Search

The initial reaction to the introduction of Big Brother Naija (BBN) is a moral panic, which is symptomatic of the belief that the show challenges social, moral, religious, and cultural standards, thereby negotiating existing boundaries. Although there is a moral panic about the show, while some studies have established that the attitude towards it is justifiable, little is known about the strategies (deliberate or not) used in negotiating existing boundaries, and how the show influences youth culture in Nigeria. This study, therefore, examines the strategies and communicative modes participants employ to negotiate existing boundaries in BBN. The data for the study were harvested from selected videos of Big Brother Naija’s second and third editions, and we analysed the data using Sigrid Norris’ Multimodal Interaction Analysis (MIA). The study affirms the status of Big Brother Naija as a boundary breaker in Nigeria. Gender, social, and ethnic boundaries are deliberately stretched to the limits through different discursive strategies and communicative modes in the show. It is found out that the show has the potential to serve as a unifying forum for different ethnic groups in Nigeria, although not much is committed to that at present. The study recommends that the show producers should introduce tasks and activities that can help reduce ethnic tension and engender peaceful co-existence in the country. [ABSTRACT FROM AUTHOR]

Despite the revolutionary impact of new media, television remains a socially shared reference point for media functions, e.g., information, entertainment, and hybridized genres. Through its simplified knowledge and scripts, television reduces cognitive asymmetry between experts and the public on general and specific topics, thus having a critical role in constructing social representations. This work examines two (apparently) distant realities, i.e., mental health as a fundamental aspect of public health and popular and "light" entertainment formats like reality shows. In the past, researchers investigated media representation of mental illness in general terms alongside other types of programs, e.g., coming-of-age, dramedy television series, and children's television programs. This study examines how depression is discursively constructed and socially represented in a case that shook the Italian public opinion, i.e., a Big Brother VIP cast member with depression symptoms. The critical discourse analysis, focusing on positioning and representations about depression, enabled us to emphasize that (1) knowledge about depression is poorly defined and participants' reactions are mostly immature and clumsy, and (2) mass media can play an essential role in creating more mindful and complete knowledge about mental health. [ABSTRACT FROM AUTHOR]

This study explores the representation of female athletes cast in a South Korean reality show titled Sporty Sisters (Korean title: Nonun Unni). Though there have been attempts to understand the media representation of female athletes from diverse media landscapes, the analysis of Asian female athletes is limited. Such interpretations have been discussed through geopolitical relations or nationalistic representations, which lack in-depth understanding and exploration of Asian athletes. Therefore, this paper expands the narrative by analyzing the first season (54 episodes) of Sporty Sisters. It is observed that professional athletes who transition to the entertainment industry are identified as "spor-tainers" and implicitly follow norms and rules applied to public figures. In this reality show, female athletes express their opinions on marriage, menstruation, pregnancy, and domestic roles while displaying characteristics of a girl crush, manifesting a variety of the female attributes of sportswomen. Despite the social expectations to fulfill their roles as sports celebrities and Korean women, Sporty Sisters is an outlet for female athletes to an extent to freely expose and describe their experiences as athletes and individuals. [ABSTRACT FROM AUTHOR]

Copyright of Revista Estudos Feministas is the property of Revista Estudos Feministas 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 purpose of the article is to review important aspects of the critical studies in foreign scientific discourse aimed at textual analysis of reality show as a genre and television format, which helps to reconsider its status as a phenomenon of ―post-documentary‖ culture. The research methodology. The work uses, firstly, critical discourse analysis, which allows us to understand the limitations and counterproductiveness of textual analysis of reality show and helps to reveal the constitutive potential of television and cultural production practices, and, secondly, a cultural approach, which allowed us to identify the media-cultural features of reality show and show them as an element of ―post-documentary‖ audio-visual culture in the XXI century. Scientific novelty of the research lies in the fact that for the first time, through the prism of criticism of the textual approach, the peculiarities of reality show as a phenomenon of ―post-documentary‖ audio-visual culture are revealed. Conclusions. It is proved that the counterproductiveness of the textual approach to the conceptualisation of reality show as a genre, since its production contradicts the general logic and the established perception of what a text should be. This genreform has more common with no certain genre traditions or textual features, but with the ―processing of reality‖ at the intersection of fact and fiction, shifting attention from the text to its production. The proliferation of reality TV programmes illustrates the industry's dependence on ―reality‖ as a tool for advertising marketing and the logic of cultural production. It is affirmed that during conceptualising TV reality texts, it is necessary to pay attention to a number of industrial and market conditions and needs, which prioritises textual production practices and contexts that shape practical decisions, and allows for empirical access to the evolving and mutating genreform of reality show. [ABSTRACT FROM AUTHOR]

