Reality TV * Reality Television and Class * Reacting to Reality Television: Performance, Audience and Value

Screen ◽  
2014 ◽  
Vol 55 (1) ◽  
pp. 139-143
Author(s):  
H. Piper
Keyword(s):  
Reality Television ◽  
Reality Tv

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.

Contributions of Reality TV Consumption to College Women’s Endorsement of the Heterosexual Script and Acceptance of Sexualized Aggression

2021 ◽  
pp. 036168432110446
Author(s):  
Leanna J. Papp ◽  
L. Monique Ward ◽  
Riley A. Marshall
Keyword(s):  
Sexual Assault ◽  
Longitudinal Data ◽  
Reality Television ◽  
Media Use ◽  
Reality Tv ◽  
Educational Programming ◽  
Prominent Feature ◽  
Healthy Relationships ◽  
Media Portrayals ◽  
Undergraduate Women

A prominent feature of mainstream television, especially reality programming, is a heterosexual script that outlines women’s and men’s traditional courtship roles. Although frequent media use is believed to produce greater acceptance of this script, existing analyses have not fully delineated contributions of scripted versus reality programming or tested these notions using a holistic heterosexual script scale. We addressed these limitations in two studies. In Study 1, 466 undergraduate women indicated their support of the heterosexual script and their consumption of popular reality programs, sitcoms, and dramas. Heavier viewing of reality programming predicted greater support for the heterosexual script, and heavier viewing of sitcoms predicted weaker support. In Study 2, we used longitudinal data to explore relations between viewing reality television, acceptance of the heterosexual script, and acceptance of sexualized aggression during undergraduate women’s first 2 years in college ( N = 244). We found that reality television consumption was not a direct predictor of acceptance of sexualized aggression but was a significant, indirect predictor through endorsement of the heterosexual script. These studies contribute to our understanding of unique media contributions to endorsement of the heterosexual script and illuminate one process by which women may come to normalize sexual mistreatment. Campus educational programming on sexuality, sexual assault, and healthy relationships may be able to intervene in this normalization through critique of the heterosexual script and media portrayals of dating and relationships.

Escaping Reality by Watching Reality TV?

2020 ◽  
pp. 42-56
Author(s):  
Melissa Ames
Keyword(s):  
Reality Television ◽  
Reality Tv ◽  
Surveillance Culture ◽  
Identity Performance ◽  
Privacy Rights ◽  
Television Programs ◽  
Men And Women ◽  
The Social ◽  
Entertainment Products ◽  
Familial Expectations

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.

Live tweeting, reality TV and the nation

2019 ◽  
Vol 23 (3) ◽  
pp. 352-367
Author(s):  
Mark Stewart
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Reality Television ◽  
Reality Tv ◽  
Imagined Community ◽  
Cultural Formation ◽  
Discursive Analysis ◽  
Audience Fragmentation ◽  
The Creation ◽  
National Borders

This article argues that the live tweeting of reality television allows the creation of an imagined community, bounded by national borders. In an era of audience fragmentation and time-shifting of television engagement, live reality television encourages audiences to watch at time of broadcast; this is amplified by the move of some audience members to live-tweet the broadcast, communicating amongst themselves within a dispersed backchannel. A crucial result of the digital conversation is to reinstate the importance of the nation as a space for the reading and reception of culture. The article utilizes a discursive analysis of the concurrent Twitter conversation around the second season of The X Factor NZ in New Zealand in order to highlight the ongoing role that is played by the nation as a cultural formation in such discussions, as well as the ways that it makes understandings of national cultural identity visible.

scholarly journals Reality TV Formats: The Case of Canadian Idol

2009 ◽  
Vol 34 (1) ◽  
Author(s):  
Doris Baltruschat
Keyword(s):  
Reality Television ◽  
Reality Tv ◽  
Narrative Development ◽  
Global Media ◽  
Media Events ◽  
Mise En Scene ◽  
Online Environments

