Abstract This paper uses realitytelevision as an example of race, class, gender and sexual orientation in popular culture. The author argues that realitytelevision shows are filled with stereotypes. The paper relates that these stereotypes are used to maintain the status quo.
From the Paper "Reality television, which is a hybrid of a game show and a documentary, is a relatively recent development. Basically contestants have to do some type of unusual activity and this activity is filmed for a television audience. The nature of the activity and the prizes vary from show to show with some shows involving stunts and large cash prizes, other shows involve changing life styles and the prize is a new and supposedly better lifestyle. Although the contests on reality television programs are not actors they are still picked using a very deliberate selection process."
Abstract In this article, the writer looks at the phenomenon known as realitytelevision. The writer explains that today reality TV may be separated into different categories, namely the game show, the dating show and the talent show. Given the dramatically distinct styles and cultural discourses embodied in each show, this essay will focus on one particular form of the genre - the game show - and on the preeminent example of this form - Mark Burnett's 'Survivor'.
From the Paper "In the summer of 2000, a little publicized CBS television program named Survivor became a popular culture phenomenon and, in the process, initiated the current dominance of the "reality TV" genre. Today reality television may be subdivided into three main categories: the game show (e.g., Survivor, The Apprentice); the dating show (e.g., The Bachelor); and the talent show (e.g., American Idol)."
Abstract This paper examines the reality of realitytelevision according to Annette Hill, a leading expert on the rise of realitytelevision, in her full length book, "Reality TV: Audiences and Popular Factual Television." The paper explains how realitytelevision is a hybrid of factual television (documentary and news) and scripted popular television that creates a program that makes money and that viewers enjoy watching.
From the Paper "As Hill points out early in her work "reality television" is not mean to be real and such a controversy is relatively mute as it does not bode well with the viewer, who would rather just watch it and accept what they wish to be true and the producers who would rather just keep making it and making money off it. Though some are concerned about the effects such television might have on children, who might be predisposed to believe it over other types of television because it is labeled "reality." (Davies 1) The overall response by the public is positive as more and more programs percolate through the whole of the television media and viewership continues to increase."
Abstract In this article, the writer discusses the trend of reality programs that appeared on television in the late 1980s and has continued to the present. The writer declares that although realitytelevision has become a dominant part of TV viewing, it is important to realize that along with any "entertainment" there comes responsibility. One needs to be concerned when the lines between reality and fantasy become so blurred that one can no longer recognize the difference. The writer concludes that as long as one recognizes that realitytelevision is solely for entertainment purposes, then all is well.
From the Paper "Another feature of the genre is the format of the shows. Here again producers borrow from both fiction and nonfiction. In the opening minutes of the first episode of Big Brother 5, we meet the eight core houseguests--mostly twenty something, all with movie-star good looks and figures, who are introduced with fast-paced editing that includes flashbacks of good-byes to family and jobs presented with a mix of game-show and sitcom-production techniques. After a commercial break comes act 2 and the exposition of the plot. Here is where we learn how "guests" stay in the game, how viewers participate in the fates of the participants, and what has to be done to be the big winner who takes home five hundred grand.
In act 3, the producers of Big Brother, represented by a petite Asian American who speaks to the contestants though a television monitor--tell the houseguests that each has a minute to choose his or her bedroom and bed. Choices include sleeping alone or with a partner in a double bed."
Abstract This paper describes in detail the phenomenon of realitytelevision and explores the different reasons why it works. Included are examples and reasons from the early 2000s and late 1950s. The reasons the genre is chosen to be used by networks rather than others is also discussed. The paper provides descriptions of a number of realitytelevision shows and illustrates their success.
From the Paper "In May of 2000, the United States population got to know the cast of Survivor. The cast was not that of a normal television show. They had never acted before, they were not portraying characters, nor were they being paid big bucks for each episode they filmed. The people were normal. They were being filmed as they performed everyday activities in the show's environment. Critics quickly labeled the show as reality television. The public subsequently showed a desire for the programming genre."
