekejaman telah memunculkan ketakutan, kegelisahan,kesengsaraan. Agar terbebas dari tekanan yang menyiksa, Kalatidha menyajikan sebuahpotret bagaimana seseorang telah hidup di alam khayalnya dengan bahagia. Impian dancita-cita yang selama ini didambakan, hanya dapat dinikmati di alam “sana”. Alamyang  terbebas dari norma, ide, pendapat masyarakat. “Lari” itulah kata yang tepatuntuk menggambarkan bagaimana seseorang telah memenjarakan dirinya darikehidupan nyata.  Kehidupan nyata yang ia pahami hanyalah dunia yang dapat memberinyakesenangan, kegembiraan dan keceriaan. Hal-hal aneh yang dianggap menyimpang olehmasyarakat pada umumnya bukan merupakan celaan baginya. Satu hal yang ia yakinibahwa hidup ini adalah sebuah perjalanan, dan bagaimana ia menjalankannya. Kekosongan dan kehampaan bukan lagi siksaan, tapi sebuah proses yang harus dilewatidalam menempuh perjalanan. Kalatidha telah menjadi sebuah potret bagaimanapergolakan batin menjadi fokus sebuah lukisan kenyataan semu. Kepalsuan dan kepurapuraanadalahhalbodoh,dankegilaanadalahtindakandarisuatukeputusasaan.Key words : Impian, Perjalanan, Semu

scholarly journals Public Urban Happiness, that is the making of our own world

2018 ◽  
pp. 1-4
Keyword(s):  
Urban Environment ◽  
Real World ◽  
New World ◽  
Public Domain ◽  
The Real ◽  
The Public ◽  
Body Of Knowledge ◽  
Public Happiness ◽  
Housing Estates ◽  
Outward Manifestation

For centuries the urban environment has been painted, designed, shaped and built in order to answer to specific needs and desires. Visions and drawings of ideal and perfect places still today behave as appealing images, offered to the public domain. During the last century, well-known icons, made of visionary and seducing scenarios, designed by avan-garde architects, acted as a vehicle able to symbolize the pursuit of public happiness: working on an urban imaginary, as a body of knowledge, efforts of architects and town planners were oriented to create a new world, based on ideals of progress and prosperity, with streets, squares, architectural complexes and housing estates for our everyday lives, for a wide satisfaction and consumption of urban users. Far from utopias, the real world hasn’t developed the ability to grant all wishes, often revealing itself as unable to find a way to connect innermost emotions of collective expectations to the outward manifestation in the urban realm. Even in their imperfections, cities expanded beyond what anyone could have imagined, sprawling along territories, scattering over the known borders.

Broadcast Yourself

2017 ◽  
Author(s):  
Christopher Grobe
Keyword(s):  
Real World ◽  
Reality Tv ◽  
Complex Nature ◽  
American Family ◽  
The Real

This chapter argues that reality TV is inherently confessional—and quite aware of being so. Against a scholarly tradition of seeing fly-on-the-wall “surveillance” footage as the genre’s defining feature, this chapter shows how direct-to-camera “confession booth” monologues form the true backbone of the genre. The argument centers around a deep study of the debut season of MTV’s The Real World (1992), but it also places this program in the context of later American reality TV and in a TV tradition that stretches back to PBS’s “drama-documentary” An American Family (1973). In order to illuminate the cultural mythos that surrounded The Real World and to capture elusive qualities of its affect and aesthetic, this chapter also treats the film Reality Bites (1994) and Dave Eggers’s memoir A Heartbreaking Work of Staggering Genius (2000) as works of criticism with something important to say about reality TV. In the course of exploring the complex nature of confession on The Real World, special attention is paid to The Real World’s editing aesthetic and to its troubled attempts to define what its cast members do as something other than performance, other than labor.

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