This article analyzes comfort and enjoyment between networks and viewers is seen in reality show's popularity. This study conducting skeptical post-modern by Rosenau (1991) as for the approach. The study-case approach focuses on the planning and execution of research. It appears that the cultural diversity that is being portrayed on the reality TV program 90 Day Fiancé through Nicole and Azan’s scenes is intended to be a well-liked sub-genre of alternative fiction. As a result, the scenes and everything else in the show might all have been made up to suit the preferences of the viewers. Thus, there are two opposing viewpoints among viewers in this case: first, those who criticize 90 Day Fiancé while also bringing up the subject of cultural diversity as a result of their critical thoughts; and second, those who do so without bringing up the subject at all because they only view the show as entertainment. [ABSTRACT FROM AUTHOR]

Copyright of Media Research / Zeszyty Prasoznawcze is the property of Jagiellonian University Press 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 this study, we explore how language affordances are exploited in intercultural communication using the socio-cognitive approach. Based on previous discussions of language affordances, we divide the exploiting practices into three categories, namely, enabling a language affordance, constraining a language affordance, and presenting multiple language affordances. Data were collected from 16 roundtable discussions that took place over four seasons of a Chinese TV program. Each roundtable discussion involved four L1 Chinese speakers and eleven L2 Chinese speakers. The L2 speakers are multilingual, frequently speaking more than one language, including English. A quantitative analysis of the data reveals a collective pattern in the participants' exploitation of language affordances, that is, they tend to activate more core common-ground knowledge than the knowledge of emergent common ground. In addition, they are inclined to construct multicultural common ground, which they actively align themselves with. Their awareness of communicative goals and self-identification as competent multilingual speakers also influence their choice of language affordances. [ABSTRACT FROM AUTHOR]

Copyright of GeSec: Revista de Gestao e Secretariado is the property of Sindicato das Secretarias e Secretarios do Estado de Sao Paulo (SINSESP) 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.)

A Comissão Parlamentar de Inquérito (CPI) da Pandemia da Covid-19 foi um dos assuntos mais comentados em 2021 no Brasil, repercutindo na campanha eleitoral de 2022. Este artigo analisa se a transmissão da CPI pela TV Senado apresenta elementos que indiquem uma aproximação da CPI com o conceito de reality show. Estuda como as sessões foram utilizadas no Instagram dos senadores Omar Aziz e Otto Alencar na campanha de 2022. Teoricamente, usa os conceitos de sociedade do espetáculo (Debor, 1967) e reality show (Feldman, 2008) e (Bazo, 2011). Metodologicamente, realiza uma pesquisa qualitativa (Minayo, 2013) e uma análise de conteúdo (Bardin 2011). A análise indica aproximações possíveis da CPI com um reality show, mas a comissão foi cenário para um espetáculo político (Rubim, 2003) e não de entretenimento, concluindo que sua repercussão foi utilizada para dar visibilidade aos mandatos dos senadores que se reelegeram.

Copyright of Istanbul Commerce University Journal of Social Sciences / İstanbul Ticaret Üniversitesi Sosyal Bilimler Dergisi is the property of Istanbul Commerce University Journal of Social Sciences 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 Parliamentary Commission of Inquiry (CPI) into the Covid-19 Pandemic, created by the Senate, was one of the most discussed subjects in Brazil during 2021, with repercussions also in the following year. This article analyzes whether the broadcast of the CPI on TV Senado has elements that indicate a theoretical approach to the concept of reality show, according to Feldman (2006, 2008) and Bazo (2011). Methodologically, we conducted a qualitative research and a content analysis according to Bardin (2011). The research carried out indicates that there are possible approximations of the CPI's activities with a reality show, but as a setting for a political show along the lines of Rubim (2003) not entertainment. [ABSTRACT FROM AUTHOR]

