scholarly journals Gender, Language and Indian Reality Television: Locating Social Stereotypes and Linguistic Sexism

2021 ◽  
Vol 12 (2) ◽  
pp. 482-492
Author(s):  
Sohaib Alam ◽  
Shafey Anwarul Haque
Keyword(s):  
Significant Contribution ◽  
Reality Television ◽  
True Self ◽  
Language Practice ◽  
Common People ◽  
Social Stereotypes ◽  
Academic Level ◽  
Reality Show ◽  
Participation Of Women ◽  
Real Self

Aim. The reality genre has gained much popularity in last few years across the globe. In India too, this genre has reportedly surpassed other genres in recognition and acceptance. However, its format and content intrigue controversies at both social and academic level, but its mass appeal gets bigger each day. The study examines gender, language and issues of gendered language in Indian reality show Bigg Boss. While keeping in view the format and claim of the genre, the study observes how under thorough surveillance, housemates negotiate with their real self and grapple with their language practice. Influence of neoliberalism on society, culture and identity has been very much discussed, the paper attempts to highlight how this transitions in gender identity is depicted in a show taking non-actors and common people. Concept. For the purpose of the study, scripted transcription of Bigg Boss (Season 11) has been used, wherein all the episodes of have been watched back and forth carefully, and detailed notes prepared for the analysis. Housemates’ language practice, voice pattern and preference of words and statements have been observed. Results and conclusion. The study finds that game reality show Bigg Boss substantially adheres to social stereotypes and standards and while doing so, it also imitates the language practice prevalent everywhere. Although active participation of women in the show is visible butt while exhibiting their true self, sometimes gender prejudice embedded deep inside also comes out, which in case of men is very frequent. The study concludes that as a globally acclaimed genre, reality show, like other genres, is very much commercialized and consumer oriented.   Originality. A number of studies related to reality shows have been conducted, but in Indian context, this genre has been inadequately explored. Also, it is very difficult to find studies focusing any specific season of an Indian reality show, so it would not be incorrect to mention that the present study is one of the primary works on this subject, which aims at making some significant contribution related to this genre, in academia.

scholarly journals Catching a Catfish

2016 ◽  
Vol 18 (3) ◽  
pp. 203-217 ◽  
Author(s):  
Michael Lovelock
Keyword(s):  
Social Media ◽  
Reality Television ◽  
Media Use ◽  
Subject Position ◽  
Cultural Work ◽  
Social Media Use ◽  
Authentic Self ◽  
Reality Show ◽  
Real Self ◽  
Tv Show

This article interrogates the cultural work of “old” media texts that take social media use as a narrative focus. Using the MTV reality show Catfish: The TV Show as a case study, I argue that, in this program, the specific conventions of reality television—authenticity, confession, and self-realization—work to produce and circulate normative scripts of “appropriate” and “inappropriate” ways to articulate the self on social media, which align with reality TV’s established investment in the concept of the “authentic” self. Furthermore, I argue that the show’s representations of social media use valorize the primacy of connecting with and accepting one’s “real” self, making legible a subject position that speaks particularly to young people—the program’s target demographic—in the contemporary juncture of 2010s “crisis” neoliberalism, by transposing political questions into personal crises.

scholarly journals Linguostylistic Means Expressing the Antithesis "Materialism − Moral Values" in John Braine’s Novel "Room at the Top" Exemplified by the Images of Susan Brown and Alice Aisgill

2019 ◽  
Vol 21 (1) ◽  
pp. 223-231
Author(s):  
Yu. A. Kutsevich
Keyword(s):  
Significant Role ◽  
Moral Values ◽  
The Novel ◽  
True Self ◽  
Social Barriers ◽  
The Real ◽  
Social Stereotypes ◽  
Gradual Loss ◽  
Material Values ◽  
Real Self

The study explores the linguostylistic means in John Braine’s novel "Room at the Top" (1957), which enabled the author to show the character’s inner conflict between his craving for wealth and power and his morals, or the conflict of social stereotypes about happiness and authenticity treated in this article as the real self of Joe Lampton. The true self makes itself evident through the contradictions that torture him in the course of his efforts to overcome social barriers and renounce moral values. The research objective was to analyze the interconnection between the expressive means in the novel and the sense they imply. The linguostylistic, motivic, contextual, and definitional analysis revealed that the antithesis "materialism – moral values" is presented in the opposition of the images of two women. Both play a significant role in the main character’s destiny. The antithesis is conveyed with the help of expressive means, such as contextual antonyms, evaluative vocabulary, syntactic parallelism, irony, climax, metaphor, etc. Susan Brown’s image embodies Joe Lampton’s material values, while that of Alice Aisgill personifies his moral values and the gradual loss of his authenticity. 

