scholarly journals Casting calls on the hillbilly highway : a content analysis of Appalachian-based reality television programming.

2016 ◽  
Author(s):  
Dan Martin
Keyword(s):  
Content Analysis ◽  
Reality Television ◽  
Television Programming

‘Reality’ Television Critique in Israel: How ‘Quality’ Became ‘Morality’

2016 ◽  
Vol 10 (4) ◽  
pp. 502-522 ◽  
Author(s):  
Noa Lavie
Keyword(s):  
Content Analysis ◽  
Reality Television ◽  
Qualitative Content Analysis ◽  
Similar Process ◽  
Soap Operas ◽  
Main Question ◽  
Aesthetic Value ◽  
Popular Television

‘Reality’ television is a global and highly popular television phenomenon. Despite its public and academic critique as cultural ‘trash’, the genre enjoys great economic legitimacy. In recent years, other ‘trashy’ television genres, such as soap operas, have gained aesthetic-artistic legitimacy alongside their economic legitimacy. Taking a Bourdieusian approach and using the discourse about Israeli ‘reality’ shows as a case study, this article addresses the question of whether a similar process is evident in television critics’ attitudes towards reality television. Using quantitative and qualitative content analysis of reviews of ‘reality’ shows between 2003 and 2014, the article shows that the main question debated in such reviews is the genre’s morality rather than its aesthetic value: for Israeli critics, it is the moral attributes of these shows, not their aesthetic or artistic worth, which determine their ‘quality’.

scholarly journals Reel Cops: Exploring the Representation of Policing on Police Ten 7

2021 ◽  
Author(s):  
◽  
Gabrielle Margaret Podvoiskis
Keyword(s):  
Content Analysis ◽  
New Zealand ◽  
Reality Television ◽  
Research Question ◽  
Production Capacity ◽  
Street Crime ◽  
The Past ◽  
Administrative Functions ◽  
Award Winning ◽  
Main Components

<p>Cop shows have been a perennial on prime time television for the past fifty years. Over the past two decades, however, the increasing popularity of reality television means that it is now competing for ascendency with traditional police-centered “soap operas”. For example, at the time of writing a search of the television scheduling by genre on TVNZ on demand reveals 92 reality television programmes compared to 65 dramas, 36 comedies and 22 news programmes. New Zealand, despite its limited production capacity has also cashed in on reality television with recent New Zealand offerings including Motorway Patrol, Illegal NZ, Drug Bust and Emergency 111. The most popular, award winning reality crime programme currently screening on New Zealand television, now in its 20th season, is Police Ten 7. The principle research question driving this thesis is: “To what extent does Police Ten 7 reflect the actual reality of contemporary policing in New Zealand?” This research question was explored through a content analysis of the entire 2010 season of Police Ten 7, consisting of 15 episodes. To assess the extent to which Police Ten 7 reflects the known realities of policing, the content analysis was broken into three main components. The first examined the demographic makeup of police. The second explored types of offences and offenders featured and the third explored the types of police activities depicted on Police Ten 7. These were then contrasted against the known realities of police, offenders and offending patterns in New Zealand. In short, the focus was on who was featured on Police Ten 7, what were they portrayed as doing and how this compares to what we actually know about crime and policing in New Zealand. The main findings were that while some aspects of policing and offending were depicted reasonably accurately, for example gender and ethnicity of police, other aspects were significantly skewed. Police Ten 7 consistently misrepresents the types of offences most commonly committed in New Zealand, over-representing traditional “street” crime such as drug and antisocial offending and violence and under-representing and even ignoring completely other common offences such as dishonesty crimes. Similarly, white individuals depicted in Police Ten 7 are much more likely to be police than offenders, while the opposite is true for non-white individuals who are also depicted more commonly as being involved in violent offending than their white counterparts. As a vehicle for the presentation of the reality of policing Police Ten 7 was found to significantly misrepresent the work undertaken by the typical police officer, over-emphasising the exciting and action-packed aspects of the job and under-emphasising the service and administrative functions of police. The conclusion reached as a result of this research is that Police Ten 7 does not in fact show audiences “a glimpse into the real working lives of New Zealand police” (TVNZ, 2011b). Instead it creates a specific, pro-police vision of policing and crime in New Zealand which features real police and offenders but as a result of the symbiotic relationship between the producers and the police combines to misrepresent the reality of both policing and offending for the majority of police and offenders.</p>

scholarly journals Children’s exposure to advertising on games sites in Brazil and Spain

Comunicar ◽  
2015 ◽  
Vol 23 (45) ◽  
pp. 169-177 ◽  
Author(s):  
Daniel Marti-Pellón ◽  
Pâmela Saunders
Keyword(s):  
Content Analysis ◽  
Adverse Effects ◽  
Online Games ◽  
Methodological Framework ◽  
Television Programming ◽  
Inappropriate Use ◽  
Use Of Technology ◽  
On Line ◽  
Children’S Exposure ◽  
Sobre Todo

