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.

TransReality : en kvalitativ studie om representationer av unga transpersoner i Ryssland och USA

Denna studie undersöker hur unga transpersoner representeras i media, närmare bestämt inom genren reality tv. De två program som valts för ändamålet är amerikanska I am Jazz och ryska TransReality, där den första fokuserar på 15-åriga Jazz Jennings liv medan den andra följer ett antal unga transpersoners vardag. Valet av program bygger på att de båda släpptes under det gångna året, att samtliga huvudpersoner är ungdomar och att de har sitt ursprung i två vitt skilda kulturella kontext. Syftet är att granska hur serierna representerar transpersoner utifrån frågor som biologiskt kön, genus och könsidentitet. Frågeställningarna rör ungdomarnas sociala relationer och samhället, vad det är som serierna problematiserar och hur programmets utformning bidrar till att berätta deras historier. Inledningsvis förklaras olika definitioner av kön, samt genus och könsidentitet. För att närma mig materialet har jag valt teorier utifrån programmens utformning såväl som innehåll. Teorierna omfattar reality tv, stereotypier, Judith Butlers idéer om genus i kombination med transgender studier och transfeminism. De senare två är relativt nya akademiska ämnen/teorier i Sverige, men välbehövliga sådana då de tar transpersoners liv och erfarenheter på allvar. Studierna jag tagit del av inom tidigare forskning visar på att transpersoner ofta förbises även i queerteoretiska sammanhang. Feminismen har även inkorporerats i metodologin, för att bättre belysa det som studien avser att undersöka. Norman Faircloughs kritiska diskursanalys med sin politiska betoning utgör stommen för det analytiska arbetet. Detta har applicerats på tre avsnitt av varje program: det första, mittersta och sista. Genom att analysera dessa framkommer att bakom den överlag positiva framställningen av de unga transpersonerna i TransReality ligger konservativa värderingar om kön, genus och könsidentitet. I am Jazz är mer progressiv, men även den visar ibland på liknande tendenser som TransReality. De sociala relationerna är det som problematiseras, istället för de unga transpersonerna själva. Reality tv ger prov på att den vuxit till sig som genre i att den med dokumentär ambition berättar de unga transpersonernas historier. Denna autenticitet kan vara av vikt för samhällets förståelse av transpersoner. 

Reality-show: a tv na era da globalização

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Reality bites: When copyright law and reality cooking meet, only the lawyers win

There’s nothing new about this recipe for success: toss in high-stress scenarios, flavour generously with competitive chefs, and garnish with a panel of celebrity judges. With all major broadcasters in the country now dishing up some form of reality cooking programme, Australians could be forgiven for having lost any expectation of original TV material. But that didn’t stop Channel Seven from taking Channel Nine to court last week, arguing its copyright in My Kitchen Rules had been infringed with Nine’s latest prime-time effort, The Hotplate. After the first few episodes went to air, Seven asked for an injunction to stop Nine from broadcasting any more episodes of the reality show. So let’s look at some common confusions about copyright law and how it relates to reality television. Because in this context, copyright infringement isn’t about shows sharing major similarities, or about protecting ideas, but rather the expression of these ideas in the final product. Still, stretching copyright law to protect the “vibe” of a work isn’t good for artists, TV producers or viewers: copyright was designed to nurture creativity, not stifle it.

TV Maxambomba: processos de singularização

TV Maxambomba: Processos de Singularização é o resultado do processo de investigação sobre as potencialidades que residem na linguagem audiovisual, sobretudo no processo de produção de vídeo e comunicação popular, apropriados por pessoas que nas suas diferenças utilizam a linguagem e a tecnologia do vídeo como ferramenta de produção da expressão da sua cultura, da sua realidade, da sua criação e inventividade. Percorrendo o percurso da TV Maxambomba, essa pesquisa trouxe a dimensão da potencia que envolve a articulação de pessoas e grupos utilizando a tecnologia do audiovisual, a linguagem do vídeo no seu processo de criação como mecanismo de produção de conhecimento e de subjetivação. Ao longo dos seus 15 anos A TV Maxambomba revela-se como um potencial laboratório de invenção midiática, democratizando a linguagem audiovisual, possibilitando que numa era midiática, inicia-se a era pós-mídia. Transgredindo as normas e os formatos televisivos, traçando suas linhas de fuga, trazendo as peculiaridades das comunidades e territórios ocupados pela TV Maxambomba, territorializando e desterritolizando sua própria linguagem, revela-se como espaço de produção de processos de singularização.

