scholarly journals The Fine Line between Person and Persona in the Spanish Reality Television Show La isla de las tentaciones: Audience Engagement on Instagram

2021 ◽  
Vol 13 (4) ◽  
pp. 1753
Author(s):  
Alba Torrego ◽  
Alfonso Gutiérrez-Martín ◽  
Michael Hoechsmann
Keyword(s):  
Reality Television ◽  
Television Show ◽  
Value Judgments ◽  
Audience Engagement ◽  
Television Shows ◽  
Non Fiction ◽  
Computer Mediated ◽  
Critical Skills ◽  
The Media ◽  
Entertainment Value

The hybridization of television genres has led to numerous non-fiction television shows that base much of their success on audience engagement through social networks. This study analyses a specific case, that of La isla de las tentaciones (Temptation Island), to identify interpretive frames in reality shows and their interrelationships with audience involvement on Instagram. Based on a corpus of 8409 comments posted on Instagram by the followers of the program’s actor profiles, the article analyzes the lines between reality and fiction in this non-fiction television show about relationships and infidelity, and, in particular, how online “haters” play a performative role. The show’s participants who were unfaithful are insulted and receive numerous negative value judgments. The “coding and counting” method, drawn from Computer Mediated Discourse Analysis, is used for the coding. Results show that viewers barely allude to this show as fiction, do not differentiate between the actors and their characters, and empathize strongly with the stories they view. The study shows the need for media education, both for those who make the media and those who view it. The goal is not to detract from entertainment value, but to improve critical skills and to recover the educational function of media.

scholarly journals The Effect of Placement Exposure and Placement Prominence on Recognition, Attitude, and Travel Intention of Tourism Destination in Reality Television Show

2015 ◽  
Vol 1 (1) ◽  
pp. 9
Author(s):  
Stacia R. Mege
Keyword(s):  
Reality Television ◽  
Product Placement ◽  
Destination Marketing ◽  
Television Show ◽  
Tourism Destination ◽  
Marketing Organization ◽  
Mediate Effect ◽  
Reality Show ◽  
The Media ◽  
Destination Marketing Organization

Previous studies of tourism have proven that inclusion of destination in movies and television serials can induce tourism. This study aims to investigate the effect of destination placement in reality television show. The author will study the interaction of exposure to destination placement and the placement prominence toward recognition, attitude, and intention to visit of participants to the destination. An experimental study using videos of Korean reality show- Running Man will be run on groups of participants. The expected results are as follows. Prominent placement will be more recognized than subtle placement. Participants who will be exposed to destination placement will have higher attitude than those who don’t. And attitude is expected to mediate effect of destination placement to intention to visit. The results expected from this research will enrich the literature of product placement from two perspectives, the product (tourism destination) and the media (reality show). The result of this study will be useful for destination marketing organization to explore alternative promotional media.    

Innovation and conformity in music reproduction: A network analytics approach to contestants’ song covering in reality shows in Mainland China and the U.S.

2021 ◽  
pp. 174804852110143
Author(s):  
Xinzhi Zhang
Keyword(s):  
Reality Television ◽  
Mainland China ◽  
Performance Outcomes ◽  
Television Show ◽  
Television Shows ◽  
Network Analytics ◽  
The Social ◽  
Cover Songs ◽  
The Voice ◽  
The U.S

Contestants in music reality television shows usually cover songs by other singers; however, excessive song covering is seen as a sign of lacking innovation. Informed by frameworks of innovation, conformity, and cultural capital, this study examines the patterns of song covering practice with a network analytics approach by examining the networks formed by the contestants’ song co-covering practices—an edge is created between two contestants if they cover songs from the same original singer—and how contestants’ positions in those networks are related to their performance outcomes. Examining contestants’ co-covering networks on the U.S.’s and mainland China’s versions of The Voice (an international music reality television show), the social network analysis largely supported the conformity hypothesis: contestants were connected to a certain extent, meaning that most contestants covered songs from similar original singers. Contestants’ betweenness centrality was positively associated with performance outcomes.

scholarly journals Wie is de Ander? De representatie van Japan in het Nederlandse televisieprogramma Wie is de Mol? (2010)

2012 ◽  
Vol 40 (3) ◽  
Author(s):  
Martijn Huisman ◽  
Stijn Joye ◽  
Pieter Maeseele
Keyword(s):  
Discourse Analysis ◽  
Reality Television ◽  
Television Show ◽  
Cultural Stereotypes ◽  
Television Shows ◽  
Popular Television

