By Brenda R. Weber
This essay assortment makes a speciality of the gendered dimensions of fact tv in either the U.S. and nice Britain. via shut readings of quite a lot of truth programming, from discovering Sarah and Sister better halves to Ghost Adventures and Deadliest Warrior, the members imagine via questions of femininity and masculinity, as they relate to the intersections of gender, race, category, and sexuality. They attach the genre's blend of actual humans and surreal stories, of authenticity and artifice, to the creation of id and norms of citizenship, the commodification of selfhood, and the naturalization of regimes of strength. no matter if assessing the Kardashian kinfolk model, portrayals of hoarders, or big-family courses corresponding to 19 little ones and Counting, the individuals study truth tv as a proper web site for the construction and function of gender. within the technique, they light up the bigger neoliberal and postfeminist contexts within which fact television is produced, promoted, watched, and experienced.
Contributors. David Greven, Dana Heller, Su Holmes, Deborah Jermyn, Misha Kavka, Amanda Ann Klein, Susan Lepselter, Diane Negra, Laurie Ouellette, Gareth Palmer, Kirsten Pike, Maria Pramaggiore, Kimberly Springer, Rebecca Stephens, Lindsay Steenberg, Brenda R. Weber
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Additional info for Reality Gendervision: Sexuality and Gender on Transatlantic Reality Television
In this regard, Palmer argues, weight-loss programs promote the value of discipline as a necessary technology of the self. By adopting a caring rhetoric to intervene in the private space of the body, Palmer contends, these formats guide subjects into choices that have to do more with the dictates of consumerism, the demands of television to maintain market share, and producers’ class status and anxieties than with the needs of the individual contestant for happiness and self-acceptance. Finally, David Greven takes the consideration to the positively ghoulish, as he offers a vigorous reading of ghost-hunting reality television programs.
32. Michael Newman and Elana Levine contend that television has grown in prestige as it has been connected to other more highly valued media and audiences: see Michael Z. Newman and Elana Levine, Legitimating Television: Media Convergence and Cultural Studies (New York: Routledge, 2012). 33. As just one example, Rita Felski has noted that modernism privileges certain kinds of books and themes that feature “decentered subjectivity, aesthetic self- consciousness, subversion of narrative continuity and an emphasis on paradox, contradiction and ambiguity”: (Rita Felski, “Modernism and Modernity: Engendering Literary History,” in Rereading Modernism, ed.
See helpful resources, such as John Caldwell, Production Culture: Industrial Reflexivity and Critical Practice in Film and Television (Durham, NC: Duke University Press, 2008); Douglas Gomery, Television Industries (London: British Film Institute, 2008). The gendered dynamics of reception studies are taken up in some reception studies. For more on how audiences use and understand Reality tv, see Biressi and Nunn, Reality tv; Sender, The Makeover; Beverley Skeggs and Helen Wood, Reacting to Reality Television: Performance, Audience, and Value (New York: Routledge, 2012).