scholarly journals Farmer Wants a (Swedish) Wife

2021 ◽  
Vol 10 (20) ◽  
pp. 64
Author(s):  
Georgia Aitaki ◽  
Nina Carlsson
Keyword(s):  
Reality Television ◽  
Reality Tv ◽  
Discursive Construction ◽  
High Stakes ◽  
Reality Show ◽  
Self Development ◽  
The World ◽  
Visual Strategies ◽  
Racial Hierarchies

In this article we discuss discourses of white mobility in reality television, a genre whose problematic post-racial and neoliberal discourses have long been exposed. Moving beyond the widely researched Anglophone media landscapes, we interrogate the discursive construction of white mobilities in the Swedish romance reality show Bonde Söker Fru – Jorden Runt (TV4, 2019–2020) [Farmer Seeks Wife – Around the World] where Swedish North-to-South migrants working as farmers abroad seek a partner from Sweden through the assistance of reality TV. By focusing on the discursive and visual strategies through which the show perpetuates racial hierarchies, we discuss the colonial imaginaries, the absence of border policies (such as residency, employment, or integration), and the significance of individual migratory preferences in the mobility discourses. We identify three forms of white mobility – the tourist, the adventurer, and the philanthropist – and show that migration is depicted as something reversible, an adventure, and a possibility for self-development, rather than a life-long decision with high stakes.

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 Culture from simulation to simulacrum and back

Kultura ◽  
2021 ◽  
pp. 139-150
Author(s):  
Novica Milić
Keyword(s):  
Everyday Life ◽  
Reality Tv ◽  
Reality Show ◽  
The World ◽  
The Media ◽  
Contemporary Technology

Reality show or Reality TV programme is a symptom of the new pairing of the metaphysic of the "two worlds" and the contemporary technology. To analyse it as a symptom - i.e. a set of related signs - we need to use semiology of the media, separating the key codes as sets of rules and protocols for signifying practices that produce such TV programmes. In the analysis, these codes, taken here in their minimal but most important numbers, are shown as also the codes which produce everyday circulation of our representations and discourses, and open up a series of new questions. For example, to what extent is the reality show an image of everyday life, is it a simulation (imitation, mimesis) of it, or is it a simulacrum, as a structure of signs, which is beyond the old opposition of a model and a copy? Or perhaps, what we witness is a turn in communication where everyday picture of the world becomes a simulation of this simulacrum, that is an imitation of a reality programme as a pairing of metaphysics and technology?

scholarly journals NARRATIVE STRATEGIES BY CREATING A REALITY TELEVISION ON MODERN RUSSIAN TV

2019 ◽  
Vol 8 (4) ◽  
Author(s):  
Lilya R. Khuzeeva
Keyword(s):  
Narrative Theory ◽  
Reality Television ◽  
Study Groups ◽  
Narrative Strategies ◽  
Historical Texts ◽  
Reality Show ◽  
The World ◽  
The Future ◽  
Tv Show ◽  
Modern Russian

Narratology as a general narrative theory applies to the analysis of artistic and historical texts. At the same time, it can be successfully applied to the analysis of television scenarios, because it allows you to see the general course of the proposed history, determine the television picture of the world, and, perhaps, more broadly, media reality. The reconstruction of the TV show model can be useful for the subsequent implementation in the practical activities on television when creating original projects. Based on the narratological analysis of the two seasons of the reality show “Ladette” (they appeared on the Russian TV channel “Piatnitsa” in 2016-2017), the author identifies the composition of the program and narrative strategies that implement various types of narrators. In the course of the study, groups of narrators were identified, their roles in the development of the plot were defined, and their narrative strategies were formulated. A consistent study of the implementation of the strategy led to a general conclusion about which strategy is leading and decisive for this type of reality show. Identification of narrative strategies allows you to expand the boundaries of potential project changes in the future, and also stimulates the search for optimal ways to implement various television functions, including regulatory, social and educational, and others

scholarly journals Iranian Diaspora, Reality Television and Connecting to Homeland

2018 ◽  
Vol 6 (2) ◽  
pp. 179-187
Author(s):  
Elham Atashi
Keyword(s):  
New Media ◽  
Public Sphere ◽  
Reality Television ◽  
Social Issues ◽  
Reality Tv ◽  
Audience Engagement ◽  
The Public ◽  
Reality Show ◽  
The Public Sphere ◽  
Iranian Diaspora

<p><em>Befarmaeed Sham</em>, an Iranian diasporic media production adapted from the original UK reality show “Come Dine with me” features Iranian diaspora of diverse backgrounds as contestants in a cooking reality show. The success of the show has been unprecedented among audiences back home in Iran, reaching millions of households. Using discourse analysis this article examines the potential of reality TV in widening the scope of public sphere and in providing a space for participation and representation. The key practices to illustrate this are ways diaspora position themselves as subjects through discursive practices to express agency in generating, participating and sharing opinions. Casual talk and the entertaining attribute of reality TV focused on the everyday life of ordinary people, constructs a space to normalize audience engagement with what is otherwise, restrictive taboo topics embedded in themes around belonging, homeland, gender, and identity. The article concludes that the broad system of discourse used by diaspora as participants in the reality show constructs a space for representation. It can be considered as a contribution to enhancing the public sphere to not only communicate and connect with their homeland but to express opinions on broader social issues as a practice of civic engagement. This unique adaptation of reality TV is an important aspect of globalization and in using new media to mobilize diaspora in connecting to homeland.</p>

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.

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.

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