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This article analyses the complete history of the Facebook forum on Big Brother Spain during 2011-2019. For this study, more than 1.2 million Facebook comments were retrieved, and later thematic patterns from these units of content were identified and analysed. It examines what the most recurrent issues the fans talk about, and their standpoint on those. Forum participants accept and fully participate in the logic of the program (both its mechanics and its end goal), but sometimes mistrust and question the broadcaster's impartiality when they consider that the network is meddling in the reality for commercial purposes. Yet any censorship made by the program on events which may hurt its image goes unnoticed. Viewers, largely women, criticize female contestants three times (2.79) more than men. However, there is also a degree of gender alliance between forum members and female contestants, as these receive more support to win the contest. [ABSTRACT FROM AUTHOR]

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Copyright of Estudios sobre el Mensaje Periodistico is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of CiberLetras is the property of Lehman College, City University of New York, Dept. of Languages & Literatures and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Analisi: Quaderns de Comunicacio i Cultura is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bajo Palabra: Journal of Philosophy is the property of Bajo Palabra: Journal of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The text considers a globalized media phenomenon, namely, the Reality Show, through its format of 24/7 surveillance (Big Brother), and adopts a qualitative and semiotic approach to study it. The consumption of this format is multiplied through many media platforms (open television, cable television, internet, smart phones, fanzines). This kind of TV show is based mostly on the offer of proliferating involuntary signs, indices according to the classification of logician C. S. Peirce. They are the signs that are closest to the body, and thereby they are the ones that human beings can control the least. What the text describes as semiotic perspiration generated by the exhibition of emotional symptoms is much appreciated by publics all over the world as being a reliable and transparent physiological window which can reveal what is most authentic in human beings: the soul or psyche. In the different examples discussed in the text, we observe that this phenomenon has reached beyond the realm of entertainment, and it is to be found nowadays in politics, and in what used to be traditional serious information TV genres. In a all these areas of cultural and social activity, we come across the emergence of indexical signs or index appeal, which is typically produced by the manifestation of humors, such as tears, in the mediatized performance of the confession of anonymous people or in the unheard of media access to the intimacy of politicians. That semiotic and media strategy has become, according to our study, one of the favorite spectacular forms for revealing the secrets of the soul in the 21st century. [ABSTRACT FROM AUTHOR]

Sociology has been interested in the Reality Show genre since its inception, due to its alleged construction of a televised sociological experiment. The social sciences have placed their focus on dimensions of the phenomenon such as the collective experience of participants and viewers; its influence on lifestyle, perception and consumption; its challenges to the boundaries between the private and the public; and the legitimacy of television to display intimacy. The concept of truth acquires vital importance within a genre that must be defined as hyperreal in the sense given to the term by Baudrillard, since reality is replaced by image, substituted by its symbolic representation. However, the liturgy of humiliation that has started to appear in the most recent programs in this vein is very real, with a growing degree of sensationalism, symbolic violence, and banality. [ABSTRACT FROM AUTHOR]

Copyright of Mediterranean Journal of Communication / Revista Mediterránea de Comunicación is the property of Revista Mediterranea de Comunicacion / Mediterranean Journal of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the novel Mano de obra [Labor Force] (2002), the acclaimed Chilean novelist Diamela Eltit extends a reflection about the current forms in which the ancient practice of labor exploitation occurs today, taking into account the impossibility of contemporary workers to organize themselves among equals to resist oppression, and finally the lack of ideology and memory that distinguishes late capitalism. To achieve these purposes, Eltit analyzes the daily life of supermarket employees proposing a parallel between the supermarket and a reality show, which allows an interesting reflection on the devices and instruments from which the contemporary proletariat is manipulated and repressed. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Información is the property of Pontificia Universidad Catolica de Chile, Facultad de Comunicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research aims to sketch a genealogy of reality television in Spain. It assesses the influence of this genre on TV entertainment and examines its evolution, typology and adaptation to competition. An overview of the programs that were broadcasted after the privatization of television in Spain between 1990-1994 is also provided. [ABSTRACT FROM AUTHOR]

This article investigates how the reality show Lar, doce lar (Home, sweet home) from the program Caldeirão do Huck, broadcasted by Rede Globo de Televisão (Globo TV) promotes the "aesthetics process" of the private space. We aim to highlight the biased way of showing households portrayed in this program, based on the concepts of public and private space drawn by Habermas (2003), as categories of social life. In criticizing the illusion of fame for everyone propagated by realities shows, the study also makes use of the concepts of reality show and television entertainment from Andrejevic (2003) and Lacalle (2001), who blames attractions about reality of blurring the border demarcations between public and private. The research methodology adopted consists of analyzing the image as a narrative (Coutinho, 2006), which proposes a reflection of non-verbal records; even if they are submitted to the logic of the commodity and to an emptying of meaning. [ABSTRACT FROM AUTHOR]

Copyright of Mediterranean Journal of Communication / Revista Mediterránea de Comunicación is the property of Revista Mediterranea de Comunicacion / Mediterranean Journal of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)