Reality TV

Dovey, Jon; Hill, Annette; Bruzzi, Stella; Creeber, Glen; Richards, Lisa

doi:10.1007/978-1-84457-898-6_8

Cited by 3 publications

(2 citation statements)

References 6 publications

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“…Their intention is to offer audiences a 'window on the world' and a 'relatively unmediated view of reality' (Kilborn, 1994: 13 422). A classic example are those observational shows on police and emergency services, a genre that emerged in the late 1980s with titles like America's Most Wanted, Cops and Rescue 911 (Kilborn, 1994: 426;Corner, 2000;Brunsdon et al, 2001: 45-51;Kavka, 2012: 51-3;Dovey, 2015). John Corner states that Big Brother 'has certainly been an important moment in the emergence of reality television from its documentary origins' (Corner, 2002: 268).…”

Section: Influencing Reality Tvmentioning

confidence: 99%

Ordinary lives – Extraordinary journeys: Television entertainment from game shows to reality TV

Chalaby

2024

Media, Culture & Society

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This article defends the thesis that game shows were a key influence in the development of reality TV, and understanding the latter depends on our knowledge of the former. The first section addresses the knowledge gap about game shows and asks the following questions: What are they made of, and what are the core elements that distinguish them from any other genre? The second part examines the relationship between game shows and reality programming. This article highlights the similarities between the two genres and demonstrates that the latter adopted many of the storytelling techniques pioneered by the former. Thus, this research seeks to make a double contribution to media and communication studies: it addresses a knowledge gap and thinks about game shows in relation to another TV genre. From a theoretical perspective, this research mixes a sociological approach to discourse with practice-oriented narrative analysis. It uses secondary and primary sources, which consist of interviews with UK-based TV executives and producers.

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Section: Influencing Reality Tvmentioning

confidence: 99%

Ordinary lives – Extraordinary journeys: Television entertainment from game shows to reality TV

Chalaby

2024

Media, Culture & Society

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“…However, a crucial distinction between artist practice and little media video lies in the different approaches toward post-production. In order to manipulate and amplify the meanings of their raw footage, artists “relied heavily upon postproduction” (Dovey, 2004, p. 562). This was partly determined by the accessibility of technology, as sophisticated video- editing equipment gradually became available outside TV production institutions, particularly in Western educational institutions, and art departments in the 1980s.…”

Section: Subjects Ethos and Representation: Little Media Video Prodmentioning

confidence: 99%

The Promise of Portability: CENDIT and the Infrastructure, Politics, and Practice of Video as Little Media in India 1972–1990

Kishore¹

2017

BioScope: South Asian Screen Studies

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Video in the form of “little media” arrived in India in the mid-1970s shortly after Wilbur Schramm proposed the concept in 1973. In this article, I investigate the ways in which the discourse and practices of “little media” were re-formulated in India through specific historical contexts and media formations that assigned it political meanings beyond its initial developmental functions. Taking the case of the important media initiative, Centre for the Development of Instructional Technology (CENDIT), this paper explores the production and circulation of “little media” and the range of context-specific interactive methods the center deployed. The historiographic account of video at this particular juncture contributes to an expansion of Indian screen history. It complicates the dominant understanding of video during this period as a medium for the circulation of commercial cinema with a parallel narrative of purposive and emancipatory video-based initiatives.

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Translating reality TV into Spanish: when fast-food TV challenges AVT conventions

Baños

2018

Perspectives

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In Spain, as in other countries, reality TV seems to be a pervasive phenomenon, materialised in a myriad of domestic and foreign productions. The latter require interlingual translation, which in most cases takes the form of voice-over translation. Despite the prevalence of reality TV and voice-over translation in Spanish television, both fields are still widely underexplored. This article sets out to bridge this research gap by presenting an exploratory study of the translation of reality TV in Spain. To this end, it will first document the prevalence of foreign reality TV in Spanish TV schedules, to then explore the similarities and differences of traditional voice-over translation (i.e. used for documentary translation) and voice-over translation for reality TV. The focus is on the different types of synchrony observed in voice-over translation, yet the discussion highlights other relevant issues (e.g. approaches to the translation of semispontaneous speech) and illustrates how this genre is challenging audiovisual translation (AVT) conventions, as well as blurring the boundaries between AVT modes. Translating reality TV into Spanish: When fast food TV challenges AVT conventions In Spain, as in other countries, reality TV seems to be a pervasive phenomenon, materialised in a myriad of domestic and foreign productions. The latter require interlingual translation, which in most cases takes the form of voice-over translation. Despite the prevalence of reality TV and voice-over translation in Spanish television, both fields are still widely underexplored. This article sets out to bridge this research gap by presenting an exploratory study of the translation of reality TV in Spain. To this end, it will first document the prevalence of foreign reality TV in Spanish TV schedules, to then explore the similarities and differences of traditional voice-over translation (i.e. used for documentary translation) and voice-over translation for reality TV. The focus is on the different types of synchrony observed in voice-over translation, yet the discussion highlights other relevant issues (e.g. approaches to the translation of semi-spontaneous speech) and illustrates how this genre is challenging audiovisual translation (AVT) conventions, as well as blurring the boundaries between AVT modes.

show abstract

Reality TV

Cited by 3 publications

References 6 publications

Ordinary lives – Extraordinary journeys: Television entertainment from game shows to reality TV

Ordinary lives – Extraordinary journeys: Television entertainment from game shows to reality TV

The Promise of Portability: CENDIT and the Infrastructure, Politics, and Practice of Video as Little Media in India 1972–1990

Translating reality TV into Spanish: when fast-food TV challenges AVT conventions

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