Abstract: This paper discusses narrative development and audience interactivity in reality television, with a particular focus on the “format franchising processes” involving Canadian Idol. The staging of media events, recruitment of semi-professional performers, and immersive online environments emphasize the complexities of reality format adaptation, which involves the localization of global media texts.Résumé : Cet article traite de développement narratif et d’interactivité avec le public à la télévision réalité tout en mettant un accent particulier sur les « processus de franchisage de formats » entourant Canadian Idol. La mise en scène d’événements médiatiques, le recrutement de chanteurs semi-professionnels et les environnements immersifs en ligne mettent en relief les complexités requises pour adapter un texte médiatique mondial aux particularités locales de la région où on le diffuse.

scholarly journals Reality Show in Modern System of Mass Communication (Based on Ukrainian Reality Shows)

2017 ◽  
pp. 8-18
Author(s):  
Anastasia Filonenko
Keyword(s):  
Mass Communication ◽  
Reality Television ◽  
Real Life ◽  
Reality Tv ◽  
Inductive Method ◽  
Late Night ◽  
Reality Show ◽  
Real People ◽  
Show Business

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.

Shaming the working class in post-socialist Reality Television

2020 ◽  
pp. 136754942090279
Author(s):  
Irena Reifová
Keyword(s):  
Working Class ◽  
Capital Investment ◽  
Reality Television ◽  
Investment Project ◽  
Reality Tv ◽  
Cultural Setting ◽  
Working Classes ◽  
Neoliberal Governmentality ◽  
Reality Show ◽  
Everyday Reality

This article examines the ways in which working class participants are shamed in Czech Reality TV programmes. Previous research demonstrates that everyday Reality TV is an exercise in neoliberal governmentality and respective technology of the self, which advances the idea of the entrepreneurial self as a capital investment project and a brand. The article seeks to illuminate the process of stigmatisation of those who do not comply with these norms in the cultural setting of post-socialist neoliberalism. It builds on the arguments contending that neoliberal capitalism was implemented in the post-socialist part of Europe with higher momentum and stronger hegemonic power than in the West. The research looks at the acts of shaming working classes in three different Reality TV programmes as the dynamics through which class positions are moulded in a culture with a yet emerging class structure. The qualitative analysis of shaming interactions reveals that a working class position in the post-socialist cultural setting is articulated predominantly to excessive preservation of habits dating back to the period of socialism or, however, insufficient employment of the innovations and opportunities brought about by capitalism. Qualitative clustering of the targets of shaming resulted in four different types of self – marketised self, depaternalised self, unclassed self and (desperately) inegalitarian self – which the analysed Reality TV programmes endorse as the ideal facets of post-socialist personhood. The master homology between the genre of makeover reality show and post-socialism is detected as both systems are entrenched in the values of a complete overhaul of an individual or society.

scholarly journals A content analysis of tobacco and alcohol audio-visual content in a sample of UK reality TV programmes

2019 ◽  
Vol 42 (3) ◽  
pp. 561-569 ◽  
Author(s):  
Alexander B Barker ◽  
John Britton ◽  
Emily Thomson ◽  
Abby Hunter ◽  
Magdalena Opazo Breton ◽  
...  
Keyword(s):  
Young People ◽  
Reality Television ◽  
Visual Media ◽  
Reality Tv ◽  
Population Exposure ◽  
Alcohol Content ◽  
Big Brother ◽  
Minute Interval ◽  
The Uk ◽  
Made In

Abstract Background Exposure to tobacco and alcohol content in audio-visual media is a risk factor for smoking and alcohol use in young people. We report an analysis of tobacco and alcohol content, and estimates of population exposure to this content, in a sample of reality television programmes broadcast in the UK. Methods We used 1-minute interval coding to quantify tobacco and alcohol content in all episodes of five reality TV programmes aired between January and August 2018 (Celebrity Big Brother; Made in Chelsea; The Only Way is Essex; Geordie Shore and Love Island), and estimated population exposure using viewing data and UK population estimates. Results We coded 5219 intervals from 112 episodes. Tobacco content appeared in 110 (2%) intervals in 20 (18%) episodes, and alcohol in 2212 (42%) intervals and in all episodes. The programmes delivered approximately 214 million tobacco gross impressions to the UK population, including 47.37 million to children; and for alcohol, 4.9 billion and 580 million respectively. Conclusion Tobacco, and especially alcohol, content is common in reality TV. The popularity of these programmes with young people, and consequent exposure to tobacco and alcohol imagery, represents a potentially major driver of smoking and alcohol consumption.

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