In her teatro-cabaret piece Los caballeros las prefieren presas, Minerva Valenzuela offers a searing critique of the inconceivably cruel abuses women suffer in Mexico's prison system. She does so by way of the charming protagonist Marilynares. Taking center stage with platinum blonde hair, red lipstick, a white body suit, and black heels, she channels the glamour of Marilyn Monroe. However, Marilynares is not an actress, but an inmate at the fictional Santa Martha Lamitas prison, hence the blue smock she wears over her form-fitting outfit. She is also contestant No. 10, competing for her freedom on the metatheatrical reality show "Hoy se decide mi vida." Coached and directed by an invisible voz en off belonging to Mr. Destino, the show's producer and host, Marilynares is instructed to share the most intimate details related to prison life by way of confessional addresses and musical numbers. However, when our protagonist realizes she is being exploited, she decidedly rejects and subverts central tenets of the neoliberal gameshow model: stark individualism and the sought-after "money shot." In refusing to play by someone else's rules, Marilynares hopes her audience will find compassion not just for her, but also for the thousands of women locked away across Mexico. [ABSTRACT FROM AUTHOR]

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]

Copyright of Journal of Erciyes Communication / Erciyes İletişim Dergisi is the property of Erciyes University, Faculty of Communication / Erciyes Universitesi Iletism Fakultesi 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 paper is dealing with the problem of violent behaviour in the reality show "Couples" (Parovi), which is broadcasted on Happy TV, a commercial television with a national frequency in Serbia. Based on the idea that the conditions in reality shows are conducive to violence due to a large amount of character interaction and little plot, and guided by the results of the research that studied violent behaviours in reality shows in the UK, our research aimed to determine which forms of violent behaviour are most prevalent in this reality show, in what situations and under what circumstances violent behaviours mostly occur, as well as who commits violence most often. The results showed that the most common forms of violence were direct emotional/psychological violence, that the most frequent and diverse violent behaviour was expressed by the Production and TV hosts, that nearly all the violent behaviour of participants were a reaction to the Production's and hosts' provocation and manipulation, as well as that individuals , who have a history of violent behaviour, most often behaved violently during the show. The obtained results proved that the Production of this reality show intends to provoke conflicts and violent behaviours, to compensate for the lack of story.

Feodal sistemde kimliği ile doğan dolayısıyla seçme özgürlüğü olmayan birey, modernleşme ile birlikte kimlik sorunu yaşamaya başlamıştır. Endüstrileşmenin getirdiği sınıf ve statü atlama olanağı, modernleşen ve modernleşirken yabancılaşan bireyi yeni bir kimlik üretmek zorunda bırakmıştır. Böylece modern birey, daha fazla çalışarak para kazanmanın yanı sıra harcama yaparak sınıf atlamanın dahi mümkün olduğunu görmüştür. Dolayısıyla insanların dâhil oldukları sınıfa uygun kimlik inşa etmeleri zorunlu hale gelmiştir. Kimlik inşasında bugün en etkin unsurlardan biri olan kitle iletişim araçları, insanların var olan kimliklerini yeniden inşa edebileceklerini göstermektedir. Yeniden inşa edilecek bu kimlik, postmodern insanın elde etmeyi arzuladığı şöhretli kimliği ifade etmektedir. Bunun için de genelde yarışma programları özelde ise TV8 kanalının gerçeksi gösterileri, etkin bir role sahiptir. Araştırma için eğlence odaklı yayın anlayışını benimseyen TV8 kanalında yayınlanan “Survivor, O Ses Türkiye, İşte Benim Stilim, Yetenek Sizsiniz Türkiye” adlı dört program seçilmiştir. Kimlik inşası bağlamında söylem analizi yöntemi ile bu dört program incelenmiştir. Araştırma, TV8’in gerçeksi gösterilerinde kimlik inşasının hangi kodlar aracılığıyla izleyiciye sunulduğu sorunsalına odaklanmaktadır. Çalışmadan elde edilen bulgular, kanalın yarışmacılar aracılığıyla izleyicilere “Ünlü Gönüllüler, O Ses ya da Bu Ses, Tarzın Kimliğindir ve Yetenekli, Yeteneksiz” kodları aracılığıyla yeni bir kimlik inşa edilebileceği mesajını verdiğini ortaya koymuştur.

