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Mercer, Paul S. "Television realism : a semiotic approach." Thesis, University College London (University of London), 2002. http://discovery.ucl.ac.uk/10006645/.
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This thesis reconceptualises the concept of realism in relation to television using a semiotic approach. The Thesis proposes that "realism" may be used as a tool for the understanding of the place of television texts in the legitimation and representation of social relations. The theoretical approach is based on semiotic work that foregrounds the social constitution of meaning; particularly the work of Barthes on myth, Bakhtin, Kress and Volosinov. From film studies, Bordwell and Nichols are also used. The concepts drawn from their work are applied to a reformulation of realism in direct reference to the signifiers of television texts. Realism is considered in the light of these theories as not one specific form but as a property of all texts: of how a represented "world" is constructed and understood in social life. The study focuses on a small number of the totality of semiotic resources that contribute to the construction of realism in television: camera movement, camera stability and camera position, shot duration and continuity. It provides a detailed transcription and analysis of a number of television texts from different theme areas: the news, police drama and documentary and a game/quiz show. I propose in this thesis that the use of semiotic resources in different ways in different texts produces distinct realisms that in their represented "world" express certain values and interests in respect of wider social relations of power. Television texts are therefore the product of changing social environments and the resources used in their production represent this.
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Hale-Wisener, Amanda. "Mediating realism the influence of transportation /." Online access for everyone, 2004. http://www.dissertations.wsu.edu/Thesis/Summer2004/A%5FWisener%5F072904.pdf.
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Hewett, Richard. "Acting for Auntie : from studio realism to location realism in BBC television drama, 1953-2008." Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/12891/.
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Acting for television has hitherto been a much-neglected field; by focusing solely on screen performance, usually via textual analysis, the small amount of work thus far conducted has largely ignored the various conditioning factors that combine to shape it. This thesis is designed to address that lack, drawing on a combination of archive research, original interviews and textual analysis to provide a multi-perspectival, historical overview of acting in British television drama, spanning the live era to the present day. The programmes selected as case studies herein derive from historically distinct production contexts: namely, the live drama of The Quatermass Experiment (BBC, 1953); the ‘as live’, pre-recorded videotape of Doctor Who (BBC, 1963-89); and the move to Outside Broadcast location work, utilising a ‘rehearse/record’ process, on the first series of Survivors (BBC, 1975-77). The fact that each programme has since been re-made in the 2000s allows for both a comparative study and a chronological development of television acting. The significance for acting of the shift from multi-camera studio to single camera location work is represented here by the models of studio realism and location realism. However, the physical site of performance is just one of several determinants that are examined throughout. Actor experience, technology, drama training and production process together comprise a complex set of variables that are in a constant state of flux. How these factors have intersected and combined to affect performance provides the key to this study of British television acting over the last six decades.
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Perry, Colin, and mikewood@deakin edu au. "The narrativization of actuality: Convergence of form and genre in film and television." Deakin University. School of Contemporary Arts, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.092326.
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The thesis concerns the treatment of actuality in film and television, particularly the narrativization of actuality images, and the context of their placement within audio/visual texts. Several instances of the convergence of media form and genre are analyzed, and the conventions of classificatory systems and boundaries that pertain to film and television representations are reconsidered in light of changes in the conventions of genre. The distinction between, and convergence of fictional and non-fictional conventions of narrative are therefore central to the thesis, as are the related issues of viewer response, the nature of subjectivity in the viewer, the connectivity of text and culture, and the relations of actuality to the text. The thesis traces the narrativization of actuality through textual, formal and genre boundaries, adopting a line of flight or deterritorialization that enables the thesis to change in nature and connect with other multiplicities.This line of flight passes through the conventional separation of genre groupings and texts, and, similarly, has been applied in the thesis as a rationale for the diminution of theoretical boundaries.
A multiperpectival approach is applied to the permeability of, or transcendent relations of the analysis to the boundaries between genres, between texts and culture, and between actuality and virtual representation. In the thesis there is also a theoretical deterritorialization that consents to a pluralism of theory, which is an approach demonstrated by Deleuze and Guattari in A Thousand Plateaus. The model of multi-perspectivalism adopted in the thesis engages in establishing connections and similarities between theories, rather than emphasizing contradictory and exclusive practices. The Foucauldian notion of the rules of formation in discourse, Nichols theories of documentary representation of reality, Bordwells schematic interpretation, and several other positions are critiqued, as the line of flight embarked upon in the thesis intersects with, and passes through both textual and theoretical boundaries.
The thesis consists of two parts: firstly, a location of theoretical perspective, in which the issues of theory pertaining to actuality and narrative are explicated, and the methodological approach of the thesis is defined. The second part commences with an analysis of the most familiar instances of actuality in film and television, with particular attention to documentary forms. It then engages in the analysis of films that represent actuality but which, in the process of narrativization, display a convergence of genre conventions. The films selected for analysis include Steven Speilberg's Schindler's List, (1993) Oliver Stone's JFK, (1991) and Robert Zemeckis' Forrest Gump, (1994) and Contact, (1996). Hence the thesis is concerned with the application of a pluralist theoretical approach, with, however, an emphasis on the Deleuzo-Guattarian notions of rhizome and assemblage. Within this theoretical frame, the connections between actuality and the audio/visual text are explicated, and the formation of text as a rhizome with the world, is analyzed across a range of examples.
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Buehler, Branden. ""As true as television gets" the wire and perceptions of realism /." Connect to Electronic Thesis (CONTENTdm), 2010. http://worldcat.org/oclc/648974372/viewonline.
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Potratz, Rachel M. "When is Reality Real?: Youth Perceptions of MTV Reality Programs." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194968374.
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Mark, Amanda. "Soap opera subculture : emotional realism and empathic identification." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56790.
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Popular feminine narratives, domestic, emotion-based texts through which communities of women have traditionally practiced feminine discourse, have been marginalised by dominant masculine cultures throughout their long history. This continues in the postmodern era, in which the culturally dominant postmodern aesthetic has declared the death of the social, narrative and affect, all intrinsic to the popular feminine narrative. Nevertheless, these narratives persevere in such forms as the daytime television soap opera. Using a reader-oriented model, American soap operas are discussed as a site for the generation of women's pleasure, and as a forum for the raising, sharing and addressing of problems which affect women's lives. Soap opera fan magazines further extend the already social soap opera experience, which celebrates emotion and empathy in a culture which often negates them.
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Butcher, Erica. "An Audience Reception Analysis Field Study: Exploring Second and Later Generation Latino Viewers’ Perceived Realism Appraisals of Latino Fictional Television Characters in English Language Television Programs." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1249586967.
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Oxoby, Marc C. "American literary fiction in a televisual age /." abstract and full text PDF (free order & download UNR users only), 2005. http://0-wwwlib.umi.com.innopac.library.unr.edu/dissertations/fullcit/3209131.
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Thesis (Ph. D.)--University of Nevada, Reno, 2005."August, 2005." Includes bibliographical references (leaves 217-227). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2005]. 1 microfilm reel ; 35 mm.
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Cama, Mariana Pimenta. "O crime espetáculo na tela: entre a realidade e a ficção." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/5267.