Reality Shows in Chile, origin and road map. Historical-Communication Dialogues

Reality shows are TV programs which represent a format used in television nowadays; however, the observation practices of individual and/or group intimacy dates from thousands years ago. Sometimes this was driven by voyeurism or morbid fascination, some others, by the purpose of guarding, supervising and maintaining status quo. This work offers an alternative answer to the explanation of this type of TV program emergence and relates this appearance to a government procedure bound up with modern State terrorism which began at the end of the eighteenth century and has been recalled by different regimes until present days.

Reality status evaluations in mediated experiences /

This paper explores the cognitive functions of the Reality Status Evaluation (RSE) system in our experiences of narrative mediated messages (NMM) (fictional, narrative, audio-visual one-way input and moving picture messages), such as fictional TV programs and films. We regard reality in mediated experiences as a special mental and emotional construction and a multi-dimensional concept. We argue that viewers' reality sense in NMM is influenced by many factors with "real - on" as the default value. Some of these factors function as primary mental processes, including the content realism factors of those messages such as Factuality (F), Social Realism (SR), Life Relevance (LR), and Perceptual Realism - involvement (PR), which would have direct impacts on reality evaluations. Other factors, such as Narrative Meaning (NM), Emotional Responses, and personality trait Absorption (AB), will influence the reality evaluations directly or through the mediations of these main dimensions. I designed a questionnaire to study this theoretical construction. I developed items to form scales and sub-scales measuring viewers' subjective experiences of reality evaluations and these factors. Pertinent statistical techniques, such as internal consistency and factorial analysis, were employed to make revisions and improve the quality of the questionnaire. In the formal experiment, after viewing two short films, which were selected as high or low narrative structure messages from previous experiments, participants were required to answer the questionnaire, Absorption questionnaire, and SAM (Self-Assessment Manikin, measuring immediate emotional responses). Results were analyzed using the EQS, structural equation modeling (SEM), and discussed in terms oflatent relations among these subjective factors in mediated experience. The present results supported most of my theoretical hypotheses. In NMM, three main jactors, or dimensions, could be extracted in viewers' subjective reality evaluations: Social Realism (combining with Factuality), Life Relevance and Perceptual Realism. I designed two ways to assess viewers' understanding of na"ative meanings in mediated messages, questionnaire (NM-Q) and rating (NM-R) measurement, and its significant influences on reality evaluations was supported in the final EQS models. Particularly in high story stnlcture messages, the effect of Narrative Meaning (NM) can rarely be explained by only these dimensions of reality evaluations. Also, Empathy seems to playa more important role in RSE of low story structure messages. Also, I focused on two other factors that were pertinent to RSE in NMM, the personality trait Absorption, and Emotional Responses (including two dimensions: Valence and Intensity). Final model results partly supported my theoretical hypotheses about the relationships among Absorption (AB), Social Realism (SR) and Life Relevance (LR); and the immediate impact of Emotional Responses on Perceptual Realism cPR).

Jämförelse av två system för att bedöma vinter väglag : Ett nytt system i utvecklingen för att säkra Sveriges vägar

Trafikverket, är den statliga verksamhet som har hand om alla Sveriges vägar och järnvägar har den så kallade nollvisionen som ett huvudmål. Tanken bakom nollvisionen är att de som använder vägarna skall vara säkra och inte komma till skada. En del av uppfyllandet av detta mål är att Trafikverket ger ut korttidsprognoser för väglag och körförhållande. I nuläget så används ett mycket manuellt systemet som heter NTIS, men man håller på att utveckla det nya automatiska systemet RCC som skall kunna ta fram korttidsprognoser baserat på olika former av data, t.ex. data från väderstationer. Syftet med denna studie är att utvärdera hur väl de två olika systemen utför en korttidsprognos och jämföra de mot varandra, samt verkligheten. Denna studie gjordes i form av en förklarande fallstudie. Som datainsamling används dokument i olika former och analysen var kvantitativ då resultatet av utvärdering ger olika procenttal av hur rätt respektive system har. Under undersökningen gång så kom vi fram till att båda systemen hade sina fördelar och nackdelar. T.ex. så det gamla NTIS systemet fortfarande bäst på isigt och moddigt väglag. Medans det nya RCC systemet hade sina egna fördelar, t.ex. snöigt väglag och vått väglag. Samt så hade RCC en klar fördel med sin rapporteringstid, vilket var ett problem man såg med NTIS. Resultat var som sagt ett procenttal av hur rätt de två olika systemen hade, men även förslag till förbättringar. T.ex. hur man skulle kunna ändra RCC regler för bättre resultat.

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.