Reality Television: The Television Phenomenon That Changed the World

Deller, Ruth A.

doi:10.1108/9781839090219

Cited by 3 publications

(7 citation statements)

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“…The two broad pathways to Internet celebrity include moving from television to social media and from the Internet to elsewhere (24)(25)(26)(27)(28)(29)(30). Some ordinary people unknowingly and unwillingly become eyewitness viral stars (17) or meme-based celebrities (31,32), which are forms of fame that can be parlayed into an extended social media career.…”

Section: Definitionsmentioning

confidence: 99%

The Tropes of Celebrity Environmentalism

Abidin

Brockington

Goodman

et al. 2020

Annu. Rev. Environ. Resour.

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Celebrity advocacy for environmental causes has grown dramatically in recent decades. An examination of this expansion and the rise of causes such as climate change reveals the shifting politics and organization of advocacy. We address these changes to the construction and interpretation of celebrity advocacy and detail how they have produced a rich variety of environmental celebrity advocates. We also account for differences between legacy (e.g., radio, TV, newspapers) and online celebrities and their practices (e.g., hashtag publics, brandjacking, online communities). Environmental celebrity advocates’ performances can be divided into nine tropes, each characterized in part by the particular varieties of environmentalism that they promote. We present the tropes and discuss their five cross-cutting themes. We conclude with a set of questions for future research on celebrity environmentalism. Expected final online publication date for the Annual Review of Environment and Resources, Volume 45 is October 19, 2020. Please see http://www.annualreviews.org/page/journal/pubdates for revised estimates.

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Section: Definitionsmentioning

confidence: 99%

The Tropes of Celebrity Environmentalism

Abidin

Brockington

Goodman

et al. 2020

Annu. Rev. Environ. Resour.

View full text Add to dashboard Cite

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“…As a skills-based reality TV show, Strictly offers a level of prestige compared to other potentially more humiliating celebrity reality shows. As a result, Strictly tends to attract a higher calibre of star (Bonner, 2013;Deller, 2020), compared to non-skills-based formats who recruit stars from the proto-celebrity, post-celebrity and pro-reality 145 stages of the fame cycle (Deller, 2016(Deller, , 2020. Conversely, Strictly tends to feature celebrities who are in the promotional stages of the fame cycle who may participate in order to raise their profile and promote their work, company or other projects they are involved in (Deller, 2016(Deller, , 2020.…”

Section: Strictly As a Brand Development Strategymentioning

confidence: 99%

“…As a result, Strictly tends to attract a higher calibre of star (Bonner, 2013;Deller, 2020), compared to non-skills-based formats who recruit stars from the proto-celebrity, post-celebrity and pro-reality 145 stages of the fame cycle (Deller, 2016(Deller, , 2020. Conversely, Strictly tends to feature celebrities who are in the promotional stages of the fame cycle who may participate in order to raise their profile and promote their work, company or other projects they are involved in (Deller, 2016(Deller, , 2020. The show's 2018 cohort can be considered primarily promotional celebrities with a few contestants situated more in the (re-)purposed and post-celebrity stages of Deller's (2016) given the previous trend of Internet celebrities being criticised, patronised or their legitimacy questioned by traditional media (Deller and Murphy, 2019;Giles, 2018).…”

Section: Strictly As a Brand Development Strategymentioning

confidence: 99%

“…As such, translation issues from online persona to TV personality could explain why some Internet celebrities who have made mainstream media appearances have been unable to transition into stage 5 of the model. For example, elsewhere (see after featuring on The X Factor , allowed him to cement himself as a popular on-screen personality and helped position his image within the familiar trajectory of camp male star (Deller, 2020). As a result, Clark-Neal quickly became a regular fixture on TV screens, appearing on further celebrity reality shows and dipping his toes into the world of presenting -initially, with some guest roles, before getting his own regular slots as host (Deller, 2020).…”

