Extreme Makeover: Home Edition

Palmer, Gareth

doi:10.5040/9780755695980.ch-012

Cited by 24 publications

(3 citation statements)

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“…Friendships can be used to reinforce professional's opinions. For instance, the experts in Extreme Makeover: Home Edition, involve themselves emotionally with the 'plucky' participants, illustrating an empathic relationship (Palmer 2007). Individuals are more likely to accept the expert's advice as it is reinforced by a 'comrade'.…”

Section: Celebrities As Friendsmentioning

confidence: 99%

The power of celebrities: past experiences, current status, and a friendly encounter as key components to transform young individuals inIt Gets Better

Wagemakers

Dhaenens

2015

Celebrity Studies

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Section: Celebrities As Friendsmentioning

confidence: 99%

The power of celebrities: past experiences, current status, and a friendly encounter as key components to transform young individuals inIt Gets Better

Wagemakers

Dhaenens

2015

Celebrity Studies

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“…The argument is not that the global financial crisis leads to a major rupture in the logic of British property TV but rather that it did not; what we find instead is an adaptive continuity in the logic of property ownership on screen. The neoliberal principles identified by scholars such as Palmer (2007), Ouellette and Hay (2008), Sender (2012) and Weber (2009) did not disappear when the British housing market collapsed, but rather they found new routes to expression. Many of the pedagogic tools of property television endured, but the pedagogy was reworked and a wider array of historical resources deployed in these series’ logic and discourse.…”

mentioning

confidence: 99%

“…This article aims to provide a dynamic biography of the property TV genre and its corollary, the domestic crafting show, both as a textual commodity produced by the television industry which has itself been greatly affected by the recession and as a cultural artefact that (re)mediates powerful discourses of socio-cultural, as well as economic, value. It contributes to ongoing debates about this form of lifestyle television (Bell and Hollows, 2005; Giles, 2002; Lewis, 2008; Lorenzo-Dus, 2006; Palmer, 2007; Smith, 2010; White, 2013, Zborowski, 2012), but advocates a more explicit approach to property television’s myriad forms as narrative explorations in the fortunes of contemporary capital and labour at a point where both global and, specifically, national reconfigurations of neoliberalism are still very much in process. Property TV as a distinct form of lifestyle media combines the aesthetic and material concerns of contemporary consumerism (see McElroy, 2008); both house and home are dramatised in this form.…”

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confidence: 99%

Mediating home in an age of austerity: The values of British property television

McElroy

2017

European Journal of Cultural Studies

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Lifestyle television provides a dramatic space in popular culture where the values of neoliberalism are articulated, enacted and sometimes contested. The ideological reliance of this consumer-driven form of television on financial markets and economic growth has posed a significant challenge for programme-makers in the post-crisis recessionary era. This article explores the myriad ways in which British property television has responded to the global financial crisis, particularly as it has been framed discursively as a new age of austerity. Austerity is understood here as an ideological formation that mobilises a selective version of 20th-century British history in order to establish continuity of national values of thrift, poverty and collective stoicism that are seen to characterise a cohesive, British response to a crisis that emerges from external forces. The article charts the contradictions that become evident when the financial and ideological system upon which the property TV genre is reliant are being undermined. Although UK consumers’ access to mortgages has been a casualty of the crisis, the aspiration to home-ownership in Britain has survived relatively unscathed. This article illustrates how these contradictions are played out on-screen in diverse iterations of the property TV genre transmitted by British public service broadcasters, including new domestic craft series presented by property gurus. It argues that the genre, as a cultural and industrial artefact, is remarkably adaptable to new economic and ideological circumstances.

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Property and home-makeover television: Risk, thrift and taste

Rosenberg

2008

Continuum

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Extreme Makeover: Home Edition

Cited by 24 publications

References 0 publications

The power of celebrities: past experiences, current status, and a friendly encounter as key components to transform young individuals inIt Gets Better

The power of celebrities: past experiences, current status, and a friendly encounter as key components to transform young individuals inIt Gets Better

Mediating home in an age of austerity: The values of British property television

Property and home-makeover television: Risk, thrift and taste

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