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Previous issue date: 2009-10-23The current research intends to reflect in a critical manner about the ways of representation of criminality on audiovisual media, especially on television. The target of this analysis is to point out media processes that highlight and exemplify the way crime is turned into a spectacle, reconfiguring narrative formats of police drama and news currently active. When it comes down to representing images of violence and criminality, the audiovisual media culture has been showing two main slopes: the news that incorporates construction elements typical of soup operas, and the fictional program that intends realism, showing the routine of police in action in big urban areas. Under the eye of speculation promoted by news media, two cases will be analyzed, which took place in 2008: the case of Isabella Nardoni and the young girl Eloá Pimentel, exhaustingly reproduced and detailed on the internet. In the thin line of the crime-spectacle in the universe of fiction, we ll analyze the narrative of TV series CSI: Crime Scene Investigation, highlighting the episodes "Grave Danger" and "Monster in a box". From the methodic point of view, the research bases itself on the audiovisual analysis provided for television and in its versions for Internet and DVD, willing to investigate the connection between the subject in question and the visible object, interpreting the spectator as a morbid voyeur. From the theoretical point of view, the research lays on "real shock" concept by Beatriz Jaguaribe, on the hypothesis of intimacy spectacle by Paula Sibilia, presented on O Show do Eu: a intimidade como espetáculo", and on the "A Sociedade do Espetáculo" by Guy Debord. The arguments concerning the News are anchored by work of Eugênio Bucci and Maria Rita Kehl, "Videologias". The reflexion regarding the spectator with violent images is based on the work by Susan Sontag, "Diante da dor dos outros", and on the works of Arlindo Machado, "A Televisão levada a Sério" and "O Sujeito na Tela". In the end, it is concluded that the persistent shocking images that infest the many diverse ways of informational communication operate through contagious systems, which lead to dramatization elements of the journalism of the real for the fictional and spectacle of crime for the News universe, on television and internet
A presente pesquisa pretende refletir de forma crítica sobre os modos de representação da criminalidade nas mídias audiovisuais, em especial na mídia televisiva. O objetivo da análise é apontar processos midiáticos que evidenciem e exemplifiquem o modo como o crime é transformado em espetáculo, reconfigurando os formatos narrativos de dramas policiais e do telejornalismo vigentes. A cultura das mídias audiovisuais, no que diz respeito à representação das imagens de violência e criminalidade, vem demonstrando duas vertentes predominantes: o telejornalismo que incorpora elementos de construção típicos das telenovelas e a programação ficcional que se pretende realista, retratando o cotidiano da polícia em ação nos grandes centros urbanos. Sob a ótica da espetacularização promovida pela mídia jornalística, serão analisados dois crimes ocorridos no ano de 2008: o caso da menina Isabella Nardoni e o da jovem Eloá Pimentel, fartamente reproduzidos e detalhados na internet. No que tange ao crime-espetáculo no universo da ficção, analisaremos a narrativa seriada televisiva CSI:Crime Scene Investigation, com destaque para os episódios "Grave danger" e "Monster in a box . Do ponto de vista metodológico, a pesquisa baseia-se na análise dos audiovisuais concebidos para televisão e em suas versões para internet e DVD, a fim de investigar a relação entre o sujeito vidente e o objeto visível, entendendo o espectador como voyeur-mórbido. Do ponto de vista teórico, a pesquisa apoia-se no conceito de "choque do real" de Beatriz Jaguaribe, na hipótese de espetacularização da intimidade de Paula Sibilia, apresentada em O show do eu: a intimidade como espetáculo" e na obra "A sociedade do espetáculo" de Guy Debord. As discussões sobre telejornalismo são ancoradas na obra de Eugênio Bucci e Maria Rita Kehl, "Videologias". A reflexão sobre a relação do espectador com as imagens de violência baseia-se na obra de Susan Sontag, "Diante da dor dos outros", e nas obras de Arlindo Machado, "A televisão levada a sério" e "O sujeito na tela". Ao final, conclui-se que as insistentes imagens de choque e violência que assolam os mais diversos meios informacionais de comunicação operam por sistemas de contágio, que levam elementos da dramatização do real do telejornalismo para o universo ficcional e de espetacularização do crime para o universo do telejornal, na televisão e internet
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Cao, Xuenan. "Discourses on urbanism: "Reality televisions" by Jiangsu Satellite Television since 2010." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/46.
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Since 2004, the Chinese media scene has been dominated by what is called the “pan-reality television” trend. Reality television is capable of synchronizing the effects of all the political, economic, and cultural factors into the participants’ actions and becoming a powerful reconstruction of the social environment from which it emerges. The thesis takes Jiangsu Satellite TV (JSTV)’s golden hour reality televisions as the case to address the question of how they express, reflect and formulate the imaginations and understandings of urban living, focusing on the cultural, social, and political specificities of these reality television shows. The thesis is an attempt to bring into discussions ignored aspects of popular television culture that can be potential source for furthering the understanding of urban conditions in China. The thesis finds that the images, the discursive fields, and the procedures of the games in the reality television shows and the governmental regulations imposed on them are part of the mechanisms to dissemble a set of discourses into the colloquial, the practices of urban lives, and possibly the imaginations of urban lifestyles. Emerging out of this dynamic process is the formulation of a way of life in the context of urban China – specifically, the linear, individual progressivity. The main body of the thesis will empirically show how the linear, individual progressivity is installed and enacted in the shows and political implications of that.
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Bacchin, Rodrigo Boldrin [UNESP]. "Reality-show: a tv na era da globalização." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/98962.
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A presente dissertação tem por objetivo analisar o Big Brother – programa freqüentemente caracterizado como o maior destaque dentre os reality-shows – como um produto característico da indústria cultural na era da globalização. Idealizado pela produtora holandesa Endemol, ele foi o primeiro programa do mundo a ser simultaneamente apresentado em TV aberta, TV a cabo (pay-per-view) e pela Internet. Ele se tornou rapidamente um fenômeno mundial tendo sido, até hoje, exibido em 70 países diferentes. Sua principal característica é ser um programa interativo, produzido para ser consumido em diferentes mídias. Assim sendo, a pesquisa procura compreender como se configura a indústria cultural a partir das novas possibilidades trazidas pelo processo de globalização. Portanto, propõe uma avaliação da validade deste conceito no mundo globalizado, após assinalar algumas das principais características da globalização. Considerando que se trata de um programa televisivo, foi realizada uma análise crítica da televisão, a fim de demonstrar a falsidade da tese de que ela é um meio de comunicação neutro, isento e sem conseqüências. Também, a partir das possibilidades abertas pelo processo de globalização, a dissertação assinala as principais características da televisão na era da globalização, dando destaque à convergência entre a televisão e a Internet. Finalmente, demonstra a especificidade da relação entre os realityshows e a globalização, principalmente com o programa Big Brother. Ainda, destaca a proximidade da produtora Endemol com a dinâmica da globalização, que desponta como um importante ator para a compreensão do objeto de pesquisa. Por fim, debate questões importantes suscitadas pelos reality-shows e especialmente pelo Big Brother, relacionadas a proximidade destes programas com a etapa globalizada do capitalismo.
This dissertation intents to analyze the Big Brother – a TV show usually presented as the most important among the reality-shows – as a typical product of the culture industry in the globalization age. Idealized by the dutch producer Endemol, it was the first program in the world to be simultaneously presented in broadcast TV, cable TV (pay-per-view) and Internet. It quickly became a global phenomenon and, until today, it has been broadcast in 70 different countries. It’s main characteristic is to be a interactive TV show, produced to be consumed in different medias. Therefore, this research intends to comprehend the configuration of the culture industry as a result of the new possibities brought by the globalization process. Consequently, it proposes an evaluation of the validity of this concept in the globalized world, after indicating some of the main characteristic of globalization. Considering that it is a TV show, it was performed a critical analysis about television, intending to demonstrate the falsehood of the thesis that it is a neutral, exempt and without consequences mass media. Besides, through the possibilities brought by the globalization process, this dissertation indicates the main characteristic of television in the globalization age, emphasizing the convergence between television and Internet. Finally, it demonstrates the specificity of the relation between the reality-shows and the globalization, especially the Big Brother. Yet, it emphasizes the proximity involving the producer Endemol with the globalization dinamics, which appears as an important player to comprehend the research object. In conclusion, it discusses important issues brought up by the reality-shows and, specially, by the Big Brother, both related with the proximity of these TV shows with the globalized stage of capitalism.
