scholarly journals “Veliki brat vas gleda”/“Vi gledate Velikog brata”. Fenomen (nad)gledanja i imperativ gledanosti u rijaliti programu

2017 ◽  
Vol 12 (1) ◽  
pp. 19 ◽  
Author(s):  
Lidija Radulović ◽  
Ildiko Erdei
Keyword(s):  
Educational Content ◽  
Production Team ◽  
Big Brother ◽  
Reality Show ◽  
The Media ◽  
Youtube Videos ◽  
Contemporary Media

The reality show "Big Brother" represents a metaphor for the transformation of contemporary media toward its commercialization and the primate which is given to entertainment as opposed to classic informative and educational content, which, in Serbia, takes place in the context of post-socialist transformation. The hyper commercialized character of "Big Brother" is the product of a new guiding idea in the media sphere, which is to measure success only on the criteria of ratings. In all versions of "Big Brother" (the "ordinary" as well as VIP), the framework of the reality show is made up of two elements: the phenomenon of surveillance and the commercial principle of the programme. In this paper we wanted to take these two themes - surveillance and commercialization - and connect them through the concepts of the "panopticon"/"synopticon" and "ratings". In the analysis and discussion we will show that the newfangled criteria of "ratings" is directly dependent on the situation in which the viewers of the reality format find themselves, situations in which "many view and decide on the fate of the few". We will analyze the ways in which the very production of the reality show is geared toward influencing the ratings, through interventions and the direction done by the production team, but also the reception of the show in specialized forums. In the second case, a netography of the reception of VIP BB 2013 was undertaken, taking into account the discussions in the forum and the monitoring of YouTube videos. Based on this, we singled out the most viewed moments in the reality show, and considered the reasons why certain events and/or actors who participated in them garnered special attention among viewers, thus increasing the ratings of the show, but also multiplicating the commercial effect through the participation of viewers through different media platforms (websites, forums, online votes etc.)

scholarly journals The Big Brother Naija TV Reality Show as Coordinate of Media Functions and Dysfunctions

2021 ◽  
Vol 17 ◽  
pp. 61-72
Author(s):  
Bolu John Folayan ◽  
Olubunmi Ajibade ◽  
Olubunmi Dipo Adedoyin ◽  
Toyin Segun Onayinka ◽  
Toluwani Titilola Folayan
Keyword(s):  
Mass Media ◽  
Media Content ◽  
Big Brother ◽  
Reality Show ◽  
South West ◽  
The Media ◽  
Basic Functions ◽  
The Mass Media

The mass media play at least five basic functions which include news dissemination, surveillance of the environment, correlation of the components of the society, entertainment and transmission of social heritage.  Sometimes, disruptions and impairments do occur in the performance of these roles and some of these basic functions become dysfunctions, which turn the media into purveyor of negative values. The present study investigates how popular the Nigerian TV reality show, Big Brother Naija (BBN), is perceived by its viewers. Three hundred heavy viewers of the programme were surveyed from Lagos and Ede, South-West Nigeria, and their opinions and attitudes were sought regarding; why they like or dislike the programme; the gratifications that those who like the programme derive and whether the BBN, as media content, is generally functional or dysfunctional to the society. Sixty-six per cent 66 (33.7%) of respondents like the programme because it entertains. Half of the respondents, 99(50.5%) dislike ‘immoral aspects’ of the programme. The viewers affirm that the eviction part of the programme was their highest form of gratification.  Most respondents, despite public outcry against the programme, consider the programme to be “functional”. Findings reinforce the postulation that TV viewers are not passive consumers of media contents.

scholarly journals Big Brother is watching you! Ser ou não ser online... Ou a tela como a nossa morada tecnológica

2014 ◽  
Vol 7 (2) ◽  
pp. 162-173
Author(s):  
Vanda Maria Sousa
Keyword(s):  
Social Networks ◽  
New Media ◽  
New Technologies ◽  
Big Brother ◽  
Reality Show ◽  
Starting Point ◽  
The World ◽  
Information And Communication ◽  
The Media ◽  
The Subject

