realitytv

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http://slidepdf.com/reader/full/realitytv 1/15

Factual Enterainment

Where did reality TV come from?

Deregulation

Convergence

Tabloid journalism

Documentary television

Popular entertainment that increased in the 80s

domenica 9 ottobre 2011

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QUIZ SHOW SCANDALS (‘50s).

Television programs, such as CBS'sThe $64,000 Question, turnedcontestants into instant celebrities.

The case of Charles Van Doren

Champions, such as Van Doren,were chosen for their dashing looksand personality, and were fed theanswers beforehand. Contestantswere even instructed when to pausefor greatest dramatic effect.


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The influence of tabloid

Journalism on Reality TV

Style is sensational, tone is populist, it denies differences between fiction

and documentaries, it creates entertaining news.


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The influence of documentary

television on reality TV

http://www.youtube.com/watch?v=63gzaJ1QD8k

Documentary Journalism

Documentary journalism addresses topical subjects in a series format,using journalistic conventions,and usually involving the “quest” of a presenter /reporter “delving behind the

headlines”


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http://www.youtube.com/watch?v=EyUPe_Atu98

Documentary Realism

……a rethoric of accurancy and truth


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Observational documentary

http://www.youtube.com/watch?v=K4xO35k4O2k

This type of doc relies on the use of

lightwight, portable cameras and

tends to deal with current events,

events that are unfolding

in front of the camera


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Popular Entertainment

http://www.youtube.com/watch?v=pCpx0yHK7g0&feature=related

Candid Camera

interaction between non professionalactors and celebrities

non professional actors are often treatedas celebrities

interactive elements (drawing a studioaudience, and viewers at home, directly intoa program usually as respondents or judgesto the activities of the non professional

actors/celebrities)formats are sold worldwide and locallyproduced


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Popular Entertainment

http://www.youtube.com/watch?v=JvY2Cq_frlw

The Tonight Show (1954)

The Oprah Winfrey Show (1984)

The Jerry Springer Show (1991)

The confessional talk has dominated daytime tv since the ‘80s.

These shows allow “for a simingly democratic moment as average people aregiven a similar treatment to the celebrity guest” (Shattuc, 2001)

These kind of shows share with Big Brother the fact that the format focus is oninterpersonal conflict, emotions and sexual titillation.


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Popular EntertainmentGameshowsWho wants to be a Millionaire?

Sports television

Daytime television

Soap opera and Melodrama

calibration of luck, knowledge and skills

ordinary people facing life transformingdecisions in extended real time (like inSurvivor)

expert discussion panels

interviews with the participants.

drama and excitement of sports tv highlightig particular characters, or personalities, and their actions within the the spectacle of reality tv

generate adrenaline in viewers

skills aquisitionnarrative of transformationmakeover

represent social realities within popular televisionrepresent sensational realities


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Infotainment or “Tabloid TV”

http://www.youtube.com/watch?v=1CTg5s8hEDo

http://www.youtube.com/watch?v=EMOXE4StcVY&feature=related


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Docu-soap and lifestyle

Airport (BBC)

http://www.youtube.com/watch?v=QFEuHOSfrFE

Changing Rooms (BBC)

http://www.youtube.com/watch?v=c1PqOTe4U5Y


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Reality Gameshows

Life experiments

Celebrities

Gameshow


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http://www.youtube.com/watch?v=iA1UdYm4GrE

Eric Rohmer leads a conversation with Jean Renoir and Henri Langlois on the art of filmmaker Louis Lumière. The cinematographic pioneer

Lumière produced thousands of documentaries in the end of the 19th century, but also some short comedies with amateur actors. The films are

done in one shot and are only 1 minute in length. Lumiére and his operators chose a place, put up the camera and then recorded what happened in

front of the lens. In spite of this both Renoir and Langlois argue that the films of Lumière are not simply reproductions of reality, but pieces of art.

Renoir points out that Lumiére didn’t just reproduce the externals of what he saw, but also its spirit and inner life. The films are not only showing a

piece of contemporary reality, but Lumière’s vision of that reality. Langlois remarks that the films of Lumière were not made at random, but out of

a consciously chosen dramaturgy and composition. Lumiére and his team chose, after long deliberations, the motif of the film as well as the

camera-angle. There is usually some kind of beginning and end of the film. The main action never occurs in the center of the screen, but either at

the right or the left side of it. This means that the main movements happen along a diagonal across the screen, which produces a dynamic

impression. The films are made in one shot, but the shots are usually very deep, which means that you get some close-ups in the foreground at the

same time as you see something happen in full scale behind that and something else even more far away. The conversation with Renoir and

Langlois is interspersed with some of Lumière’s films, to underline the arguments. —IMDb

source:http://mubi.com/films/louis-lumiereto




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