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Bacchin, Rodrigo Boldrin. "Reality-show : a tv na era da globalização /." Araraquara : [s.n.], 2008. http://hdl.handle.net/11449/98962.
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Resumo: A presente dissertação tem por objetivo analisar o Big Brother - programa freqüentemente caracterizado como o maior destaque dentre os reality-shows - como um produto característico da indústria cultural na era da globalização. Idealizado pela produtora holandesa Endemol, ele foi o primeiro programa do mundo a ser simultaneamente apresentado em TV aberta, TV a cabo (pay-per-view) e pela Internet. Ele se tornou rapidamente um fenômeno mundial tendo sido, até hoje, exibido em 70 países diferentes. Sua principal característica é ser um programa interativo, produzido para ser consumido em diferentes mídias. Assim sendo, a pesquisa procura compreender como se configura a indústria cultural a partir das novas possibilidades trazidas pelo processo de globalização. Portanto, propõe uma avaliação da validade deste conceito no mundo globalizado, após assinalar algumas das principais características da globalização. Considerando que se trata de um programa televisivo, foi realizada uma análise crítica da televisão, a fim de demonstrar a falsidade da tese de que ela é um meio de comunicação neutro, isento e sem conseqüências. Também, a partir das possibilidades abertas pelo processo de globalização, a dissertação assinala as principais características da televisão na era da globalização, dando destaque à convergência entre a televisão e a Internet. Finalmente, demonstra a especificidade da relação entre os realityshows e a globalização, principalmente com o programa Big Brother. Ainda, destaca a proximidade da produtora Endemol com a dinâmica da globalização, que desponta como um importante ator para a compreensão do objeto de pesquisa. Por fim, debate questões importantes suscitadas pelos reality-shows e especialmente pelo Big Brother, relacionadas a proximidade destes programas com a etapa globalizada do capitalismo.Abstract: This dissertation intents to analyze the Big Brother - a TV show usually presented as the most important among the reality-shows - as a typical product of the culture industry in the globalization age. Idealized by the dutch producer Endemol, it was the first program in the world to be simultaneously presented in broadcast TV, cable TV (pay-per-view) and Internet. It quickly became a global phenomenon and, until today, it has been broadcast in 70 different countries. It's main characteristic is to be a interactive TV show, produced to be consumed in different medias. Therefore, this research intends to comprehend the configuration of the culture industry as a result of the new possibities brought by the globalization process. Consequently, it proposes an evaluation of the validity of this concept in the globalized world, after indicating some of the main characteristic of globalization. Considering that it is a TV show, it was performed a critical analysis about television, intending to demonstrate the falsehood of the thesis that it is a neutral, exempt and without consequences mass media. Besides, through the possibilities brought by the globalization process, this dissertation indicates the main characteristic of television in the globalization age, emphasizing the convergence between television and Internet. Finally, it demonstrates the specificity of the relation between the reality-shows and the globalization, especially the Big Brother. Yet, it emphasizes the proximity involving the producer Endemol with the globalization dinamics, which appears as an important player to comprehend the research object. In conclusion, it discusses important issues brought up by the reality-shows and, specially, by the Big Brother, both related with the proximity of these TV shows with the globalized stage of capitalism.
Orientador: Raul Fiker
Coorientador: Renato Bueno Franco
Banca: José Pedro Antunes
Banca: Luiz Antonio Calmon Nabuco Lastória
Mestre
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Murphy, Caitlin. "Snog, Marry or Avoid? Class, taste and the making of selfhood in makeover televison." Thesis, Department of Gender and Cultural Studies, 2012. http://hdl.handle.net/2123/8864.
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‘Snog, Marry or Avoid?: Class, taste and the labour of selfhood in makeover television’, is an exploration of the way social stratification is visited on individual and collective corporeality, externalised through the mechanics of taste and regulated within the makeover television genre. Research for this thesis has been primarily informed by the theory of French sociologist Pierre Bourdieu, who, in the latter half of the twentieth century, aimed to expose the role of culture as implicated in the functioning of power within capitalist societies. Bourdieu’s work reminds us that social stratification is inevitably inscribed on corporeality, through the structure of habitus and its relation to capital. This thesis demonstrates how class often informs the subtext of makeover television – as middle-class tastes are held as the key to affecting legitimate selfhood – yet social difference is subsumed in the ideology of individualism. These concepts are developed with reference to Snog Marry Avoid? (2008--), a British ‘make-under’ series that subtly works to equate middle-class taste with a ‘natural’, desirable state of being. Through examination of this text, questions are raised about the arbitrariness of ‘good’ taste, the durability of habitus and how these constructs inhibit social mobility and interpersonal success. Ultimately, this thesis figures as an indictment of the way (classed) bodies are devalued by discourses of self-legitimation.
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Delange, Lisa Jeanne. "Reality blurred? : the ethical challenges and responsibilities presented by reality television." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53026.
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Thesis (M.Phil.) --Stellenbosch University, 2002.ENGLISH ABSTRACT: Reality television combines various genres of entertainment to produce material that has in recent years gripped the attention of audiences across the globe. It is presented in various formats such as game or talk shows, which each reveal different ethical dilemmas to media practitioners. Reality shows place ordinary persons in exotic locations or situations where cameras capture non-scripted scenes that reveal the joy and heartache of participants. These programmes often lay the lives of normal people bare to all and, thus, the question arises as to whether it is ethical for the media to subject participants to the scrutiny of the audience in this way. Reality television has highlighted the ethical challenges and responsibilities presented to media practitioners in the modem media industry where competition may adversely affect ethical choices. In this assignment the function of journalists and their ethical position is touched on, while the medium of television, its entertainment value and the effect of commercialism on the media industry is examined. Various international and South African reality television productions are considered in an attempt to discover how current media practitioners deal with ethical challenges, and weigh up financial gain against upholding the moral values of society. The role of media practitioners as moral agents and the effect that the material they disseminate may have on their audience is furthermore discussed by using case studies. The future of reality television, particularly after the terror attacks of 11 September 2001 in the USA, is speculated and it is determined that it appears that reality-based programming will be a feature of television in the short term. Media practitioners need to realize their place in society and make ethical decisions that encourage artistic values and uplift society. Reality television presents a number of challenges in this regard and has the potential to continue to raise ethical issues in the future.