Abstract In this article, the writer provides a research proposal involving a topic dealing with communication, with the field of media studies specifically in mind. Mass communication audiences are under discussion, and from that the research topic was chosen. The topic involves the researching of the realitytelevision phenomenon, with specific focus on South African television in terms of various factors, allowing the researcher the possibility of developing further understanding and academic work on a subject that is relatively new and still falls into the 'unknown' category. The writer concludes that it is visible that the South African realitytelevision analysis is a necessary research study that should be conducted for many reasons, not least of which is the furthering of knowledge involved with broadcasting, communication and the mass media audiences.
Outline:
Introduction
Mass Communication Audiences
Audience Formation
Uses and Gratifications Model
What Gratifications are Sought and Obtained?
The Three Processes
Expectancy-Value Theory
Dependency Theory
Context of the Study
Purpose of the Study
Background of the Study
Relevance of the Topic
Literature Review
Similar Research
Type of Study
Formulation of Research problem, Questions or Hypothesis
Research Problem
Sub-problems
Research questions
Methodology
The Research Method
Quantitative Research
Qualitative Research
Collection and Interpretation of Data
Questionnaire Example
Feasibility and Ethics of the Study
Anticipated Findings
Anticipation of Findings
Uses and Gratifications Theory
Anticipated Contribution to Communication
Conclusion
10 SOURCES
From the Paper "It is important to understand what gratifications are actually sought after and obtained in order to further understand the theory. This may be further explained by looking at McQuail's 'Typology of Gratifications Sought and Obtained'. In this typology he names four gratification categories that the public media choices fall into. The first category is information, meaning that the audience exposes themselves to the media product in order to be informed."
"The second category in the typology is that of personal identity. A viewer of the Big Brother program may seek gratification in terms of personal identity by reinforcing personal values regarding sexual abstinence that are echoed in the reality program or by identifying oneself with a featured role model in the show. A third category discussed in the typology is that of integration and social interaction. This category deals with the need people have to be part of a society and have a sense of membership or belonging. McQuail's final category in his typology is entertainment. The need for entertainment may be sought out to divert one's attention from life's problems and struggles or simply to fill time. This is specifically visible in the case of reality television. The gratification model is made up of three processes."
Abstract This paper stresses that, more than any other realitytelevision show, "Joe Millionaire" highlights particularly disturbing social views regarding women and relationships because the show presents women as liars who are motivated only by the money. The author points out that realitytelevision has given networks another option to violence, but the audience is gradually becoming desensitized to the ethical ugliness, just as they have become desensitized to violence. The paper concludes that more and more young people associate behavior such as lying and cheating, not with a moral quandary, but with a vicarious thrill.
From the Paper "In "The Bachelor", for example, the first bachelor Alex Michel showed no qualms about having sex with one of the bachelorettes and eventually choosing another girl. The lack of public outcry about this behavior shows that for many people, the thought of sex outside a relationship and the presentation of women as objects to be chosen no longer raise a moral quandary."
Tags: desensitize, women, relationship, violence, sex
Abstract The paper's research attempts to determine why the genre of reality- based television shows is so successful and in demand. The research gauges popularity through qualitative and quantitative means, with an emphasis on questionnaires answered by a wide variety of realitytelevision viewers, as well as those that are not partial to the genre.
Outline:
Introduction
Context of the Study
Literature Review
Key Terms
Methodology
Findings
Conclusion
From the Paper "This research project involves a topic dealing with communication, with media studies specifically in mind. The topic involves the researching of the reality television phenomenon in terms of its popularity, allowing the researcher and those that view the research project the possibility of developing further understanding and academic work on a subject that is relatively old considering that it has been a genre for over twenty years. The fact that it has been broadcast for quite some time in various different forms and formats, without true understanding of its popularity, specifically in recent times, warrants further study."
Abstract The paper investigates the factors responsible for this medium's great popularity. It looks at its appeal to the democratizing influence, to people's desire for status, to natural curiosity, and to competitiveness. It also looks at other factors influencing the attraction to realitytelevision, such as the desire to socialize and the allure of this medium for the less intellectual audience. The paper concludes with a brief synopsis of its main points.