Section: Mainstreammentioning

confidence: 99%

“…For example, elsewhere (see after featuring on The X Factor , allowed him to cement himself as a popular on-screen personality and helped position his image within the familiar trajectory of camp male star (Deller, 2020). As a result, Clark-Neal quickly became a regular fixture on TV screens, appearing on further celebrity reality shows and dipping his toes into the world of presenting -initially, with some guest roles, before getting his own regular slots as host (Deller, 2020). Whilst he initially entered the world of celebrity by appearing on a talent-based reality format, Clark-Neal is not known for his singing, but rather his eccentric, camp persona which has been consistent throughout his trajectory but has grown with him as he 247 See Chapter 2 -Reality TV transitioned from pre-celebrity to professional.…”

Section: Mainstreammentioning

confidence: 99%

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Joe Sugg: authenticity, self-branding and networking from YouTube microcelebrity to mainstream star

Murphy¹

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In this thesis, I explore the YouTube celebrification process from internet content creation to mainstream media through analysis of the career trajectory of Joe Sugg. Joe is arguably the most successful British YouTuber to transcend internet recognition and mobilise this prominence towards mainstream fame. As such, the research draws insight from his practices and brand development strategies to interrogate how he has been able to successfully bridge the worlds of mainstream and traditional media, whilst still maintaining his online presence. Existing research has defined levels of traditional and online fame, however there is a lack of research that interrogates the relationship and interaction between different stages of fame. This research considers the internet to mainstream celebrification process through a detailed analysis of Sugg’s career. Moreover, there is a gap in existing literature for research focused on individual creators’ career trajectories, particularly in relation to their development from online to the traditional media and celebrity sphere, which the research thus addresses. Within t his broad research aim, the investigation focuses on three key sub-themes within Joe’s career development: self-branding; authenticity labour; and networked relationships. The inquiry takes a single case study approach focused on Joe Sugg, which is situated in digital ethnography and utilises a variety of online and offline data collection methods to gather micro-, macro- and wider contextual level data f rom Joe’s career. The data is analysed using a combination of thematic, content and textual analytical approaches to draw insight into his career trajectory in relation to the sub-research themes. The analysis identifies ordinariness and relatability, maintaining perceived authenticity and credibility, and building strong networks online as key to developing an online brand that is commodifiable, appealing to audiences, and able to be mobilised towards mainstream media ventures. Moreover, the research offers a substantial framework for understanding the process of celebrification from online to mainstream through five stages, defined by characteristics and experiences as opposed to follower metrics. The research also provides the first significant longitudinal study of a British YouTuber’s career trajectory that interrogates their strategic brand development and networking practices, which have enabled them not only to sustain a career online, but to mobilise this online recognition towards mainstream media platforms too.

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The Fine Line between Person and Persona in the Spanish Reality Television Show La isla de las tentaciones: Audience Engagement on Instagram

2021

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The hybridization of television genres has led to numerous non-fiction television shows that base much of their success on audience engagement through social networks. This study analyses a specific case, that of La isla de las tentaciones (Temptation Island), to identify interpretive frames in reality shows and their interrelationships with audience involvement on Instagram. Based on a corpus of 8409 comments posted on Instagram by the followers of the program’s actor profiles, the article analyzes the lines between reality and fiction in this non-fiction television show about relationships and infidelity, and, in particular, how online “haters” play a performative role. The show’s participants who were unfaithful are insulted and receive numerous negative value judgments. The “coding and counting” method, drawn from Computer Mediated Discourse Analysis, is used for the coding. Results show that viewers barely allude to this show as fiction, do not differentiate between the actors and their characters, and empathize strongly with the stories they view. The study shows the need for media education, both for those who make the media and those who view it. The goal is not to detract from entertainment value, but to improve critical skills and to recover the educational function of media.

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Reality Television: The Television Phenomenon That Changed the World

Cited by 3 publications

References 0 publications

The Tropes of Celebrity Environmentalism

The Tropes of Celebrity Environmentalism

Joe Sugg: authenticity, self-branding and networking from YouTube microcelebrity to mainstream star

The Fine Line between Person and Persona in the Spanish Reality Television Show La isla de las tentaciones: Audience Engagement on Instagram

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