Lost in representation? A discourse analysis of Japan and the Japanese in the Dutch television show ‘Wie is de Mol?’ Lost in representation? A discourse analysis of Japan and the Japanese in the Dutch television show ‘Wie is de Mol?’ In 2010 the popular Dutch reality television show ‘Wie is de Mol?’ took ten Dutch celebrities to Japan. Applying discourse analysis, this article explores the representation of Japan and its culture as portrayed in the show. Building upon theories about Orientalism and cultural stereotypes, the study illustrates that the programme provides a fairly balanced and nuanced depiction of Japan. This is in part due to the nature of the programme, which mainly revolves around the candidates and uses the country as an ‘interactive background’. However, the show does largely follow the Orientalist representational paradigm of depicting Japan, as the programme needs to provide images and narratives that are recognizable to Dutch viewers of whom most are not familiar with Japan. Stereotypes and clichés are therefore used, but often in innovative and playful ways. It is argued that popular television shows can influence and shape ideas and images of other countries.

The Affective Politics of Citizenship in Reality Television Programs Featuring North Korean Resettlers

Cultura ◽  
2019 ◽  
Vol 16 (1) ◽  
pp. 145-163
Author(s):  
Soochul KIM ◽  
Kyung Han YOU
Keyword(s):  
South Korea ◽  
Cultural Politics ◽  
Reality Television ◽  
Civic Identity ◽  
Media Representation ◽  
Media Industry ◽  
Television Programs ◽  
Global Media ◽  
Television Shows

This study examines the dynamics of cultural politics in reality television shows featuring North Korean resettlers (NKR2) in South Korea. As existing studies focus on the role of media representation reproducing a dominant ideology for the resettlers, this paper focuses on the specific media rituals of NKR2 programs, which can be seen as a product of the neoliberalist localization process of the global media industry. In doing so, this paper demonstrates how NKR2 programs interrupt the current dynamics of emotions in regard to North Korean resettlers in South Korea. We argue that in shaping civic identity as an effect of the NKR2 show, cultural politics of citizenship in South Korea on North Korean resettlers serve the formation of relatively conservative and sexist civic identity.

scholarly journals ‘You wouldn’t get that from watching TV!’: Exploring audience responses to virtual reality non-fiction in the home

2020 ◽  
pp. 135485652097996
Author(s):  
David Philip Green ◽  
Mandy Rose ◽  
Chris Bevan ◽  
Harry Farmer ◽  
Kirsten Cater ◽  
...  
Keyword(s):  
Virtual Reality ◽  
New Media ◽  
Home Setting ◽  
Media Technologies ◽  
Non Fiction ◽  
Audience Responses ◽  
The Media ◽  
The Cost ◽  
Watching Tv ◽  
At Home

Consumer virtual reality (VR) headsets (e.g. Oculus Go) have brought VR non-fiction (VRNF) within reach of at-home audiences. However, despite increase in VR hardware sales and enthusiasm for the platform among niche audiences at festivals, mainstream audience interest in VRNF is not yet proven. This is despite a growing body of critically acclaimed VRNF, some of which is freely available. In seeking to understand a lack of engagement with VRNF by mainstream audiences, we need to be aware of challenges relating to the discovery of content and bear in mind the cost, inaccessibility and known limitations of consumer VR technology. However, we also need to set these issues within the context of the wider relationships between technology, society and the media, which have influenced the uptake of new media technologies in the past. To address this work, this article provides accounts by members of the public of their responses to VRNF as experienced within their households. We present an empirical study – one of the first of its kind – exploring these questions through qualitative research facilitating diverse households to experience VRNF at home, over several months. We find considerable enthusiasm for VR as a platform for non-fiction, but we also find this enthusiasm tempered by ethical concerns relating to both the platform and the content, and a pervasive tension between the platform and the home setting. Reflecting on our findings, we suggest that VRNF currently fails to meet any ‘supervening social necessity’ (Winston, 1996, Technologies of Seeing: Photography, Cinematography and Television. British: BFI.) that would pave the way for widespread domestic uptake, and we reflect on future directions for VR in the home.