The online space is rich in playful experiences and can provide many pleasures and lessons to their younger users. However, it is true that children cannot always handle the advertising noise and other adverse effects resulting from excessive or inappropriate use of technology and particularly the game pages. This article aims to confirm the advertising pressure that affects children in Brazil and Spain when playing on Internet game pages. Measuring advertising pressure in online games by the theoretical and methodological framework for content analysis applied to the game pages visited by a group of Brazilian and Spanish children 9 to 11 years. This research showed that online games are occupied by a considerable amount of publicity, which repeatedly blocks access and disrupts key moments of young players with unwanted or not interesting messages. Like in television programming we must put more attention on quality and the amount of ads in online playing. So if there is a concern with the commercial content of children's programming on television similar reasons demand prompt and adequate attention to those games pages. Abusive ads damage advertiser’s reputation, affects gaming experiences and disturb the playtime. Game managers, advertisers, educators and families may use children opinions that are actually successful. El espacio online es rico en experiencias lúdicas y puede proporcionar muchos placeres y aprendizajes a sus usuarios más jóvenes. Sin embargo es cierto que los niños no siempre pueden manejar el ruido publicitario y otros efectos nocivos derivados del uso excesivo o inapropiado de la tecnología, y en particular de las webs de juegos. Este artículo tiene como objetivo confirmar la presión publicitaria que afecta a niños de Brasil y España cuando se entretienen en portales de Internet con juegos. Para medir la presión publicitaria en los juegos actuales se recurre al marco teórico y metodológico del análisis de contenido sobre una muestra de webs visitadas por un grupo de niños brasileños y españoles de 9 a 11 años. Esta investigación evidencia que los juegos on-line son obstruidos por una cantidad considerable de anuncios que repetidamente bloquean el acceso e interrumpen momentos claves con mensajes no deseados o sin interés para los pequeños jugadores. De la misma forma que hay una preocupación con el contenido comercial de las programaciones infantiles en la televisión, se espera una pronta y suficiente atención a aquellas webs de juegos que lesionan la imagen de los anunciantes, entorpecen la experiencia del juego y sobre todo afectan a quienes están formándose como ciudadanos antes que consumidores. Se comprueba que las opiniones de este grupo de usuarios son acertadas y relevantes para comunicadores, profesores y familiares.

Teen Moms: Violence, Consent, and Embodied Subjectivity in Middle English Pregnancy Laments

2019 ◽  
Author(s):  
Carissa M Harris
Keyword(s):  
Middle English ◽  
Reality Television ◽  
Unplanned Pregnancy ◽  
Television Programming ◽  
Embodied Subjectivity ◽  
Gendered Power ◽  
Manuscript Context

Abstract This article examines power and coercion in five Middle English and Middle Scots lyrics voiced by pregnant, abandoned singlewomen. It focuses on the language of consent and embodiment in these pregnancy laments, arguing that they both protest and normalize masculine violence in heterosexual erotic relations, highlight the various factors that undermine young singlewomen’s consent, articulate acute dissatisfaction with gendered power inequalities, and demonstrate the devastating consequences of sexual ignorance. It explores the different ways that we can read these lyrics when considering issues of voice, audience, performance, and manuscript context. The essay closes by linking the popularity of medieval unplanned pregnancy narratives to modern-day reality television programming, arguing that the trans-historical popularity of these stories merits further exploration.

The Depiction of Drug Use in Television Programming

1974 ◽  
Vol 4 (3) ◽  
pp. 281-293 ◽  
Author(s):  
William J. McEwen ◽  
Gerhard J. Hanneman
Keyword(s):  
Content Analysis ◽  
Drug Abuse ◽  
Information Source ◽  
Relevant Information ◽  
Information Environment ◽  
Prime Time ◽  
Chemical Agent ◽  
Complete Evaluation ◽  
Television Programming ◽  
Information Strategies

Complete evaluation of anti-drug abuse campaigns should examine not only the messages created, but the programming content which makes up the information environment for those receiving these messages. A content analysis of one major information source (prime time TV) indicates that drug-relevant information is being disseminated and should be taken into account in planning information strategies. Commercial appeals promoting chemical agent use and programming which largely neglects abuse potentials suggest cautions for the strategy planner and questions for media programmers.

Crimesploitation

2017 ◽  
Author(s):  
Paul Kaplan ◽  
Daniel LaChance
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Criminal Behavior ◽  
Reality Television ◽  
Real Life ◽  
Law And Order ◽  
Television Programming ◽  
Folk Knowledge ◽  
Late Twentieth ◽  
Late Twentieth Century

Crimesploitation is a kind of reality television programming that depicts nonactors committing, detecting, prosecuting, and punishing criminal behavior. In programs like Cops, To Catch a Predator, and Intervention, a real-life-documentary frame creates a sense of verisimilitude that intensifies the show’s emotionally stimulating qualities and sets it apart from fictional crime stories. Crimesploitation programs create folk knowledge about the causes and consequences of criminal behavior and the purposes and effects of criminal punishment. That folk knowledge, in turn, reflects and reinforces two ideologies that legitimized the ratcheting up of harsh punishment in the late-twentieth-century United States: law-and-order punitivism and neoliberalism.