AFRIKAANSE OPSOMMING: Realiteitstelevisie is 'n kombinasie van verskeie vermaaklikheidsgenres en het oor die afgelope jare die aandag van kykers wereldwyd aangegryp. Dit word op verskeie wyses aangebied soos byvoorbeeld in die vorm van speletjies- of geselsprogramme, welke elk verskillende etiese dilemmas vir media praktisyns daarstel. Hierdie programme plaas gewone persone voor die kameras op eksotiese bestemmings en in unieke situasies waar die ware blydskap en hartseer van deelnemers vasgele word op film. Hierdie programme beskou soms elke aspek van deelnemers se lewens, en dus word die vraag geopper of dit eties is vir die media om die lewens van deelnemers bloot te le vir kritiek van kykers. Realiteitstelevisie het die etiese uitdagings en veranwoordelikhede van media praktisyns in die moderne media bedryf, waar kompetisie 'n negatiewe effek op etiese keuses mag he, na vore gebring. In hierdie werkstuk word die funksie van joernaliste en hul ethiese posisie kortliks aangeraak, terwyl die middel van televisie, ·die vermaaklikheidswaarde daarvan asook die effek van kommersialisme op die media bedryf ondersoek. V erskeie internasionale en Suid-Afrikaanse realteitstelevisie produksies word hierin oorweeg in 'n poging om te ontdek hoe huidige media praktisyns etiese uitdagings hanteer en fmansiele gewin opweeg teenoor die morele waardes van die gemeenskap. Die rol van media praktisyns as morele agente en die effek van die materiaal wat hulle versprei word ook bepsreek deur middel van gevallestudies. Die toekoms van realiteitstelevisie, veral na die terreur aanvalle van 11 September 2001 in die VSA, word gespekuleer en word dit bevind dat realiteitstelevisie, minstens in die kort termyn, 'n eienskap van televisie in die toekoms sal wees. Media praktisyns moet hul plek in die samelewing besef en etiese besluit neem wat die artistieke waardes van die gemeenskap bevorder. Realiteitstelevisie opper vele uitdagings in hierdie opsig en beloof om ook in die toekoms etiese aspekte uit te lig.
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Donovan, Kathleen. "Perceptions of Female Aggression on Reality Television." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34973.
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Despite the detrimental effects of aggression, Reality Television is replete with portrayals of female direct and indirect aggression for the sake of entertainment. Direct, physical and verbal aggression may be easy to identify but indirect aggression can be circuitous and subtle such as gossiping and exclusion from the group. Victims of indirect aggression can experience long-term psychological repercussions such as depression, anxiety, low self-esteem and self-abusive behaviour. Exposure to indirect relational aggression on Reality Television has also been shown to increase physical aggression in its viewers.
Combining three theoretical frameworks this study draws on social cognitive theory, cultivation theory as well as feminist frameworks. Female adults were recruited to participate in semi-structured interviews discussing their perceptions and influence of Reality Television clips portraying female aggression.
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Van, Heerden Esther. "Big brother under surveillance : interrogating reality television." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/5945.
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Includes bibliography.I argue against an outright dismissal of so-called reality shows as unreal television set-ups by interrogating how so-colled realness is performed within the context of Big Brother 2, a reality-based game show. Research is conducted on the production set in Randburg, Johannesburg, over a period of seven weeks. A variety of research methods participant observation, semi-structured interviews, informal conversations-and informants-are employed.
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Wanderley, Carolina Pessoa. "Reality show e teledramaturgia: o drama da vida no Big Brother Brasil 15." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/9792.
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Target of criticism from various sections of society, the Big Brother Brazil as object of study, allows looks from various academic aspects such as the Sociology, Anthropology and Psychology, and in the area of communication, can be analyzed from a range of possibilities to deal with the subject example the authors François Jost and Muniz Sodre. Among these possibilities, in this work, he started to study the Big Brother Brazil as televisual product and as a theoretical framework and is considered the television drama elements in order to understand if it is possible to find points of intersection between these two narratives. Therefore, it is important to consider that it is necessary to leave the common sense in which the shows realitys are empty and do not add value to society. As media products such attractions condense aspects involving not only the Brazilian people culture, considering its habits and behavior, but above all, which reconfigures media in a new genre that gives rise to an invented reality, being sold as reality only because it uses real aspects. In this study object of analysis, the construction of the characters worked, observing the physical or behavioral characteristics of the participants that were transmitted by the program production. In the same study, it was also observed that, both in the house parties, as the evidence leader and Angel, the productions performed by the direction of the program can be considered as performing structures from the understanding that such spaces are strategically prepared environments to generate the "stage" of events. The third and most important category of analysis consisted of the construction of three major narrative threads in search of participants to win the program. The first narrative thread refers to the relationship between Amanda and Fernando, the second main narrative thread is the involvement of Aline and Fernando, and the third main narrative thread discusses the lonely path of César Award winner in cash. It is thus understandable that the precise identification of these categories in the fifteenth edition of the reality provides a new perspective on the Big Brother Brazil as audiovisual product. This look not only demystifies the 'label' reality show presented by broadcaster as possible acceptance of television drama elements in this genre programs. Key-words: television; reality show; teledramaturgy
Alvo de críticas oriundas das mais variadas camadas da sociedade, o Big Brother Brasil, enquanto objeto de estudo, possibilita olhares das mais diversas vertentes acadêmicas a exemplo da Sociologia, da Antropologia e da Psicologia, e, na área da Comunicação, pode ser analisado a partir de um leque de possibilidades que tratam do tema a exemplo dos autores François Jost e Muniz Sodré. Dentre essas possibilidades, no presente trabalho, passou-se a estudar o Big Brother Brasil enquanto produto televisual e como arcabouço teórico e se considerou os elementos da teledramaturgia a fim de entender se é possível encontrar pontos de interseção entre essas duas narrativas. Para tanto, é importante considerar que é necessário sair do senso comum no qual os realitys shows são vazios e não agregam valor à sociedade. Como produtos midiáticos, tais atrações condensam aspectos que envolvem não apenas a cultura do povo brasileiro, considerando seus hábitos e comportamentos, mas, sobretudo, o que a mídia reconfigura em um novo gênero que dá origem a uma realidade inventada, sendo vendida como realidade apenas porque se utiliza de aspectos do real. Na análise do objeto deste estudo, trabalhou-se a construção dos personagens, observando-se as características físicas ou comportamentais dos participantes que eram transmitidas por parte da produção do programa. Ainda neste estudo, observou-se também que, tanto nas festas da casa, como nas provas do Líder e do Anjo, as produções realizadas pela direção do programa podem ser consideradas como estruturas cênicas a partir da compreensão de que tais espaços são ambientes preparados estrategicamente para gerar o “palco” dos acontecimentos. A terceira e mais relevante categoria de análise constituiu-se da construção de três fios narrativos principais na busca dos participantes em vencer o programa. O primeiro fio narrativo se refere ao relacionamento entre Amanda e Fernando, o segundo fio narrativo principal trata do envolvimento de Aline e Fernando, e o terceiro fio narrativo principal aborda a trajetória solitária de César, ganhador do prêmio em dinheiro. Compreende-se assim que a identificação precisa destas categorias na décima quinta edição do reality possibilita uma nova perspectiva a respeito do Big Brother Brasil enquanto produto audiovisual. Tal olhar não apenas desmitifica a ‘etiqueta’ de reality show apresentada pela emissora como possibilita a aceitação de elementos da teledramaturgia em programas deste gênero.
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van, der Stelt Frank. "Location Based Augmented Reality for Interactive Television Drama." Thesis, Linköpings universitet, Institutionen för teknik och naturvetenskap, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-97076.
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This thesis explores augmented reality (AR) for Java enabled consumer mobile phones for use in an interactive TV drama. The problems that are faced when dealing with limited processing power and memory constraints are examined and so are the minimum demands set on the telephones. A discussion of what AR is and where the development of mobile AR stands today is presented. Based on a dialogue with Swedish Television (SVT) and the evaluation of current mobile phones a possible solution is presented based primarily on the idea of visual 2D tags. Visual tags are machine readable codes storing information and properly designed they can be used for the extraction of location and orientation information. This makes augmentation with 3D synthetic objects theoretically possible. The mathematical ideas behind decoding these visual codes are explained. The use of common corner detectors was attempted as a solution of the stated problem. A short description of the theory behind corner detectors and some images of the results are included in this thesis. The thesis concludes with a discussion of the findings and of possible future work.