Resumo: O presente artigo pretende responder à questão: de que forma as telas se interpõem entre o sujeito e a realidade, no contexto das Novas Tecnologias da Informação e da Comunicação, em particular no caso das telas da televisão (no formato do Reality Show) e das telas de computador (na profusão das Redes Sociais)? Utilizando a metodologia interpretativista, é nosso objetivo tomar como ponto de partida a etimologia de técnica e tecnologia para estabelecer o caráter tecnológico do relacionamento do homem com a realidade. Demonstrada essa premissa, convocaremos os conceitos heideggerianos (dasein e ge-stell) para interpretar o modo como a tecnologia da tela responde a uma necessidade social de felicidade, que provém das mídias num mundo que se re-descobre icônico. Cada um de nós é convocado, na vida do dia a dia, para um importante encontro, especial e urgente, com a representação do seu próprio eu face a uma tela, a qual será o seu próprio espaço de felicidade. Pretendemos aferir se, hoje, são hipervalorizadas as ideologias que traduzem a realidade em concepções binárias do mundo, projetando o dasein na demanda pela unidade (1), opondo-o ao insucesso (0), de cada vez que se usa uma tela mais como um espelho ou uma janela, esquecendo a sua função de ge-stell e fazendo disso a promoção, não da forma de descoberta do dasein, mas, em vez disso, da abertura para o próprio lugar dos simulacros.Palavras-chave: novas mídias; tecnologia; telas, público/privado. Abstract: This article seeks to answer the question: how the screens are interposed between the subject and reality, in contexts of the New Technologies of Information and Communication, particularly in the case of television screens (in the reality show format) and computer screens (by the profusion of social networks)? Using the interpretative methodology, our goal is to take as a starting point the etymology of technic and technology to establish the technological nature of man’s relationship with reality. Once this premise is demonstrated, we will convene the Heideggerian concepts (dasein and ge-stell) to interpret how the technology of the screen meets a social need for happiness that comes from the media in a world that re-discovers itself as iconic. Each of us is called upon, in our day-to-day life, to an important, special and urgent meeting with the representation of our own selves, against a screen, where will be its own place of happiness. We intend to assess whether ideologies are hiper-evaluated today, especially when translating reality into binary conceptions of the world, projecting dasein on the demand for unity (1), opposing it to failure (0), each time using the screen more like a mirror or a window, and forgetting its function as a ge-stell by making it a promotion, and not doing it as a way to discover dasein, but, instead, as the opening of the simulacra itself.Keywords: new media; tecnhology; screen; public/private.

Fluxos de linguagens e interações na construção do fandom #BBB18

2018 ◽  
Vol 11 (1) ◽  
Author(s):  
Luiza De Mello Stefano ◽  
Soraya Maria Ferreira Vieira
Keyword(s):  
Big Brother ◽  
Reality Show

Esta pesquisa investiga o processo que deu origem a construção da comunidade de fãs da 18ª edição do programa de reality show Big Brother Brasil. Através de um estudo etnográfico virtual não participativo durante o período que antecedeu a estreia do programa, analisou-se quais foram as ações de distribuição e circulação propostas pelo BBB na web, e como tais estratégias foram pautadas pela atividade e participação dos fãs. Este trabalho reflete sobre as particularidades da cultura participativa e subcultura fã no que tange o fluxo de linguagem e interação e aprofunda-se no modo como a atividade fã tem reconfigurado a experiência televisiva. Palavras-Chave: BBB18. Comunidade de Fãs. Twitter.

“Germany in ruins”. Framing new political movements in Germany in the Polish opinion-forming press

2019 ◽  
Vol 15 (1) ◽  
pp. 97-119
Author(s):  
Karol Franczak
Keyword(s):  
Social Life ◽  
Public Affairs ◽  
New Right ◽  
Political Movements ◽  
Framing Analysis ◽  
Critical Perspective ◽  
Social Phenomena ◽  
The Public ◽  
The Media ◽  
Contemporary Media

Abstract One of the main goals of contemporary media, along with the experts and professionals, who speak in them, has been to explain complex issues and provide the audience with clear descriptions of social reality. This is mostly achieved by the production of ideologically useful interpretative schemes that facilitate understanding of the issues present on the media agenda. An important strategy of shaping the public opinion in the way in which public affairs and the activity of social life participants is framed. Analyses of such practices have been conducted for over thirty years within various research approaches collectively referred to as framing analysis. This research provides several arguments helping one to develop a more critical perspective on the representations of social phenomena dominant in the media and discourses of symbolic elites (e.g. opinion writers, academics, experts, journalists, politicians), along with the analyses of the origin of such phenomena, moral judgements and preferred "corrective policies". One of the phenomena defined by the media in Europe as the most important one for the past several years, is the so-called "New Right". The aim of the paper is to analyse the interpretative schemes used by the journalists of four Polish opinion-forming weeklies and to describe the activity of its German manifestation – the Patriotic Europeans Against the Islamisation of the Occident (Pegida) social movement and the Alternative for Germany party (AfD).

scholarly journals Remix in the age of ubiquitous remix

2021 ◽  
pp. 135485652199445
Author(s):  
Abby S. Waysdorf
Keyword(s):  
Point Of View ◽  
Archival Material ◽  
History Of ◽  
Accepted Part ◽  
The Media ◽  
Contemporary Media ◽  
The Aesthetic ◽  
The Way

What is remix today? No longer a controversy, no longer a buzzword, remix is both everywhere and nowhere in contemporary media. This article examines this situation, looking at what remix now means when it is, for the most part, just an accepted part of the media landscape. I argue that remix should be looked at from an ethnographic point of view, focused on how and why remixes are used. To that end, this article identifies three ways of conceptualizing remix, based on intention rather than content: the aesthetic, communicative, and conceptual forms. It explores the history of (talking about) remix, looking at the tension between seeing remix as a form of art and remix as a mode of ‘talking back’ to the media, and how those tensions can be resolved in looking at the different ways remix originated. Finally, it addresses what ubiquitous remix might mean for the way we think about archival material, and the challenges this brings for archives themselves. In this way, this article updates the study of remix for a time when remix is everywhere.