Content shared on social media platforms is increasingly centred on images and conversations discussing television on digital platforms are also influenced by this trend. This article examines the visual data posted by viewers while watching the 2019 edition of the Spanish and British adaptations of the international Reality Show ‘The Voice’. With the sample including images posted by viewers on Twitter during the broadcast of the episodes, the production formats, the type of content, the purpose of the images and the connection between the visual data and the text in the tweet have been analysed. The results highlight three different trends: the parallel visual narrative created by viewers on Twitter through the use of digital culture, the showcasing of their private sphere and the appropriation of images from the television episodes altering the discourse presented by the broadcasters. [ABSTRACT FROM AUTHOR]

Os reality shows, como simulacros, constituem uma hiper-realidade, através da produção de mitos, num processo de naturalização de discursos, que visam persuadir e convencer a audiência, a consumir aquela vida representada, virtual, objeto sagrado a ser profanado. Por isso a proliferação de reality shows, é preciso manter os espetáculos, para que possam ser consumidos pela audiência insaciável, mantendo-se, assim, o ciclo incessante de consumo, que alimenta nossa sociedade, baseada, justamente, no próprio consumo. Pretende-se com essa análise afirmar que o reality show atingiu o status de simulacro, e que ele preenche o nossos vazios, com um real que nada mais são do que produtos e sonhos.

This research focuses on the gimmick in reality television shows, namely the Rumah Uya program which is broadcasted by ANTV station. This research uses a qualitative descriptive approach, data collection uses purposive sampling techniques, and data analysis uses content analysis. The results showed that the gimmick added to this event was not only a sound effect, but also create the acting of talents with dialogues that tended to be vulgar and showed impolite behavior. This contradicts with the applicable broadcasting regulations, namely the policies set out in the Indonesian Broadcasting Commission (Komisi Penyiaran Indonesia) regulation. Adding gimmicks to the reality show program can be done as long as it does not conflict with decency, law, and applicable regulations.

How has postfeminist media culture traveled transnationally? What contributes to the postfeminist media's popularity in Thailand? This paper performs a content analysis of YouTube's reality show, This is Me Vatanika. The show features gender issues and the promotion of gender equality, enhances women's empowerment, encourages women's leadership and rhetorically calls upon its viewers to partake in the process of self-invention. I draw upon postfeminist media culture and its sensibilities and argue that this reality show inspires a new modality of femininity endemic in Thai society and that it interpolates neoliberal women in line with the logic of wealth and class, all of which impact upon female bodies. I contend that postfeminist media is increasingly evident in Thai society and the audiences' identification with and responses to the show underscore the structural gender arrangements within the society that can pose a hindrance to fully inventing oneself in the neoliberal culture. [ABSTRACT FROM AUTHOR]

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.

O artigo busca compreender as maneiras pelas quais diálogos com/entre regimes representacionais da cozinha inscrevem-se no reality show Cook Off – Duelo de Sabores, exibido em 2015 pela emissora televisiva portuguesa RTP1. Ao mesmo tempo, evidencia como a produção mobiliza e, sobretudo, tensiona visibilidades hegemônicas do gênero reality show. Nesse percurso, identificam-se tensionamentos relativos tanto aos enquadramentos da temática da competição quanto às representações do que denominamos uma “cozinha como culinária”. Quanto ao segundo ponto, não obstante o olhar gastronomizado dos chefs assuma uma posição hierarquicamente destacada, o programa dá a ver imagens que evidenciam o (re)conhecimento de uma cozinha cotidiana e popular, nas quais se entreveem “artes de fazer” do dia a dia.

Este artículo muestra la evolución en el dating show en España entre 1992 y 2010. Se estudian los cambios en la estructura de los programas más vistos de este subgénero del reality, que pasó de preguntar curiosidades sobre las relaciones amorosas a comprobar y desafiar su grado de complicidad En estos años, los participantes de los dating shows estuvieron condicionados por las decisiones que tomaban las productoras para hacer mejores productos de entretenimiento, pero también tuvieron libertad para mostrar su intimidad y su espontaneidad dentro de los límites definidos por el reality. Paradójicamente, hasta que las personas no aprendieron a actuar dentro de un formato y asumieron su condición de personajes, estos programas no lograron más profundidad y realismo.