Police, Media, and Popular Culture

2017 ◽  
Author(s):  
Alyce McGovern ◽  
Nickie D. Phillips
Keyword(s):  
Reality Television ◽  
Power Dynamics ◽  
Citizen Journalism ◽  
Media Content ◽  
Television Programming ◽  
The Public ◽  
Police Organizations ◽  
The Media ◽  
Media Communications ◽  
The Relationship

The relationship between the police and the media is complex, multidimensional, and contingent. Since the development of modern-day policing, the police and the media have interacted with one another in some way, shape, or form. The relationship has often been described as symbiotic, and can be characterized as ebbing and flowing in terms of the power dynamics that exist. For the police, the media present a powerful opportunity to communicate with the public about crime threats and events, as well as police successes. For the media, crime events make up a significant portion of media content, and access to police sources assists journalists in constructing such content. But the police–media relationship is not always cosy, and at times, tensions and conflicts arise. The increasing professionalization of police media communications activities has further challenged the nature and scope of the police–media relationship. Not only has the relationship become more formalized, driven by police policies and practices that are concerned with managing the media, but it has also been challenged by the very nature of the media. Changes to the media landscape have presented police organizations with a unique opportunity to become media organizations in their own right. The proliferation of police reality television programming, together with the rise of social media, has served to broaden the ways in which the police engage with the media in the pursuit of trust, confidence, and legitimacy; however, this has also opened the police up to increasing scrutiny as citizen journalism and other forms of counterveillance challenge the preferred police image.

scholarly journals Watching reality from a distance: class, genre and reality television

2016 ◽  
Vol 39 (5) ◽  
pp. 697-714 ◽  
Author(s):  
Fredrik Stiernstedt ◽  
Peter Jakobsson
Keyword(s):  
Reality Television ◽  
Social World ◽  
Upper Class ◽  
Cultural Significance ◽  
Distance Class ◽  
Television Programming ◽  
Social Elite ◽  
The Social ◽  
New Knowledge ◽  
Detailed Picture

The cultural significance of reality television is based on its claim to represent social reality. On the level of genre, we might argue that reality television constructs a modern day panorama of the social world and its inhabitants and that it thus makes populations appear. This article presents a class analysis of the population of reality television in which 1 year of television programming and over 1000 participants have been analysed. The purpose of this analysis is to deepen our understanding of the cultural and ideological dimensions of reality television as a genre, and to give a more detailed picture of the imaginaries of class in this form of television. The results bring new knowledge about the reality television genre and modify or revise assumptions from previous studies. Most importantly, we show that upper-class people and people belonging to the social elite are strongly over-represented in the genre and appear much more commonly in reality television than in other genres. This result opens up a re-evaluation of the cultural and ideological dimensions of the reality television genre.

scholarly journals Control, Conflict, Surveillance: Similarities of Themes in Dystopian Fiction and Reality Television

2020 ◽  
Vol 9 (1) ◽  
Author(s):  
Aidan Wylie
Keyword(s):  
Content Analysis ◽  
Reality Television ◽  
Selection Process ◽  
Qualitative Content Analysis ◽  
Research Paper ◽  
Dystopian Fiction ◽  
The Media

Despite substantial research into reality television and dystopian fiction, there are no studies that combine an examination of both, even though the two forms of media share a number of major themes. This research paper looks at the correlation between the shared themes of dystopian fiction and reality television. A quantitative selection process was used to determine the materials to be observed for this study, while a qualitative content analysis was used to gather data on both of the media that were being observed. The study found that each of the themes were used differently in the media, with dystopian fiction focusing on the use of control and surveillance while reality television mainly relied on conflict to entertain viewers. The data suggests that the producers of reality television play similar roles in shaping their dramas as the leaders of totalitarian governments do in the plots of dystopian fiction.

Emotional Responses to Social Comparisons in Reality Television Programming

2016 ◽  
Vol 28 (2) ◽  
pp. 65-77 ◽  
Author(s):  
Nicky Lewis ◽  
Andrew J. Weaver
Keyword(s):  
Reality Television ◽  
Emotional Responses ◽  
Social Comparisons ◽  
Emotional Reactions ◽  
Target Group ◽  
Television Programming ◽  
Self Image ◽  
The Social ◽  
Specific Comparison ◽  
Comparison Target

Abstract. In recent years, the viewing of reality television has become increasingly prevalent among television audiences. However, little is known about the psychological processes at work when viewing these programs. This study examined how social comparisons to cast members influenced emotional responses to reality television programming. Participants (N = 231) were cued with a specific comparison target group and placed in a situation of self-image enhancement or threat. Afterwards, participants watched a clip from a reality television program and then reported their emotional reactions to it. The manipulations of comparison target group and self-image affected both the direction of social comparisons made and their associated emotional responses. Participant gender also influenced social comparisons to the cast members and resulting emotional responses to the content. Although we were unable to compare the social comparison-related emotional responses to reality programs with those of scripted programs, the results of this study bring to bear the associations between specific emotional responses and the types of social comparisons that take place when watching reality television programming.

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