Performing Translatinidad: Miriam the Mexican Transsexual Reality Show Star and the Tropicalization of Difference in Anglo-Australian Media

Sexualities ◽  
2009 ◽  
Vol 12 (2) ◽  
pp. 225-250 ◽  
Author(s):  
Vek Lewis
Keyword(s):  
Big Brother ◽  
Reality Show ◽  
The Right

In 2004, a new celebrity hit the Australian television circuit. Billed as a mysterious, seductive Latina with a secret, she graced our shores in a TV reality show called ` There's Something About Miriam': a dating game with a twist. Set in Ibiza, Miriam vies for the attention of six eligible British bachelors without letting them in on her transsexual status. In her ambiguity, Miriam is the embodiment of all things seen as other and exotic; in the context of Anglo-Australian understandings, she is the marker of all things Hispanic. Wildly popular in Australia, Miriam stepped out of one reality show into another: the Australian version of Big Brother. The TV network promised to deliver more on this boy turned girl, whose body provided the right kind of slippage to become the site of inscription for a range of repeated tropical fictions.

scholarly journals Tirando as máscaras: o reality show e a busca pela autenticidade no mundo contemporâneo

E-Compós ◽  
2013 ◽  
Vol 16 (1) ◽  
Author(s):  
Bruno Campanella
Keyword(s):  
Big Brother ◽  
Reality Show ◽  
On Line

O artigo busca refletir sobre a importância do conceito de autenticidade para a audiência do reality show Big Brother Brasil (BBB). Os resultados da etnografia midiática de uma comunidade on-line de fãs do programa sugerem que as condições criadas pelo confinamento da casa do BBB seriam as ideais para a revelação da autenticidade dos participantes do reality show. O ponto de partida da reflexão apresentada neste trabalho tem como referência fundamental a análise do modelo romântico de “self expressivo”, ainda em voga no ocidente. Segundo esse paradigma, todo indivíduo tem uma autenticidade própria que, supostamente, pode ser suprimida por “máscaras sociais” adotadas. Para os fãs do BBB, contudo, certos aspectos do confinamento dos participantes do programa seriam capazes de forçar a retirada dessas máscaras. Palavras-Chave Big Brother Brasil. Subjetividade. Confinamento. Autenticidade.

#tropy#feminizm

2019 ◽  
Vol 25 (25) ◽  
pp. 88-107
Author(s):  
Agata Szuba Szuba
Keyword(s):  
A Priori ◽  
Negative Influence ◽  
The Media ◽  
Contemporary Media ◽  
Walter Lippmann ◽  
Media Message ◽  
Unique Style ◽  
The Mind

The contemporary media message can be perceived in two perspectives: an active one, in which women perform a role of journalists and editors, and a passive perspective, in which they become a part of media message. The latter aspect is the most controversial for many reasons. Walter Lippmann defines a stereotype as an image created in the mind which allows a subordination of a certain fragment of reality a priori. The media’s visible, negative influence on women has them create a reality beyond the boundaries of acceptance, presenting it in a way the audience expects. A new kind of feminism appears, i.e. one which answers the receiver’s needs (succumbing to the expectations and exposing to the view), and a question appears – whether in the time of the feminist legacy, thereby changes resulting from the development of the media, feminists should gain their own unique style? In a way this begins to happen. Due to the development of the media, women gained an unrestricted possibility to express their views, and the reception and availability of the media lifts the restrictions and causes an inconspicuous person to please and sweep the crowd and his or her voice to be impossible to be ignored in the discourse.

Pleasure, Excess and Self-Monitoring: The Media Worlds of New Zealand Children

2008 ◽  
Vol 126 (1) ◽  
pp. 43-53 ◽  
Author(s):  
Geoff Lealand ◽  
Ruth Zanker
Keyword(s):  
New Zealand ◽  
Cell Phones ◽  
Media Technology ◽  
Self Monitoring ◽  
The North ◽  
Use Of Technology ◽  
The Media ◽  
Contemporary Media ◽  
Cautionary Tales ◽  
North And South

This report describes the outcomes of extensive research (questionnaires, focus groups, drawings) on the media use of students aged between eight and 13 years (n=860) in the North and South Islands of New Zealand. The research replicates earlier child-centred research by the authors, but with a greater emphasis on newer media technology, such as cell phones. The various facets of the research, framed within theoretical explorations, produced detailed and often candid insights into the role played by contemporary media in the lives of New Zealand children with respect to the overt and covert use of technology, shifts in relationships between children and adults. It also generated some interesting cautionary tales.

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