The content to which children are exposed by reality television shows is of great concern for parents and educators, especially because of excessive amounts of relational aggression. Parental mediation is suggested as an effective approach for reducing the risk of this exposure and to derive learning value. In two studies, we used qualitative and quantitative methods to examine the effects of different types of mediation and children's preferences with regard to who they liked to watch TV with on children's attitudes and perceptions about characters that appear in reality shows and of their acts. Findings from both studies revealed that more active parental mediation leads to fewer adverse reactions and more desirable attitudes towards the characters. The current study suggests that active parental mediation during reality television viewing may transform the risks stemming from watching reality shows into important advantages for children's social development. [ABSTRACT FROM AUTHOR]

Los programas de telerrealidad ofrecen al sujeto un aprendizaje basado en modelos reales en clave de entretenimiento. A partir del análisis de una muestra longitudinal de 22 programas de “Mujeres y Hombres y Viceversa” se pretende estudiar la articulación mediática del discurso sobre el amor, la conquista y la sexualidad. Los resultados muestran que, si bien tanto hombres como mujeres son ampliamente criticados, especialmente sobre su conducta y personalidad, a los hombres se le valora de forma simultánea con más comentarios positivos que a las mujeres. El programa adolece de un doble discurso que pese a articularse por parte de la dirección del programa bajo la corrección política, tiene como base la humillación y enmascara una articulación plagada de micromachismos.

Televizyon türleri, kültürel ve ekonomi-politik nedenlerle her zaman bir dönüşüm içerisindedir. Tür açısından melez bir yapısı olan gündüz kuşağı programları da bu değişimden nasibini almıştır. Anaakım televizyon kanallarında yer alan gündüz kuşağı programlarının en dikkat çeken formatını ise evlilik programları oluşturmuştur. Türkiye’de 2017 yılına dek yayınlanmaya devam eden ve ulusal televizyon kanallarında pek çok örneğine rastlanan evlilik programları, sadece yayıncılık açısından değil aynı zamanda konuları ve konuklarıyla tartışmalı bir alan olarak dikkatleri üzerine çekmiştir. Reyting başarılarının yanında fazlaca eleştiri alan bu programlar, 29 Nisan 2017’de kanun hükmünde kararname ile yasaklanmıştır. Bu nedenle, araştırmanın konusunu oluşturan “Esra Erol’da” programı, aynı isimle yayın hayatına devam etse de içerik değişikliğine gitmek zorunda kalmıştır. Bu format içerisinde en fazla reyting alan program olduğu için seçilen Esra Erol’da programının 05-09 Mart 2018 tarihleri arasında yayınlanan beş programı kayıt altına alınmış ve söylem analizi tekniği kullanılarak ideolojik söylemi ortaya konulmuştur. Bu değişimle birlikte program; dil kullanımı ve temsiliyetlerin daha titiz yapılandırıldığı, toplumsal olayların gündeme taşınmaya başlandığı ve sosyal hayatın bir takım problemlerinin tartışıldığı bir arena haline gelmiştir. Ancak bu yeni format, programda yer alan kişilerin hala mahrem konularını gözler önüne sermekte, olayı görünür kılıp (çoğu kez) çözüme ulaştırmadan tıpkı kurgusal bir drama izler gibi dramatik etkinin giderek yükseldiği ve sonunda final yaptığı içerikten kurtulamamıştır. Son tahlilde, kabuk değiştiren gündüz kuşağı evlilik programlarının sorunlu içerik yapısı evrilerek varlığını devam ettirmektedir.

Desde la aparición de los primeros reality shows, el formato ha ido ganando presencia en las parrillas televisivas hasta convertirse en el protagonista de la televisión. El formato ha sufrido hibridaciones y transformaciones que, en muchos casos, lo conducen al uso de estructuras formales propias de la ficción para crear historias, y lo alejan de la realidad que suponemos su punto de partida. Analizaremos en este trabajo, pues, el grado de ficcionalización del formato. Además, el trabajo analiza la tendencia hacia lo hiper de la televisión actual y la recepción del reality show en la sociedad contemporánea. La metodología empleada consistirá, en primer lugar, en abordar bibliografía relacionada con el tema para establecer un marco teórico y, como eje del artículo, estudiaremos las últimas ediciones de Gran Hermano (GH), Un Príncipe Para… (UPP) y Los Gipsy Kings (LGK) en base a fichas de análisis que contemplan tanto elementos narrativos propios de la ficción, como estructuras específicas de los formatos, así como vinculaciones con el universo real del que parten. Para triangular nuestras conclusiones, contaremos con una serie de entrevistas a expertos y profesionales del sector, y con la visión de dos grupos de discusión conformados por consumidores de reality shows.