Visualizing Winchester: a brand history through iconic Western images

2018 ◽  
Vol 10 (4) ◽  
pp. 383-419 ◽  
Author(s):  
Terrence H. Witkowski
Keyword(s):  
Twentieth Century ◽  
Visual Culture ◽  
Cultural Analysis ◽  
Primary Data ◽  
Content Type ◽  
Wild West Shows ◽  
Television Shows ◽  
Lever Action ◽  
The Media ◽  
Heroic Narrative

Purpose This paper aims to present a visually documented brand history of Winchester Repeating Arms through a cultural analysis of iconic Western images featuring its lever action rifles. Design/methodology/approach The study applies visual culture perspectives and methods to the research and writing of brand history. Iconic Western images featuring Winchester rifles have been selected, examined, and used as points of departure for gathering and interpreting additional data about the brand. The primary sources consist chiefly of photographs from the nineteenth century and films and television shows from the twentieth century. Most visual source materials were obtained from the US Library of Congress, the Smithsonian Institution, the Buffalo Bill Center of the West and the Internet Movie Firearms Database. These have been augmented by written sources. Findings Within a few years of the launch of the Winchester brand in 1866, visual images outside company control associated its repeating rifles with the settlement of the American West and with the colorful people involved. Some of these images were reproduced in books and others sold to consumers in the form of cartes de visite, cabinet cards and stereographs made from albumen prints. Starting in the 1880s, the live Wild West shows of William F. Cody and his stars entertained audiences with a heroic narrative of the period that included numerous Winchesters. During the twentieth century and into the present, Winchesters have been featured in motion pictures and television series with Western themes. Research limitations/implications Historical research is an ongoing process. The discovery of new primary data, both written and visual, may lead to a revised interpretation of the selected images. Originality/value Based largely on images as primary data sources, this study approaches brand history from the perspective of visual culture theory and data. The research shows how brands acquire meaning not just from the companies that own them but also from consumers, the media and other producers of popular culture.

scholarly journals Mundos possíveis entre a ficção e a não-ficção: aproximações à realidade televisiva

2011 ◽  
Vol 18 (3) ◽  
Author(s):  
Bruno Souza Leal ◽  
Phellipy Pereira Jácome
Keyword(s):  
Critical Review ◽  
Possible Worlds ◽  
Umberto Eco ◽  
Non Fiction ◽  
The Media

sintoma da tensão entre ficção e não-ficção presente na TV. A reflexão parte de exemplos extraídos do Jornal Nacional, em 2010, para empreender a revisão crítica do conceito de ficção e como modo de abordagem à noção de “mundos possíveis”, desenvolvida por autores como Thomas Pavel e Umberto Eco, e, aproximada aos fenômenos midiáticos por pesquisadores como Marcela Farré e Marie-Laure Ryan. Palavras-chave: Realidade Televisiva; Ficção; Narrativa. Possible worlds between fiction and non-fiction: approaches to television reality Abstract: The article discusses the notion of “television reality”, seen as a symptom of the tension between fiction and “non-fiction” in TV. The reflection comes from examples by the Jornal Nacional, in 2010, to undertake a critical review of the concept of fiction and as a way to approach the notion of “possible worlds”, developed by authors such as Umberto Eco and Thomas Pavel, and, approximate to the media phenomena by researchers as Marcela Farré and Marie-Laure Ryan. Keywords: Television Reality; Fiction; Narrative.

Turkey’s failed coup as an ‘ongoing media event’ and the formation of public affect

2018 ◽  
Vol 41 (1) ◽  
pp. 149-157 ◽  
Author(s):  
Ergin Bulut ◽  
Başak Can
Keyword(s):  
The Political ◽  
National Unity ◽  
The Past ◽  
Political Work ◽  
Television Shows ◽  
The Media ◽  
Pedagogical Relationship ◽  
Media Event ◽  
Coup Attempt

Following the coup attempt in Turkey, former Gulenists made appearances on various television channels and disclosed intimate and spectacular information regarding their past activities. We ask: what is the political work of these televised disclosures? In answering this question, we situate the coup within the media event literature and examine the intimate work of these televised disclosures performed as part of a media event. The disclosures we examine were extremely spectacular statements that worked to reconstruct a highly divided and polarized society through an intimate language. Consequently, these television performances had two functions: ideological and affective. First, these disclosures and television shows chose to foreground sensation and therefore mystified the illegal networks that historically prepared the coup. Second, using a language of regret and apology, these disclosures aimed to teach the audience how to be purified and good citizens through a mediated, pedagogical relationship. Within the vulnerable context of a hegemonic crisis, these disclosures intended to form their own publics where citizens were invited to sympathize with those who made mistakes in the past, ultimately aiming to create national unity and reconciliation.

scholarly journals PENGEMBANGAN MODEL ANALISIS RELASI BAHASA DAN INTERNET BERBASIS PARADIGMA CMDA (COMPUTER MEDIATED DISCOURSE ANALYSIS)