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Griffith, Jill C. "The uses and gratifications of reality based television." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337194.
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Over the last five years, reality-based television has generated some of the biggest, most talked-about hits for broadcast networks. However, academic researchers have given little attention to the genre, specifically the differences among various formats of reality programming and the appeal of these formats to viewers. To understand the appeal of specific aspects of reality television, a better understanding of reality television viewers, types of reality shows watched and gratifications sought was needed. The objective of this study was to compare differences among reality television formats watched and gratifications sought by regular viewers.Ball State UniversityMuncie, IN 47306An online survey was made available to 15,000 college students at a mid-sized, public university in the Midwestern United States. Six hundred thirty responses were received, but those who were not regular viewers of reality-based television were eliminated. Regular viewers are defined as those who indicate that they watch at least one reality-based program the majority of times that a new episode airs. By eliminating those who are not regular viewers, 327 cases were left for analysis.An analysis of variance (ANOVA) showed significant differences within groups of viewers based on the type of reality show that they indicated was their favorite. A Scheffe's test was employed to determine where these differences were. Significant differences existed between docusoap and reality-talent watchers for parasocial relationship gratifications, and reality lifestyle watchers and those who watched all other formats for self-awareness gratifications. Significant differences also existed for reality game watchers and those who watch reality lifestyle formats and docusoap formats for entertainment gratifications, and docusoap watchers and those who watch reality game formats for boredom gratifications. No significant differences existed relating to downward social comparison, social utility or escape gratifications.Department of Journalism
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Ferguson, Galit. "Watching families : parenting, reality television and popular culture." Thesis, University of East London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532891.
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This interdisciplinary thesis provides a contemporary-historical, psychoanalytically inflected study around family-help reality television programmes. The combination of psychoanalytic and discursive perspectives, and the focus on popular cultural texts positions this as a psychocultural study. Focussing on Supernanny, Honey We're Killing the Kids and House of Tiny Tearaways, engagements with theses hows and issues around parenting on the web, and policy representational texts, I argue that such programmes and surrounding texts articulate a set of `affective discourses' that are also present in theoretical writing and representations about family and/or reality television. These discourses are often reactionary, and always paradoxical. The programmes in question can be regarded as an anxious distillation of ideological and emotional contradictions, a remediation of parenting and family which fans the very anxieties it purports to soothe. A study of `web audiencing' alongside a close analysis of both theoretical and televisual texts allows an unravelling of the contradictory elements of this `family-help' phenomenon, and its connections with class, shame, and fantasies of the split good/bad parent and child. The thesis begins by examining the cultural context for such concerns by providing a contemporary-historical psychocultural analysis of the UK family as a social and cultural construction in the late 200' and early 21" centuries. Through a focus on the concept of family as a psychosocial construction and the varied attempts to grapple with it in the media, this thesis also shows that ideology and affect are inextricable, especially when they seem furthest apart. This thesis offers a nuanced picture of familial discourses and related affects in contemporary Britain. It also contributes an original psychocultural analysis of popular media, incorporating a refiguring of the media audience in its work on `web audiencing', a psychoanalytically inflected yet materially contextualised textual analysis of reality television shows which do not often garner close textual attention, and a strong argument for a multiperspectival psychocultural perspective in media and popular cultural analysis.
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Sipple, Laura. "To watch or not to watch? That is the question. Identifying the common characteristics of the reality television viewing audience /." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.
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Howard, Susan M. "An investigation into children's perceptions of the reality of television /." View thesis View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030602.154347/index.html.
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Johnson, Kirsten. "Reality television viewing and behaviors and attitudes of children." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2002. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.S.)--Kutztown University of Pennsylvania, 2002.Source: Masters Abstracts International, Volume: 45-06, page: 2711. Typescript. Abstract appears on leaves 1-2. Leaves 75-77 are presented as leaves 1-3. Includes bibliographical references (leaves 66-73).
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Howard, Susan M. "An Investigation into children's perceptions of the reality of television." Thesis, View thesis View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/60.
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This thesis occupies an uneasy space: not within or even at the leading edge of any one tradition, but in the anomalous and almost unoccupied space in which three traditions fail to connect. In keeping with this standpoint, it employs a range of approaches from a cross-paradigm perspective. It draws the main hypothesis that it tests from the cognitive developmental paradigm and develops its main methodological tools from methods of discourse analysis, supplemented by a variety of other instruments, quantitative as well as qualitative. This thesis makes five main claims: (1). Modality judgements, issues and perceptions in relation to television programme content are significant elements in a complex, active and creative process of learning for children in the contemporary world. (2). Children's modality judgements and processes of understanding are significantly different from those of adults in important respects. (3). A further significant developmentally-related phenomenon that emerges from the data is the importance of moments of rupture in developing modality schema and strategies. (4). Children's programme preferences, as refracted through modality structures and strategies typical of different ages, reflect a coherent learning context in which children tackle modality experiences, problems and dilemmas that are well suited to their needs at that point in their development. (5). Children's talk about issues of modality is also a species of social action, in and through which children position and reposition themselves in a variety of social contexts, constructing not only maps and versions of the world, but versions of their selves and tactics to maintain their specific interests. Many of the generalisations in this thesis are still tentative, in need of further development. Some of them, however, are more solidly grounded and would be able to contribute to current debates in education and public life on the role and functions of television in the lives of children.
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Rasure, Erika M. "Exploring the influence of reality television on financial behavior." Diss., Kansas State University, 2015. http://hdl.handle.net/2097/18927.
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Doctor of PhilosophyDepartment of Family Studies and Human Services
Kristy L. Pederson-Archuleta
Viewership of reality television has been indicated to influence behaviors among individuals and groups, as existing literature has linked reality television viewership to an increase in the likelihood of demonstrating other non-financial behaviors. The literature notes increases in risky sexual and dating behavior, increases in tobacco, drug, and alcohol use, and increases in violent behavior. This dissertation examined the perceptions of the influence of reality television on financial behavior. Situational reality television programming was found to have the greatest influence on the financial behaviors of college students. Ten college students were interviewed using a phenomenological qualitative approach. There were four primary findings from this study. The first was that reality television has the ability to inform the financial behavior of college students. Second, an individual’s connection to his or her social system has an influence on financial behavior. Third, reality television does have the ability to influence financial behavior change and fourth, reality television influences the meaning of money as perceived by the respondents. The results of this study provide valuable information to promote further inquiry as to how reality television and other forms of media influence financial behavior.
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Farfán, Tang Jazmín Alicia. "El recurso melodramático como estrategia discursiva en los reality shows. El caso de “El Gran Show 2011 - Segunda temporada”." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2016. http://hdl.handle.net/10757/621679.
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Deuestra que el programa en mención, de importancia por tratarse de un fenómeno comunicacional de la televisión peruana en ese momento, cuenta con elementos del melodrama claramente identificables en su discurso comunicativo. Se debe tener en cuenta que el objetivo de este trabajo no es averiguar cuál es la reacción del espectador.