Copyright of Historia y Comunicación Social 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 Mass Communication Research is the property of Guoli Zhengzhi Daxue Xinwenxue Yanjiusuo 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 Journal of Erciyes Communication / Erciyes İletişim Dergisi is the property of Erciyes University, Faculty of Communication / Erciyes Universitesi Iletism Fakultesi 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.)

Although Japanese soft power is commonly associated with anime and manga - media products that have achieved great success around the world - we realize that this soft power is proving to be more plural. The appearance of streaming platforms is an interesting fact to this process, since it facilitates access to other Japanese media productions, such as reality shows, which are not usually broadcast internationally in an official manner. With that in mind, we aim to investigate the potential of this "alternative" soft power, through the interpretation of the speeches present in the reality shows Terrace House and Ainori, co-produced by Netflix. We start from the assumption that Japan is experiencing an effervescent moment of expansion of its soft power through dialogue with these platforms, which help to convey other images and speeches about the nation. We conclude that although these programs lack incentives from the government, they may also be able to co-opt soft power. [ABSTRACT FROM AUTHOR]

The contribution presents a settlement monument – the village of Slapnik and its architectural heritage. Due to its organic spatial setting and unique architecture, Slapnik was proclaimed the cultural monument of local significance with a municipal decree of 1985. After reaching its maximum development at the turn of the twentieth century, the village experienced the greatest emigration wave after 1947, following the demarcation of the new state border between Italy and Yugoslavia, which cut its inhabitants’ economic and transport historical ties from Friuli. Today, Slapnik no longer has permanent residents and the buildings are falling to ruin. The village has recently come into the limelight at the announcement that it would be the site of filming a reality show. [ABSTRACT FROM AUTHOR]

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.)

The purpose of our study was to understand the nature of the reality show phenomenon in the system of mass communication through analysis of Ukrainian media market of reality shows. For this purpose we have used a broad methodological base: a descriptive method for identifying the features of reality show and journalism, a bibliographic method for processing scientific sources, an inductive method to determine the functioning of reality show, the method of comparative analysis to understand relationship between journalism and reality show, historic-typological method to classify reality shows, methods of generalization and structuring to develop a modern structure of mass communication. The main results of the research are the following: we found that reality show is a product of journalistic activity; the concept of “reality show” and “reality television” is clearly determined. Reality show is a format of a television product in which the actions and emotions of true people in real-life or in specially modelled situations are observed, characterized by accomplishment of unusual actions and constant commentary on everything that happens to them. This category includes competitions, dating, makeover, etc. Reality TV is a type of television program that demonstrates non-played situations in which real people, whether ordinary citizens or politicians and stars of show business, find themselves. The value of our research is that the correlation between reality show, its types and reality TV is clearly established. Reality TV consists of: 1) reality shows; 2) studio/gaming shows (talk show, late night show, game show), 3) broadcasting events (sports, music events, awards ceremony, etc.). Reality TV belongs to the category of entertainment television. In this study the classification of reality shows has been improved, a whole series of functions of the reality show programs has been identified (entertainment, information, recreation, education, social integration and public control), it is proved that reality show has a great potential in the context of mass communication.

