Exploring viewers’ responses to nine reality TV subgenres.

2017 ◽  
Vol 6 (4) ◽  
pp. 348-360 ◽  
Author(s):  
Mina Tsay-Vogel ◽  
K. Maja Krakowiak
Keyword(s):  
2012 ◽  
Author(s):  
Gina Roussos ◽  
Roger D. Klein ◽  
Elaine N. Rubinstein

Film History ◽  
2006 ◽  
Vol 18 (4) ◽  
pp. 459-475 ◽  
Author(s):  
Jan-Christopher Horak
Keyword(s):  

2021 ◽  
pp. 152747642110272
Author(s):  
Altman Yuzhu Peng

This article provides a feminist analysis of Chinese reality TV, using the recent makeover show— You Are So Beautiful (你怎么这么好看) as a case study. I argue that the notion of gender essentialism is highlighted in the production of You Are So Beautiful, which distances the Chinese show from its original American format— Queer Eye. This phenomenon is indicative of how existing gender power relations influence the production of popular cultural texts in post-reform China, where capitalism and authoritarianism weave a tangled web. The outcomes of the research articulate the interplay between post-socialist gender politics and reality TV production in the Chinese context.


2015 ◽  
Vol 20 (6) ◽  
pp. 639-646 ◽  
Author(s):  
Lori A. Klos ◽  
Christy Greenleaf ◽  
Natalie Paly ◽  
Molly M. Kessler ◽  
Colby G. Shoemaker ◽  
...  

2014 ◽  
Vol 15 (1) ◽  
pp. 74-91 ◽  
Author(s):  
Zala Volčič ◽  
Karmen Erjavec
Keyword(s):  

Author(s):  
Janice Ross

This chapter explores rehearsals, asking what they represent practically and philosophically and when does practice in rehearsals yield to the finished product of a dance ready for public viewing. It considers the hours of labor, failure, and interruption that constitute life in the rehearsal studio as the dancer is shaped by the choreographer and rehearsal director. Rehearsals are considered in contrast to the rules of inviolability protecting a finished performance. Using Ballet 422 by Justin Peck as a case study and examples from reality TV and films to paintings, rehearsal rooms are explored as places of hidden preparation, visual pleasure, and the imaginary as well as fascination for audiences. Ballet dancers are taught to survey themselves through mirrors, the eyes of rehearsal directors, video cameras, and iPhones as ever-expanding systems of surveillance. Although ballet dancers spend the majority of their professional lives in rehearsals, the nature of what goes on in the rehearsal studio has too rarely been the focus of dance studies scholarship.


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