Para corroborar lo antes mencionado, se desarrollaron tres capítulos. En el primero se define el melodrama y muestra sus antecedentes y características, mientras que el segundo se encarga de introducir la esencia del reality show y presentar su estructura con miras a una comparación con el melodrama. Finalmente, el tercer capítulo muestra el análisis del segmento “El Desafío” de “El gran Show”, el cuál es el fragmento de mayor contenido melodramático del programa. Aquí se seleccionaron los seis episodios más representativos de la temporada por sus evidentes cantidades de elementos melodramáticos y se analizaron a partir de dos grandes ítems: el lenguaje audiovisual y la semiología.
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Tressler, Kevin. "A moderated mediation model of "The Apprentice" and business attitudes a study of reality-based television and parasocial feelings by social working class and trust in big business /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.91 Mb., 113 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435877.
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Holmes, Haley K. "Coyote Ugly Librarian: A Participant Observer Examination of Lnowledge Construction in Reality TV." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3663/.
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Reality TV is the most popular genre of television programming today. The number of reality television shows has grown exponentially over the last fifteen years since the premier of The Real World in 1992. Although reality TV uses styles similar to those used in documentary film, the “reality” of the shows is questioned by critics and viewers alike. The current study focuses on the “reality” that is presented to viewers and how that “reality” is created and may differ from what the participants of the shows experience. I appeared on two reality shows, Faking It and That's Clever, and learned a great deal as a participant observer. Within the study, I outline my experience and demonstrate how editing changed the reality I experienced into what was presented to the viewers. O'Connor's (1996) representation context web serves as a model for the realities created through reality television. People derive various benefits from watching reality TV. Besides the obvious entertainment value of reality TV, viewers also gather information via this type of programming. Viewers want to see real people on television reacting to unusual circumstances without the use of scripts. By surveying reality TV show viewers and participants, this study gives insight into how real the viewers believe the shows are and how authentic they actually are. If these shows are presented as reality, viewers are probably taking what they see as historical fact. The results of the study indicate more must be done so that the “reality” of reality TV does not misinform viewers.
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Dyer, Caitlin Elizabeth. "Reality Television: Using Para-Social Relationship Theory and Economic Theory to Define the Success of Network Reality Programming." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33144/.
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This study seeks to use a dual-theoretical approach, through the use of para-social relationship theory and economic data analysis, to explain the success of reality television since the early 2000s. This study uses both qualitative and quantitative components to understand the growth of reality television. This study includes a literature analysis of both methodologies used. Focus groups were used to seek to find a strong level of para-social interaction in viewers of reality television. Two focus groups were conducted with participants 18-35. There were a total of 16 participants who attended the focus group sessions. The information collected suggested that viewers of reality television formed para-social relationships. It appeared that female viewers were more likely to form para-social relationships than male viewers.
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Howard, Susan M., of Western Sydney Hawkesbury University, and of Health Humanities and Social Ecology Faculty. "An Investigation into children's perceptions of the reality of television." THESIS_FHHSE_xxx_Howard_S.xml, 1997. http://handle.uws.edu.au:8081/1959.7/60.
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This thesis occupies an uneasy space: not within or even at the leading edge of any one tradition, but in the anomalous and almost unoccupied space in which three traditions fail to connect. In keeping with this standpoint, it employs a range of approaches from a cross-paradigm perspective. It draws the main hypothesis that it tests from the cognitive developmental paradigm and develops its main methodological tools from methods of discourse analysis, supplemented by a variety of other instruments, quantitative as well as qualitative. This thesis makes five main claims: (1). Modality judgements, issues and perceptions in relation to television programme content are significant elements in a complex, active and creative process of learning for children in the contemporary world. (2). Children's modality judgements and processes of understanding are significantly different from those of adults in important respects. (3). A further significant developmentally-related phenomenon that emerges from the data is the importance of moments of rupture in developing modality schema and strategies. (4). Children's programme preferences, as refracted through modality structures and strategies typical of different ages, reflect a coherent learning context in which children tackle modality experiences, problems and dilemmas that are well suited to their needs at that point in their development. (5). Children's talk about issues of modality is also a species of social action, in and through which children position and reposition themselves in a variety of social contexts, constructing not only maps and versions of the world, but versions of their selves and tactics to maintain their specific interests. Many of the generalisations in this thesis are still tentative, in need of further development. Some of them, however, are more solidly grounded and would be able to contribute to current debates in education and public life on the role and functions of television in the lives of children.Doctor of Philosophy (PhD)
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Quinn-Leandro, Jacqui C. "Women’s professional status in Caribbean television : parity: perception and reality." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=67482.
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A considerable body of work on women's television careers exists in Europe and North America, but the English-speaking Caribbean countries have never been investigated for their regional practices. This dissertation fills this void by addressing three major themes: a) the discrepancies between the high female labour force participation rates and their low representation in media management positions; b) the role of Caribbean gender ideology and stereotypes in excluding females from the professions; and c) the dearth of anti-discrimination and equity legislation in the region, their impact on female professional careers; and what can be done to ameliorate the working conditions of female broadcasters in the Caribbean. Historically, there has always been a significant percentage of women in employment in the Caribbean: during slavery, women outnumbered male workers on the plantations. The last two decades have seen a marked movement of women out of agriculture and into the service sectors including tourism and banking; as well as communication and some of the professions. As elsewhere in the world, gender structures and fragments the contemporary Caribbean labour force; and the tendency for men and women to have access to qualitatively different types of jobs is a persistent feature of both professional and general employment patterns in the region. This thesis investigates journalism as one of the prestige professions, which has attracted female personnel since the 1960s; and compares their access, promotion and remuneration to that of the male professionals. The thesis further uses Canadian and American findings to determine the informal barriers encountered by females in building their careers, as well as asesses the equity legislation and its impact on the region. Two comprehensive surveys covering all Television stations in the Anglophone Caribbean provide the data for the thesis; which are similar to those used by Robinson/St. Jean (1997) in Canada and WeaverIl existe en Europe et en Amerique du nord de nombreuses etudes sur la vie professionnelle des femmes oeuvrant dans le domaine televisuel. Aux Caraibes Anglophones, par contre, il n'existe aucune etude de ce genre. Ce travail vise a combler ce vide en considerant le probleme sous trois angles principaux: a) les ecarts existant entre le taux eleve de la main-d'ceuvre feminine dans le domaine televisuel et la sous-representation des femmes parmi les cadres superieurs du secteur des medias b) le role de l'ideologie et des stereotypes de sexes aux Caraibes dans l'exclusion des femmes des postes de responsabilite au sein des entreprises mediatiques et de la penurie d'une politique de justice sociale et d'equite d'emploi dans la region et ses consequences sur les carrieres des femmes; et dans quelle mesure it serait possible d'ameliorer les conditions de travail des femmes dans le domaine de la telediffusion aux Caraibes. Historiquement les femmes des Caraibes ont toujours constitue un pourcentage important de la main-d'ceuvre: pendant l'esclavage, le nombre de femmes travaillant sur les plantations depassait celui d'ouvriers de sexe masculin. D'ailleurs, au cours des deux demieres decennies, les femmes ont de plus en plus abandonne le secteur de l'agriculture au profit de celui de services et de consommation, y compris le tourisme et les operations bancaires, la communication et certaines autres professions. Comme ailleurs dans le monde, l'appartenance sexuelle conditionne et influence le decoupage de l'effectif aux Caraibes contemporaines; la tendance selon laquelle les hommes et les femmes occupent des postes qualitativement differents est donc une caracteristique permanente des politiques d'emploi de la region. Cette these analyse le journalisme comme profession de prestige ayant attire les femmes depuis les annees 60 et compare leur acces au travail et a la promotion et leur remuneration a ceux de leurs homologues masculins. La these s'inspire des resultats d'etud
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Pullen, Christopher. "Gay male performances in American confessional documentary and reality television." Thesis, Bournemouth University, 2004. http://eprints.bournemouth.ac.uk/414/.