2018 ◽  
Vol 17 (2) ◽  
pp. 169
Author(s):  
Aceng Ruhendi Saifullah
Keyword(s):  
Discourse Analysis ◽  
State Of The Art ◽  
The State ◽  
The Internet ◽  
Internet Relationships ◽  
Communication Situation ◽  
Computer Mediated ◽  
Mediated Discourse ◽  
The Media ◽  
Development Of Language

Dalam dekade terakhir, kajian tentang  relasi bahasa, media, dan teknologi komunikasi telah menjadi kajian lintas disiplin yang menarik  perhatian para ahli dari berbagai disiplin ilmu. Lebih khusus, dalam kaitannya dengan kajian wacana  di Internet, penggunaan bahasa di Internet  dipandang sebagai pertanda lahirnya “new genre” sekaligus sebagai the state of the art dalam kajian wacana, yang dikenal sebagai kajian computer mediated discourse analysis (CMDA).  Dalam konteks perkembangan itu, kajian ini dimaksudkan untuk merumuskan model  analisis relasi bahasa dan Internet berbasis CMDA. Pertanyaannya, “sejauh mana paradigma CMDA  dapat dirumuskan sebagai model pengembangan analisis relasi bahasa dan Internet. Kajian ini menemukan, bahwa ragam bahasa di Internet tidak sepenuhnya menunjukkan ciri-ciri ragam tulis, akan tetapi cenderung menunjukkan ciri-ciri “ragam lisan yang dituliskan”. Di samping itu, ditemukan pula, bahwa konteks media dan konteks situasi komunikasi tampak berpengaruh secara signifikan dalam menentukan makna suatu tuturan di Internet.  Dengan demikian, paradigma CMDA dalam kajian wacana di Internet tampak relevan digunakan, terutama untuk mengindentifikasi ragam bahasa dan makna tuturan di Internet.Kata kunci: konteks media; konteks situasi komunikasi; Internet; computer mediated discourse analysis (CMDA)In the last decade, the study of language relations, media, and communications technology has become an interdisciplinary study that attracts the attention of experts from various disciplines. More specifically, in relation to the study of discourse on the Internet, the use of language on the Internet is seen as a sign of the birth of "new genre" as well as the state of the art in discourse studies, known as computer mediated discourse analysis (CMDA). In the context of this development, this study is intended to formulate models of analysis of language and Internet relationships based on CMDA. The question centers on the extent to which the CMDA paradigm can be formulated as a model for the development of language and Internet relation analysis. This study reveals that the variety of languages on the Internet does not fully show the characteristics of writing, but tends to show the characteristics of "written verbal". In addition, the analysis showed that the context of the media and the context of the communication situation seemed to have a significant effect on determining the meaning of a speech on the Internet. Thus, the CMDA paradigm in the study of discourse on the Internet seems relevant to use, especially to identify the variety of languages and meanings of speech on the Internet.Keywords: media context; context of communication situation; Internet; computer mediated discourse analysis (CMDA)

scholarly journals Cosplay on Demand? Instagram, OnlyFans, and the Gendered Fantrepreneur

2021 ◽  
Vol 7 (3) ◽  
pp. 205630512110423
Author(s):  
Lauren Rouse ◽  
Anastasia Salter
Keyword(s):  
Economic Viability ◽  
Sample Analysis ◽  
Digital Platforms ◽  
Brand Building ◽  
On Demand ◽  
Television Shows ◽  
History Of ◽  
The Media ◽  
Favorite Television

Fan producers engaged in monetization, or what Suzanne Scott has termed “fantrepreneurs,” struggle with legal mechanisms for brand-building given the limitations of both copyright and platform moderation. These challenges have been amplified during the COVID-19 pandemic, which has fundamentally changed the way that cosplayers, or fans who dress up as characters from their favorite television shows or movies, market themselves in an increasingly online space, as opposed to their initial public platforms of conventions. Restricted by digital platforms and their various moderation and monetization methods, cosplayer fantrepreneurs have developed new, multi-platform methods for sustaining their content and community connection. One prominent platform significant to this turn is OnlyFans, which is billed as a “peer-to-peer subscription app,” and allows users to “Sign up and interact with your fans!” Through a sample analysis of 50 cosplayers, this case study considers the approaches of cosplayers on integrating OnlyFans as part of a multiplatform struggle for economic viability. When we contextualize this platform labor in the history of cosplay, we note the hypersexualized labor that has always been central to monetization in this space, and the media franchise exploitation that profits from that labor at the expense of the fan producer, demonstrating the fundamental, gendered exploitation of the trend toward a patronage economy.

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