The illusory everyday : narratives of pleasure in Australian 'reality TV'

This thesis examines the paradox thai the popularity of 'reality TV' lies more in its construction and the pleasure of its reception as entertainment, than ils 'reality'. Through the integration of theoretical perspectives, and industry and viewer interviews, 'reality TV' is explored as an amoebic, amorphous genre, of multiple narratives, interpretations and pleasures.

Reinforcing the myth : constructing Australian identity in 'reality TV'

The current incarnation of ‘reality TV’ in Australia has a strong focus on the portrayal of everyday life. Although based on ‘real’ situations or people, there is a clear tension between ideas of authenticity and performance.  As a global phenomenon, ‘reality’ formats are produced for local audiences by highlighting aspects of the national culture and identity, with format popularity directly linked to identification and affirmation of the spectacle of ‘reality’. This paper will analyse the use of popular Australian myth in ‘reality’ formats by charting narrative and character construction as an ‘illusory everyday’, with reference to Bondi Rescue (Cordell Jigsaw). The paper will examine the representation of Australian identity through both myth and construction in ‘reality TV’ as the perpetuation of a cultural simulation. Implications for research on the genre and the industry are also discussed.

Life during wartime : sexuality, recruitment and reality television

In 2010, Defence Force Recruiting (DFR) Navy Marketing entered into a media sponsorship package with the Australian version of the reality TV show So You Think You Can Dance (SYTYCD): Footage of the day aired on national television on SYTYCD and weekly ‘dancer bootcamp’ sessions training the dancers in Navy values featured on a dedicated and branded Navy section of the official SYTYCD website. This article analyses the Navy’s SYTYCD ‘integration opportunities’ to consider the role of reality television in the redefinition of the defence forces as a training and vocational pathway for young people. Underpinning such considerations is the conceptualization of the work of reality television through the prism of public and popular pedagogies. Taking sexuality as a focal point, the article will reflect on efforts to lift recruitment through an emphasis on the incorporation of diversity. Reading the work of Jasbir Puar against the Australian ‘archive’ of integration opportunities, this article contributes to queer critiques of homonormative and homonationalist tendencies in contemporary politics.

Passion in Jamie's kitchen : the vital ingredient in education and training for young workers?

In this paper we will sketch out and briefly analyse a recurring and central theme throughout the reality TV series Jamie’s Kitchen – that of passion:

• Passion for food;
• Being passionate as you construct and present yourself;
• Being passionate about your work;
• Having a go, getting passionate in a training environment which compresses years of training into months of training.

In this series the high profile celebrity chef Jamie Oliver set out to transform a group of unemployed young Londoners into the enterprising, entrepreneurial, ideal worker of 21st century flexible capitalism. This series, and its figure of the entrepreneurial, risk taking, small businessman (who in this instance is also a global celebrity brand) seeking to develop similar dispositions and behaviours in a workforce that initially does not display such character features, illuminates, and provides a means to explore, key features of new work regimes. The emphasis on passion in the analysis – which draws on Foucault’s later work on the care of the self - allows us to connect to discussions about education and training that highlight the passionate/pleasure dimensions of pedagogy. These elements of education and training very rarely get discussed in a vocational education and training environment which is largely driven by modules/competencies/outcomes.

'Don't be a smart arse': Young workers, individualization, and an ethic of enterprise in Jamie's Kitchen

In Jamie’s Kitchen the high profile celebrity chef Jamie Oliver set out to transform a group of unemployed young Londoners into the enterprising, ideal worker of 21st century flexible capitalism. The paper will argue that this reality TV series provides a means to explore key features of new work regimes. We will analyse particular aspects of the increasingly powerful individualising and normalising processes shaping the lifeworlds of young workers in a globalising risk society. Processes that require those who wish to be positively identified as entrepreneurial to do particular sorts of work on themselves; or suffer the consequences.
Drawing on Foucault’s later work on the care of the self, and the  individualization theses of the reflexive modernization literature, we identify and analyse the forms of personhood that various institutions, organisations and individuals seek to encourage in young workers; and the ways in which institutionalised risk environments increasingly individualise the risks and uncertainties associated with labour market participation. The paper argues that our understandings of what it means to be a worker of the world, are being rearticulated around the idea that we are free to choose. And we must exercise this freedom – reap its rewards, carry its obligations – as individuals.

Barely real

This is not another reality television show. This is about dancing - full and rich. But it's set against the foibles and treacheries of the reality TV starlets and asks - which one truly is real?

Screens

The realms of film, television and the virtual held a fascination for Baudrillard.I explore Baudrillard's thoughts on the role of images relative to electronic media, focusing specifically on reality TV and the depiction of war in the new media and Hollywood film.

Lying idiots: reality television & lie to me

This article addresses perhaps the key question for Television Studies: Who does television think you are? It argues that Reality Television answers this question by producing its viewers as, in the Classical Greek sense, idiots (meaning private and ignorant persons). Idiots are the perfect target for the advertising dollar that supports commercial television production. As Reg Grundy observes, Reality Television is anything but reality. With its tight framings of reality, it paradoxically operates to sever the viewing self from reality—from the “truth” of life. Lie to Me is the type of television we are left with after the demise of Reality Television. Lie to Me makes us self-conscious, in the strongest sense, and thus sustains the mission of Reality Television. By dragging the notion of reality into its self-serving fictions, it puts the viewer into the dangerous position of being unable to lie to television. If Reality Television constrained reality to falsity, Lie to Me implicates the viewer in the zone where falsity transforms into reality. Lastly, this article enquires into the possibilities, in today’s television ecology, for a mode of TV citizenship that would counter the abject viewing position of the consumerist idiot.