Reality television does not do things to us – but it can represent to us some of the things we are doing to ourselves. In this regard, reality television remains a fruitful site for ongoing cultural ...study because it has something potentially interesting and instructive and therefore “real” to say about the society that continues to produce it. This chapter explores some of the dimensions of the portrayal of monitoring and surveillance on reality television, and how this might inform an understanding of broader surveillance practices in the digital era. Reality television is allegedly “real” not simply because it focuses on the lives of nonprofessional actors but also because it blurs the boundaries that separate the rarefied realm of cultural production from the daily lives of viewers. The chapter considers more closely the role played by surveillance and monitoring in the digital economy and on reality television.
A fabricação de Hildete Dorinaldo dos Santos Nascimento
Revista espaço acadêmico,
06/2021, Letnik:
21, Številka:
229
Journal Article
Recenzirano
Odprti dostop
O objetivo deste trabalho é analisar as relações convergentes entre o conto Hildete, de Rubem Fonseca e o mercado da indústria cultural, ilustrado por programa televisivo de forte adesão popular em ...formato reality show. Do ponto de vista teórico-crítico, tomou-se por base, conceitos sociológicos e filosóficos de Adorno (2002), MacLuhan (2005) e Chauí (2003). As análises trataram do processo de infantilização do espectador; da opressão dissimimulada travestida de autoridade em programa de aconselhamento; e do embaralhamento entre a realidade e a ficção.
A partir do reality show Gogglebox (Austrália, 2015), discuto as figurações do espectador que emergem desse programa que trata da recepção televisiva. Centrado nos lares, o show registra a ...diversidade de reações e opiniões em frente à TV, em uma narrativa de entretenimento que afirma o caráter doméstico do meio. Pretendo demonstrar que esse revigoramento do receptor – já tratado, de certo modo, na teoria do leitor –, não implica diminuição do poder dessa mídia no que se refere, principalmente, à reprodução da crença em seu papel social de propiciar interações e senso de coletividade. O programa busca, assim, em momento de transformação aguda da televisão, afirmar a autonomia do espectador, mas também a qualidade do televisivo, sua condição privilegiada de engajamento para propiciar trocas no lar privatizado e na diversidade da nação.
The role and significance of the reality show in the context of the current media situation is examined in this article through analysis of the contemporary Slovenian playwright Matjaž Zupančič’s ...play, Hodnik. This drama is one that enables exemplification of Baudrillard’s theoretical deliberations on simulation as the consequence of media images that offer recipients a full circle stripped of a referential. The seductiveness of play in the reality show spectacle utilises elements of mythological patterns, in which the privileged position is that of the authority having the greatest supervisory power. Simulation of mythological patterns within the show in the form of survival, organisation, and lack of technological devices is actually nostalgia for the reality that has disappeared from digitalised society, while also being a potential for regeneration of new contemporary mythological representations.
Stari obrazac dinamične i aktivne kulture danas je u dobroj mjeri zamijenjen jednom pasivnom kulturom recepcije na čijem je prijestolju “Reality show”, kao medijski model koji stvara i simulira jednu ...stvarnost, ali i povratno utječe na općeprihvaćene konvencije stvarnosti. Od svih podvrsta ovog žanra, na našim prostorima je uvjerljivo najprisutniji “rezidencijalni” Reality, gdje protagonisti žive i nadmeću se za opstanak u studiju koji imitira koncept svakodnevnog stanovanja. Profitabilnost rezidencijalnog Reality show-a u zemljama bivše Jugoslavije, učinio je da na regionalnim televizijama dominira ne više od četiri emisije, odnosno, četiri modaliteta stanovanja. Kakvim modelima stanovanja su gledatelji izloženi, i koliko su ovi medijski modeli stanovanja bliski našoj svakodnevnici, glavna su pitanja kojima se ovaj rad bavi. U ovom radu analizirane su najgledanije reality show emisije u Srbiji: “Big Brother”, “Farma”, “Dvor” i “Parovi”. Istaknute su neke karakteristike u načinima stanovanja i percepciji prostora, poput prostorne konfi guracije osnovnih prostorija za život. Potrebe televizijskog nadzora proizvele su poseban prostorni obrazac koji se bazira na otvorenim prostorijama, bez odvojenih mjesta za privatnost, potpuno usmjerenih ka interakciji stanara. Utjecaj medijskih modela stanovanja na formiranje životnih stilova građana u 21. stoljeću, danas gotovo da ne ostavlja mjesto dilemi.
TELEVISION/GADGET Adler, Anthony Curtis
Celebricities,
07/2016
Book Chapter
Ideology is the Other that, speaking to the heart rather than the mind, cajoles us into rushing into the future.
In epic, ideology has a simple form: the god that stands by the hero and protects him. ...But Homer has already come far: only Diomedes, Odysseus, and Paris can be confident of such support. Achilles, Agamemnon, Patroclus, and Hector have all been, in one way or another, abandoned.
Odysseus’s confidence, of course, is already quite modern. His companion is Athena: for the first time ideology coincides with a strategic and instrumental reasoning that, seeing through every manner of disguise, has
The ghostly presence of Karl Marx has been haunting these pages. So, as we now enter into the mystifying territory that he identified as “commodity fetishism,” it seems fitting that I should once ...again summon up his words. “All our inventions and progress seem to result in endowing material forces with intellectual life and stultifying human life with a material force.”1 This statement served as a background for several of my previous discussions of the fetishism strategy. Now I will be bringing Marx’s words into the foreground, linking them with his meditation on “The Fetishism of the Commodity and its Secret” the title of the fourth section of Chapter One of his magnum opus, Capital.2
O artigo busca refletir sobre o programa The Voice Brasil 3, analisando um de seus candidatos, Pedro Novas/Deena Love, em sua figura ambígua – o que serve de modelo para pensarmos na própria ...estrutura do programa: que permite, condiciona e é dependente de corpo e voz do candidato em performance. Assim, defende-se que tal estrutura possibilita a emergência de um sujeito midiático por um processo que aqui chamamos vozibilidade, tensionando as complexas relações entre imagem, voz e corpo nessa dinâmica televisiva.
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