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This thesis examines the performance of gay males presented in American confessional documentary and reality television, and relates this to the construction of homosexual identity. It specifically focuses on the representation of social actors involved in performance, as well as contextualising the contribution of producers. Although it does not present an historical analysis, it examines a timescale: between 1971 and 2004. A central context is the hypothesis that confessional documentary and reality television offer discursive and performative spaces to social actors, who may engage with the idea of `performativity': the ability to influence ideas in society. The context of individual agency is examined in relation to the potential of `capillary' power: power which may exist outside dominant forces. In this way Michel Foucault's ideas on power and discourse are foregrounded in relation to theorists who suggest the potential for cultural and social resistance. At the same time sociological contexts, and specifically the idea of social construction are examined. Anthony Giddens' ideas on `experiments in living' are discussed alongside social theorists who suggest that new forms of social identity may be offered by homosexuals. A central finding is the observation that models of homosexual identification have progressed towards `the domestic'. This not only involves gay males represented in stable romantic relationships and (non-traditional) `family' roles, but also that through connecting themselves with domestic production they potentially influence dominant ideas. This thesis extends previous ideas of homosexual identity examined in the media (those historically formulated within the context of film and drama studies). In this way it offers new discursive ideas surrounding gay identity, making new connections in confessional documentary and reality television.
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Rennels, Tasha Rose. "“You Better Redneckognize”: White Working-Class People and Reality Television." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5766.
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This project documents the complex and interwoven relationship between mediated representations and lived experiences of white working-class people—a task inspired by the author’s experiences growing up in a white working-class family and neighborhood and how she came to understand herself through watching films and television shows. Theoretically guided by Foucault’s recognition that people are constituted in and through discourse, the author specifically analyzes how reality television articulates certain ideas about white working-class people and how those who identify as members of this population, including the author, negotiate such articulations. A focus on white working-class people is important considering their increasing presence in reality television and the ways in which they are frequently ridiculed in U.S. cultural discourse. Through a combination of qualitative methods, including critical autoethnography, interviews, interactive focus groups, and close textual analysis, the author focuses on three findings: (1) the lived experiences of white working-class people are complex and can be used to challenge essentializing stereotypes about this population prevalent in the media; (2) films and television shows are polysemic as evidenced by the varied responses of white working-class people; and (3) listening to those who are implicated in media sites can render more complex the analyses and critiques scholars provide as well as contribute to the recent increase of media studies that speak across multiple methods and boundaries.
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Lovelock, Michael. "Interrogating the politics of LGBT celebrity in British reality television." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/63063/.
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Since the beginning of the twenty-first century, reality television has been one of the most prolific spaces of LGBT (lesbian, gay, bisexual, transgender) visibility in British popular culture. Yet, in almost two decades of scholarship on reality TV, very little academic work has addressed the representation of LGBT identities within this medium, outside of a small set of makeover programmes. Where LGBT visibility in non-makeover reality shows has been analyzed, these representations have been approached as largely indistinguishable from fiction texts, their status as reality TV passing largely unaddressed. This thesis critically interrogates the relationship between reality television as a form, and the representations of LGBT identity found within reality programmes. Focusing on British reality shows broadcast between 2000 and 2014, this study explores how the generic specificities of reality television have shaped the ways in which LGBT identities have become visible within reality formats. This thesis argues that, in the figures of LGBT reality TV participants, tropes of authenticity, self-realization, celebrity and democracy bound to reality television itself have functioned as the discursive frameworks through which a series of normative scripts of LGBT subjectivity and LGBT life have been produced and circulated through British popular culture. This thesis examines the representations of LGBT identity in a range of different reality formats, including Big Brother, The X Factor and The Only Way is Essex, amongst others, alongside the discussions and depictions of LGBT participants in extra-textual media like magazines, newspapers and blogs. Through these materials, this study interrogates how different reality formats enable LGBT subjectivities to become visible in different ways, the divergent ways in which British reality television has represented different kinds of queer identities, and how British reality shows have mobilized the conventions of reality TV to construct and delineate cultural hierarchies of “acceptable” and “unacceptable” formations of queer subjectivity.
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Harrison, Natasha Alexandra. "Longevity in Reality Television: How Survivor Outwits, Outlasts and Outplays." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/312070.
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Brashear, Ivy Jude Elise. "Rural Reality: How Reality Television Portrayals of Appalachian People Impact Their View of Their Culture." UKnowledge, 2016. http://uknowledge.uky.edu/cld_etds/22.
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Appalachian people have faced stereotyping of their culture and region in popular culture, news media, and art for generations. For more than 150 years, images of the region have been extracted by outside media makers and disseminated widely, solidifying the “hillbilly” stereotype in the national lexicon. This study focuses on such images in reality television shows about Appalachia, and seeks to determine whether or not those images, and the proliferation of them, has an impact on the ways in which Appalachian people understand and accept their own culture.
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Biondi, Olivia. "Gender stereotypes in reality TV : an investigation of the Real world /." abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1447814.
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Thesis (M.A.)--University of Nevada, Reno, 2007."May, 2007." Includes bibliographical references (leaves 36-40). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2007]. 1 microfilm reel ; 35 mm.
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Holmes, Haley K. O'Connor Brian C. "Coyote Ugly librarian a participant observer examination of knowledge construction in reality TV /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3663.
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Cherry, Kristin L. "Reality TV and interpersonal relationship perception." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5532.
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Thesis (Ph. D.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on June 2, 2009) Vita. Includes bibliographical references.
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Crisóstomo, Quispe Rosa Magaly, Sáenz Máximo Alberto Mattos, Obregón César Edmundo Padilla, and Rivas Nilton Carlos Suárez. "Proyecto para implementar la franquicia televisiva “Shark Tank: Negociando con Tiburones” a TV Perú." Master's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2018. http://hdl.handle.net/10757/624953.
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La propuesta trae a TVPerú el reality de negocios “Shark Tank: Negociando con Tiburones”, una franquicia internacional que ha sido exitosa en varios países alrededor del mundo por su contenido útil y entretenido. Sin duda, es un programa novedoso que contribuirá con los valores y los objetivos del canal, permitiéndole incrementar su audiencia en un mínimo del 30% por temporada en el horario propuesto. Estamos convencidos que con la inclusión de esta franquicia, TVPerú se convertirá en el canal articulador de las diversas corrientes del emprendimiento, aportando conocimiento, experiencias y testimonios innovadores mediante un formato de show de negocios. Al ser el emprendimiento un tema que despierta el interés del país, se propone un modelo financiero que le permitirá conseguir recursos económicos del sector privado a través de auspicios y del sector público mediante la colaboración económica de diversos ministerios. De igual modo, se gestionarán alianzas estratégicas con instituciones dedicadas a promover el emprendimiento en el país. Además, se propone utilizar el soporte técnico, logístico y profesional de TVPerú para realizar el planeamiento y ejecución de Shark Tank a nivel de producción, marketing y ventas.We propose to bring for TVPerú the business reality series "Shark Tank”, an international franchise that has been successful in many countries around the world because of its useful and entertaining content. This program will also allow her to increase the channel’s audience by 30%. We are convinced that with this franchise, TVPerú will become the channel that conects the different currents of entrepreneurship, providing knowledge, experiences and innovative testimonies through a business show format. Since the entrepreneurship sparks the interest of the country, we propose a financial model that will allow us to obtain economic resources from both private sector through auspices and public sector through the collaboration of some ministries. Beside, we will manage strategic alliances with institutions dedicated to promoting entrepreneurship in Perú. In addition, we will use all the technical, logistic and professional support of TVPerú in order to carry out the planning and execution of Shark Tank at the level of production, marketing and sales. These actions makes the program a self-financed, feasible and economically viable project.