From the Paper "Reality television can include news programming, interviews, documentaries, and almost all programs that are portrayed as non-fictional. While many definitions of reality television include programs that are recreated portrayals of past events, reality television is generally does not include "docudramas" that have invented or composite characters, or that show events that are largely fictional in nature, or historical events have been significantly changed from their original incident (CFP: Reality Television; NTVS Research Team).
Perhaps the most interesting feature of reality television is its overwhelming popularity with traditionally fickle and sometimes jaded North American audiences. A myriad of shows, including Survivor, Big Brother, The Real World, Blind Date, Temptation Island, A Wedding, and the latest fad, American Idol, have each reached close to the top of the Nielsen ratings in the past few years."
Abstract This paper discusses the recent phenomenon of realitytelevision around the globe and its potential impact on society. The paper compares this recent change in programming tastes to changes in the past, and it uses these comparisons to draw additional insight into the chance that this change will last.
From the Paper "Almost anyone living in the known world has seen some form of reality television programming over the past few years. This new form of programming initially started on upstart networks such as MTV and Entertainment Television as alternative programming formats. They soon took to the younger television viewing audiences and spawned new versions of their shows in new situations. Much of the initial craze about reality television came from the other side of the Atlantic. European television stations had been airing reality television for quite some time before American stations brought it over to the US audience."
Tags: drama, entertainment, programming, relaxation, shows, society, video
Abstract This paper explores a presentation on the different versions of the realitytelevision program "Survivor". It looks at how the TV show that originated in Sweden has been adopted for British and American audiences. The paper looks at the reasons for the adoption process and concludes that overall the similarities outweigh the differences due to cultural globalization.
From the Paper "Survivor is a reality television program that originated in Sweden and has been adopted in Great Britain and in the United States. The reason for this adoption process is that there is an apparently universal appeal embedded in ..."
Abstract This paper examines the formation and recent development of realitytelevision: the type of television that reflects personal lives and encounters. The author attempts to tackle why realitytelevision exists, the types of realitytelevision that is offered and the future of realitytelevision and society. Included is a review of different television shows that fall under this category.
From the Paper "In the past few years? society and the entertainment industry has been more and more obsessed with the idea of reality-based television. This desire to find the real amongst society is a reflection on a society, which is based on lies, fraud and war. Television shows such as Real World, Cops, and Hard Copy introduced television viewers to the world of the unscripted and spontaneous. We often put aside these television programs calling them trash TV, or game shows, when really it is society, which has made these shows popular and allowed for the major networks, to demand for our attention in their scheduling. This essay will introduce many different types of reality television and begin to guide us to understanding why it exists and where it is expected to go. Society has been waiting for television to reflect our personal lives and the real world in which we live, and now it does."
Abstract This paper looks at some of the realitytelevision shows that have been aired in the U.S. and analyzes some of the factors that have lead to their success and high ratings. It attempts to define what realitytelevision is since hidden cameras cannot be considered essential, for some shows, especially those with a game-show feel which do not include such voyeurism. It evaluates how realitytelevision shows follow a variety of formats and how they must contain several elements in common to distinguish them from game shows or other entertainment options. For example, all reality shows are unscripted and the contestants, or "castaways" might be strongly encouraged to act in certain ways or to wear certain things, but television producers save money on not having to hire a team of writers.
From the Paper ""The Real World" on the other hand, depends on sex to sell its image. Viewers really only care to see the good-looking group of men and women strip down to their bathing suits or underwear and make out. The nature of the arguments on these two shows is totally different; on the Osbournes, they are far more comical because the family is so unique. Moreover, because the show is about a family and not about seven twenty-something strangers, the social dynamics depicted are totally different on "The Osbournes" than on ?The Real World.? Arguments between a couple married for over twenty years somehow come across as different from arguments between a cranky surfer and a catty beach bunny. Furthermore, Ozzy has a lot more practice on perfecting his various addictions, although "The Real World" illustrated a young woman struggling with alcoholism."