Fat women, performance and subversive commodification on Ghanaian reality television

2021 ◽  
pp. 016344372199992
Author(s):  
Rashida Resario ◽  
Akosua K Darkwah
Keyword(s):  
Weight Loss ◽  
Reality Television ◽  
Television Station ◽  
Reality Show ◽  
The Subject

Critics of weight loss reality shows often present the contestants as victims of commodification and exploitation without any form of agency. This paper seeks to contest this one-sided view of such shows. It draws on interviews with the producers and 19 contestants in the first season of a dance reality show in Ghana, the Di Asa show, as well as recorded video performances online. We argue that indeed the show was organised in a manner that commodified the contestants for purposes of improving the ratings of the private television station that hosted the show. However, to read these contestants purely as commodified objects misses half the story. We demonstrate that these contestants participated in the show with parallel motives to that for which the producers created the show, and were successful in their endeavours. They thus engaged in what we call subversive commodification, a situation where the object of commodification actively takes part in the commodification process to gain benefits that accrue solely to them and not the subject of commodification.

Challenges of Moksh Organization: an epitome of humanity

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Nikhil K. Mehta ◽  
Shubham Chourasia ◽  
Aswini Devadas
Keyword(s):  
Social Psychology ◽  
Business Communication ◽  
Prima Facie ◽  
Content Type ◽  
Secondary Sources ◽  
Social Stereotypes ◽  
Academic Level ◽  
The Social ◽  
Dead Bodies ◽  
Social Leadership

Theoretical basis This case uses concepts from Korten’s strategies of development-oriented four generations of non-government organizations (NGOs) and social psychology such as stereotypes, prejudices and actions to explain the social phenomenon. In furtherance, the case presents Aristotle’s approach to creating a message for masses that include use of ethos, pathos and logos. Stood’s (2017) narrative, engagement and technology (NET) model of social leadership was used to analyse the characteristics of social leaders. Research methodology Prima facie the case was developed from primary sources i.e. interviewing with Ashish Thakur. Literature from secondary sources was obtained to make teaching notes. List of references is presented towards the end that depicts the use of textbooks, research papers, websites and blogs. This case was tested in the classroom with MBA students learning business communication. Case overview/synopsis The case dealt with the challenges of an NGO that included conducting respectful last rites of unclaimed dead bodies. As the NGO grew, Ashish Thakur, the initiator of Moksh started facing resource management challenges, namely, volunteer induction, fundraising and managing non-human resources. These issues are deeply embedded in several social stereotypes about dead bodies. Learning covers strategies of four generations of NGO development, a NET model of social leadership, breaking social stereotypes related to dead bodies and last rites (necrophobia), designing social communication and opportunity to assess faulty rationalizations and do critical thinking around the socio-religious practices. Complexity academic level This case is intended to be used for the students of the social leadership or social entrepreneurship, social psychology, business communication or communication skills, organizational behaviour, advertising and social media.

Empathy TV

2017 ◽  
Author(s):  
Alisha Gaines
Keyword(s):  
Los Angeles ◽  
Race Relations ◽  
Reality Television ◽  
Trade Books ◽  
Racial Reconciliation ◽  
Reality Show ◽  
Racial Impersonation ◽  
Middle Class Families ◽  
The U.S

The fourth chapter takes on the televisual rescripting of Sprigle, Griffin, and Halsell with a reading of the FX cable series, Black.White., a 2006 reality television show where two middle class families—one black and one white—“switched” races to experience racial difference. This chapter attends to how Black.White. moves the genealogy of empathetic racial impersonation from the theatrical stage, newspaper, trade books, and film to the visual logics of television. This shift reveals an investment in empathetic racial impersonation at a moment dominated by the changing discourses about race and race relations in the 21st century. Importantly, this chapter expands discussions of racial experimentation beyond the U.S. South. Set in Los Angeles, this “reality” show spuriously reinscribes the black/white binary even though Los Angeles has long been recognized as a multiracial city. By focusing on the fraught relationship between the two families, this chapter contends that Black.White. dramatically exposes the limits of empathetic racial experimentation as a tool of racial reconciliation. Ultimately, it evidences an empathetic failure in the cross-racial promise supposedly demonstrated by this seemingly new, but ultimately decades old, impersonation experiment. It also considers the histories and politics of whiteface.