Trabajo de investigación
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Barnett, Bonnie Maureen. "Emotional awareness : using reality television as a tool for popular education." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98538.
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Despite being dismissed as low brow, nonsensical and a cheap form of entertainment, the present cultural phenomenon of reality television reveals a shared space where people are exposing more personalized, emotional aspects of themselves than typically seen in other genres of television programming or areas of contemporary public life. This recent trend of reality TV is both heightening and challenging many of the long-standing ethical debates over the boundaries between public and private, individual and collective as well as rational and emotional experience and needs to be considered within a pedagogical context. This study will explore reality television's position as a means of popular education, while attending to a broader social context of changing media and corresponding cultural shifts. A McLuhanesque study, this thesis will investigate what socio-cultural changes are occurring in our media environment as a result of our experiences within new media technologies.
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Ho, Bonnie Hoi Ting. "Transplanting korean wave into china's reality television under the statist nationalism." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/506.
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In recent years, many reality television formats have been transplanted into China and have become top-ranked shows under the influence of the Korean Wave. In order to unravel the complexity of propaganda in popular culture, this thesis focuses on analyzing China's adaptation of transnational television formats in central and private stations. I excavate how China tries to unify the nation and build the party-state's hegemonic status by way of disseminating political messages in popular media, as well as the state's governance of the influences of globalization and foreign ideas in domestic productions. I also put forth that foreign ideas conveyed in recent formats shed light on issues in China such as class and ethnicity, audiences' ambivalent reception of propagandist programs, and the exportation of China's formats. The genre of reality TV, including production and reception, discloses tension and collaboration between state and commercial TV, the local and the global, and within the Chinese community.
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Davila-Rosado, Pedro. "SURVIVING REALITY: SURVIVOR & PARASOCIAL INTERACTION." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3558.
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Parasocial interaction is the name that Horton & Wohl coined to describe a viewer's attachmentent toward onscreen persona that they had never physically interacted with (1956). A. Rubin, Perse, & Powell (1985) continued the research and created the Parasocial Interaction Scale. The scale has become the standard in gauging parasocial interaction in various forms of media from soap operas to newscasts. The purpose of this study was top examine parasocial interaction and see if the concept could be applied to the current television trend of reality television. Simultaneously, the study also examined parasocial interaction and its possible connections to loneliness, interpersonal functional alternatives, television viewing motives, exposure, gender, age, and spokesperson selection. The data for this study was collected on the Internet website www.Survivorthesis.com. More than 450 respondents attempted the survey, but only 444 were viable due to incomplete data, repetition, and lack of proof of age. The results of the study found that there was a link between parasocial interaction and loneliness, exposure, spokesperson selection, and television viewing motives. There was no correlation found between parasocial interaction and interpersonal functional alternatives, age, gender.M.A.
Nicholson School of Communication
Arts and Sciences
Communication
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Elmore, Scott Richard. "Brothers & sisters a new impetus for social construction and its impact on traditional cultivation analysis /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002137.
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Borges, Rosane da Silva. "Ficção e realidade: as tramas discursivas dos programas de TV." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-15072009-223157/.
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O trabalho tem como propósito refletir sobre ficção e realidade na TV brasileira. Parte do princípio de que os programas do veículo, tradicionalmente definidos e classificados pelos formatos e gêneros, não podem ser diferenciados por critérios de irrealidade e realidade, pois ambos possuem uma base fictícia, ou seja, são fabricações, realidades discursivas. Postula, assim, uma abertura de fronteiras entre os formatos televisivos. O telejornalismo, que se constrói com base em indícios seguros e inequívocos, passa a exigir outras ferramentas de análise. Para tornar viáveis essas articulações, a tese busca subsídios teóricometodológicos nas ciências da linguagem. A filiação teórica a esse campo é motivada pelo fato de que os problemas visados no terreno do estudo das mídias são, por definição, questões de linguagem (concebida não como instrumento de comunicação, mas como instituinte do humano). Desse modo, resulta difícil subtrair do debate tópicos como sujeito, discurso, narrativa temas que foram explorados com acuidade por disciplinas que compõem a ciência dos significantes. A inscrição nesse campo de estudo exige, invariavelmente, que se interpele as teorias da comunicação quanto à sua renúncia em participar das discussões fundantes, delineadas a partir de Saussure, que pensaram o discurso matéria-prima da comunicação. Desse lugar de fala, a tese vem colocar em cena a primazia do Olhar, e não dos gêneros, no processo de mediação televisiva. Ambos, olhar e mediação, estão em sintonia estreita. Os programas Mais Você, Fantástico, Big Brother Brasil, Linha Direta, Jornal Hoje e Jornal Nacional, da Rede Globo de Televisão compõem o corpus de análise da tese.This piece of work intends to ponder about fiction and reality on Brazilian TV. It is ground on the principle that the TV´S programs, traditionally defined and classified by formats and genders, can not be distinguished trough standards of reality and unreality, for both possess a fictitious base, in other words, they are manufactures, discursive realities. We postulate, therefore, an opening of borders among televised programs. Journalistic activities performed on TV that build themselves based on secure and unequivocal evidences are requiring other tools to help investigation. To make feasible these proceedings, this thesis looks for theoretical and methodological subsidies in the sciences of language. The theoretical enrolment to this field is due to the fact that questions related to the study of media are, by definition, questions of language (conceive not as instrument of communication, but as human establisher).Thus, it ends difficult to withdraw from the contest topics such as subject, discourse, narrative, themes that have been explored with acuity by disciplines which compose the sciences of meaning. Inscription in this field of researches demands, invariably, to summon the theories of communication when they escape the founding discussions, outlined since Saussure, that have thought about discourse raw material of communication. From this outlook, the thesis brings to the stage the primacy of the Eye, not of genders, in TV´S process of mediation. Both, Eye and mediation, are in close syntony. The programs Mais Você, Fantástico, Big Brother Brasil, Linha Direta, Jornal Hoje e Jornal Nacional, from the Globo de Televisão System, compose the set of documents of our investigation.
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Woods, Brittany Nicole. "The International Community's Response to the Hypothetical Emergence of Superheroes." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1510.
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In a golden era for comic based media, this paper uses the hypothetical emergence of superheroes to analyze the assumptions and predictions of three international relations theories: realism, liberalism, and constructivism. Comics consistently reflect the real world, paralleling events and concepts discussed in foreign affairs dialogues. The thought experiment, and the comic genre itself, provides a vehicle for thinking broadly about the political and social ramifications of successful or failed problem solving, state interaction, and scientific advances.
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Chung, Ho-ying Holly. "Language and gender representations in the reality television show Survivor the Amazon /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B35809346.
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Chung, Ho-ying Holly, and 鍾可盈. "Language and gender representations in the reality television show Survivor: the Amazon." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B35809346.
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Spittle, Steve. "Reality TV and identity in late modernity : texts, talk and television culture." Thesis, University of Portsmouth, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439183.
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