Abstract This paper discusses how real realitytelevision shows are. It describes the general format for a realitytelevision show and then specifically focuses on the show, "Survivor". The paper then looks at law suit claims against realitytelevision shows such as "Survivor" and "Joe Millionaire" and their outcomes. The paper also presents examples, from "Survivor" and "Big Brother", of how the producers can assign a particular character to a role that they want the character to be portrayed as and discusses the effects of this on the overall validity of the program.
From the Paper "To a certain extent, reality television has always existed since the dawn of television's creation. When television first began, all broadcasts were done live (Altheide, 1976 : p74), whether they be presentations, community announcements or news reports - scripted events were by and large not a major contributor to the content that was broadcasted. Therefore, we can claim that reality television was never actually introduced to people but that it was always there in some form. However, a show like Survivor (which began in the year 2000) cannot be considered as being in the same league as a news report, or a live variety show (such as Rove Live). What makes a show like Survivor so different and appealing is the fact that the characters involved in all the drama are said to be real. Not actors with a detailed script and memorised lines (although when watching various episodes that point could be argued extensively). What allows television to appear as if reality is emanating from it, is its 'ability to render realistic audio and visual representations... and to do so in real time as events occur' (Friedman, 2002: p24). A reality television show such as Survivor tapped into these key concepts and added some of its own fragrance to spawn a whole new market for network channels. At the end of each episode, contestants cast secret ballots to expel 'losers'. In fact, sometimes the decision is made to explicitly exclude people who are a threat (i.e. they might be a contender to win the final prize), including those who are weak and lack what the 'tribe' feels is needed. Survival is dependent on making sure you look after your own interests, and working out a strategy to exclude others, in the form of alliances. It is in these key moments that the audience hears contestants confess the truth about another player in the game, and depending on the viewer's stance, they might feel they can relate to the person casting the vote or the person being voted against. This accompanied by various betrayals and manipulations brings forth a sort of basic humanity to the show which the complicated western civilisation may feel it lacks. In any case, it is always a sad (yet satisfying) moment when a contestant's fire is extinguished at the end of each episode. As the host constantly states, fire symbolises the contestant's life force during the game, therefore when it no longer exists their 'life' is no longer a part of the game. Utilising this basic understanding of the show, we can now begin to take it apart and discover various inconsistencies with how 'real' it actually is."
An analysis of the content of "Country Hicks and Urban Cliques -Mediating Race, Reality, and Liberalism on MTV's The Real World" by Jon Kraszewski and "Paradox and the Consumption of Authenticity through RealityTelevision" by Randall Rose and Stacy Wood.
Abstract This paper discusses two articles that relate to realitytelevision in the early 21st century. The paper looks at "Country Hicks and Urban Cliques -Mediating Race, Reality, and Liberalism on MTV's The Real World," written by Jon Kraszewski and "Paradox and the Consumption of Authenticity through RealityTelevision," written by Randall Rose and Stacy Wood. The paper discusses the content, points and limitations of the articles.
From the Paper "In both articles, the most interesting idea seemed one of how and why scholars examine TV materials of any kind, or assume that they do influence people or culture so strongly. One seldom sees a remark on how non-child viewers certainly know that TV is not real and that the TV business involves selling one thing or another. All arguments on how TV entertainment materials are shaped by cultures they in turn have shaped are very familiar. The study of mediocre television programs as in so-called Reality TV programming is interesting when one thinks of it, asking why scholars of marketing, social science or the humanities choose the sub-topics they do, or why they do not lament that dreadful newspapers that people pick up in supermarkets and what they may draw from them. There can be great variation in how people respond to what observe and the degree to which they observe themselves. More than a brain-washing cultural phenomenon, less flowery models would examine reality TV as a business like any other. It may be wiser to survey persons who never watch entertainment TV for their observations of what is presented and why they do not indulge."