Los medios de comunicación han cobrado gran importancia como agente socializador, forjando y transmitiendo identidades a través de imágenes y discursos, de tal modo que influyen, de manera inmediata y cotidiana, en las conductas y actitudes de los espectadores. Y uno de esos medios, tan profundamente arraigado en nuestras costumbres cotidianas que difícilmente podemos desprendernos de su consumo y del poder que ejerce sobre nosotros, es la televisión (convencional o visionada a través de internet). La competencia de las cadenas televisivas y la feroz lucha por la audiencia han llevado a un cambio en la programación, de tal manera que, en la actualidad, un porcentaje importante de la parrilla lo constituyen los denominados programas basura, entre los que no son ajenos aquéllos que exhiben prejuicios y estereotipos de género. Este trabajo pretende examinar los productos televisivos consumidos por los adolescentes y el impacto e influencia que tienen en ellos los denominados “reality shows”. Para ello se utilizó un cuestionario de elaboración propia de 36 ítems (con preguntas abiertas, cerradas y tipo Likert), que fue aplicado a una muestra de 237 sujetos de entre 14 y 23 años. Tras analizar, agrupar, contrastar e interpretar los datos, constatamos que el consumo de televisión entre los sujetos de la muestra es masivo y cotidiano (99,4%), así como los comentarios al respecto en las redes sociales. De igual manera, un 73% de los sujetos manifiesta ser seguidor de, al menos, un reality show, una mayoría (87,3%) encuentra importantes ventajas al hecho de salir en televisión, a un 35% les gustaría ser personas relacionadas con la fama y a un sorprendente 27% les gustaría participar en un reality show. Los resultados muestran la necesidad de una educación para el consumo de los productos televisivos que ponga el énfasis en el papel reflexivo y crítico del espectador.

RuPaul's Drag Race is a reality show originally shown on American TV. It consists in a media space for the manifestation and exhibition of the drag queen culture, which explains the multiple existing identities and discusses the multitalents needed for a drag star, based on what RuPaul and the guest judges approves. The article aims to analyze what are the characteristics of this culture and the identities worked by this reality show. Based on a theoretical study, monitoring interviews, observing the program and analyzing the identities present, the article proposes to reflect on the drag queen's cultural identities. [ABSTRACT FROM AUTHOR]

Travel programs are one of the popular parts of content of modern Ukrainian mediaspace. Appeared in 1995, such programs have one of the highest ratings on television. In our researching we examined the history of travel programs in Ukraine, offered our own classification of this programs by genre, purpose, theme. We also provided the poll of the viewers of travel programs in Ukraine (N 400). Most of our respondents are interested in the culture and history of the country, which is shown in the travel program, places to visit, food, attractions. Also viewers think that famous people as narrators increase the popularity and ratings of the program. However, this fact does not confirm on practice. We also found out that thanks to the travel programs, the audience learns more about other people, such TV product encourages and inspire travelers to learn the traditions and cultures of different people of the world. Besides, travel programs encourage people to travel more. Ukrainians like to watch beautiful frames of nature, buildings, architecture of countries abroad, though they believe that information in the program should be objective and truthful. Also there is a free niche of travel programs, which can be filled in the coming years. [ABSTRACT FROM AUTHOR]

The article presents an analysis of an MTV's show Ex on the Beach Poland, which focuses on male characters who exhibit masculinity "patterns" promoted ("constructed") by the reality show in question. First off, the show's "format" is presented, including its specificity in the context of reality show genre development in relation to the theory of paleo- and neo-television. The article's subsequent sections analyse the characters appearing in the second series of Ex on the Beach Poland. In the end, the conclusions are presented that pertain most of all to entirety of commercial side of promoting particular "patterns" of masculinity. [ABSTRACT FROM AUTHOR]

The assumption that violence and crime contents increase ratings leads to presentation of such themes to viewers through news bulletins, crime series and reality shows. Previous researches show that programs that include violence and crime influence the attitudes of viewers depending on the content, ratings, type of programs and language of discourse. As far as non-fictional reality show viewership is concerned, television can unearth an individual's tendency towards violence but does not play a role in consolidating it. On the other hand, the viewer who watches such programs might develop a fear that s/he can become a victim of violence and crime. This paper will analyse the relationships between tendency towards violence, violent and criminal behaviour and viewing non-fictional reality shows. In order to analyse these relationships, the origins of violent behaviour are explained and programs are compared according to their types, methods and impacts. Finally, the paper tries to identify social impacts of reality shows in the context of risk and fear, as programs that discuss crimes and at times co-operates with security forces. This paper shows that the factuality of fear of victimhood should be analysed by taking qualitative probability of victimhood rather than statistical data regarding violent and criminal incidents. [ABSTRACT FROM AUTHOR]