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 Jade's Dying Body: The Ultimate Reality Show

2009 ◽  
Vol 14 (5) ◽  
pp. 105-115 ◽  
Author(s):  
Tony Walter
Keyword(s):  
Media Coverage ◽  
Print Media ◽  
Reality Television ◽  
Emotional Experience ◽  
Ultimate Reality ◽  
Ordinary People ◽  
Public And Private ◽  
The Public ◽  
High Profile ◽  
Reality Show

The article analyses the scale of, and reactions to, print media coverage of the dying from cancer in 2009 of young British media celebrity Jade Goody. Some sociologists have argued that death is sequestrated, with the dying body particularly hidden and problematic; hence the sociological significance of the intense and high profile coverage of Jade's final weeks. In particular, the baroque emotionality of press photos, especially those which glamorised her baldness (the result of failed chemotherapy), challenges the sequestration thesis. Reactions were complex, with criticism of her public dying mixed with criticism of reality television in general, together with class prejudice. New media's blurring of public and private creates new arenas for publicising the bodily, personal and emotional experience of dying, while at the same time affirming the public/private boundary so that the ordinary dying of ordinary people remains substantially hidden.

scholarly journals GIMMICK IN THE REALITY SHOW RUMAH UYA

2020 ◽  
Vol 11 (2) ◽  
pp. 15-24
Author(s):  
Dina Dwika Oktora
Keyword(s):  
Content Analysis ◽  
Data Analysis ◽  
Data Collection ◽  
Reality Television ◽  
Sampling Techniques ◽  
Sound Effect ◽  
Reality Show ◽  
Television Shows ◽  
Qualitative Descriptive ◽  
Descriptive Approach

This research focuses on the gimmick in reality television shows, namely the Rumah Uya program which is broadcasted by ANTV station. This research uses a qualitative descriptive approach, data collection uses purposive sampling techniques, and data analysis uses content analysis. The results showed that the gimmick added to this event was not only a sound effect, but also create the acting of talents with dialogues that tended to be vulgar and showed impolite behavior. This contradicts with the applicable broadcasting regulations, namely the policies set out in the Indonesian Broadcasting Commission (Komisi Penyiaran Indonesia) regulation. Adding gimmicks to the reality show program can be done as long as it does not conflict with decency, law, and applicable regulations.

scholarly journals “DE QUEM...É...O PRÓXIMO...EX?” – COMUNICAÇÃO, IMAGEM E PERFORMANCE NO REALITY SHOW DE FÉRIAS COM O EX BRASIL

2019 ◽  
Vol 3 (1) ◽  
pp. 146-163
Author(s):  
Manuela do Corral Vieira ◽  
Erick Matheus Nery
Keyword(s):  
Selection Process ◽  
Narrative Structure ◽  
Media Discourse ◽  
Social Stereotypes ◽  
Reality Show ◽  
Palabras Clave ◽  
The Social ◽  
The Media ◽  
And Behavior ◽  
Image Performance

O De Férias Com o Ex Brasil é um reality show que focaliza relacionamentos amorosos. Líder de audiência entre o público jovem brasileiro, o programa apresenta estereótipos de beleza e comportamentos, trabalhando com as performances sociais dos participantes. O presente artigo discute a forma como o reality show, um programa de simulação da realidade, constrói padrões de beleza e de comportamento, problematizando tal estratégia. Como percurso metodológico, foram analisados a estrutura narrativa dos episódios da segunda temporada da atração e o processo de seleção dos participantes. A pesquisa está centrada nos estudos acerca da imagem, performance e comunicação, onde foi possível verificar como a construção de estereótipos sociais passa pelo discurso midiático.   PALAVRAS-CHAVE: Estereótipo; Performance; Corpo e Comunicação; Reality Show; De Férias Com o Ex Brasil..     ABSTRACT The Ex On The Beach Brazil is a reality show that focuses on loving relationships. Audience leader among the young Brazilian public, the program present’s stereotypes of beauty and behaviors, working with the social performances of the participants. This article discusses how the reality show, a reality simulation program, constructs patterns of beauty and behavior, problematizing such a strategy. As a methodological course, the narrative structure of the episodes of the second season of attraction and the selection process of the participants were analyzed. The research is centered on studies about image, performance and communication, where it was possible to verify how the construction of social stereotypes goes through the media discourse.   KEYWORDS: Stereotype; Performance; Body and Communication; Reality Show; Ex On The Beach Brazil.     RESUMEN El reality show La Venganza de Los Ex Brasil es un formato que se centra en las relaciones amorosas. Líder de audiencia entre el público joven brasileño, el programa presenta estereotipos de belleza y comportamientos, trabajando con las performances sociales de los participantes. El presente artículo discute la forma en que el reality show, un programa de simulación de la realidad, construye estándares de belleza y de comportamiento, problematizando tal estrategia. Como recorrido metodológico, se analizaron la estructura narrativa de los episodios de la segunda temporada de la atracción y el proceso de selección de los participantes. La investigación se centra en los estudios sobre la imagen, la performance y la comunicación, donde fue posible verificar cómo la construcción de estereotipos sociales pasa por el discurso mediático.   PALABRAS CLAVE: Estereotipo; Performance; Cuerpo y Comunicación; Reality Show; La Venganza de Los Ex Brasil.

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