How real is reality television?
Despite being regularly promoted as an unscripted or spontaneous genre of television, many still question the validity of reality television. However, before we analyse whether ‘reality’ television is an accurate depiction of real life, we first need to define what reality television is.
Reality television as a genre is distinguished for its application of “real people” in sensational situations. However, Hill (2005) elaborates by stating that reality television is “a range of popular factual programming” (p. 41) with various styles and techniques. These include non-professional actors, unscripted actors, surveillance footage, hand-held cameras and events unfolding in front of the cameras (Hill, 2005). These styles and techniques are what help reality television differentiate from other television genres. However, Kilborn (1994) argues that the term ‘reality television’ has become a “catch-all phrase” (p. 423). Kilborn (1994) elaborates that this difficulty establishing a distinct definition of reality television is due to its misuse to describe fictional genres rooted in real-life situations. Alternatively, he defines reality television as “an attempt to simulate real-life events through various forms of dramatised reconstruction” (p. 47).
Furthermore, reality television has an extensive history with documentation styles of media. Thus, it shares numerous characteristics with the genre. Smith (2020) states that “the techniques, technologies, constraints and worldviews of early cinema and television documentary makers have constructed the ways that we perceive ‘reality’ on the screen”. Characteristics of documentation and cinematic styles such as direct cinema, cinéma vérté and free cinema, can be seen implemented in the reality television genre (Smith, 2020). Consequently, by implementing many features from the genres, reality television often blurs the lines between factual and fictional media.
This blurring of fact and fiction may be the result of audience expectations. Ouellette and Murray (2004, as cited in Smith, 2020) state that audiences do not crave a faithful depiction of reality and a far more interested in “the space that exists between reality and fiction” (Smith, 2020). As a result, Kilborn (1994) states that reality television producers often feel inclined to distort or exaggerate the content they are presenting to improve overall interest in their shows. This perspective has had a significant influence on the authenticity and consequently, the popularity of reality television.
In conclusion, while reality television may orientate around genuine people or situations, the historical and modern influences on the genre make it impossible to define reality television as entirely accurate.
References.
Hill, A. (2005) The reality genre. In A. Hill, Reality TV: Audiences and popular factual television. (pp. 14 – 40). Oxon: Routledge.
Kilborn, R. (1994). ‘How real can you get?’: Recent developments in ‘reality’ television. European Journal of Communication, 9, 421-439. https://doi.org/10.1177/0267323194009004003
Smith, P. (2020). Reality television [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/
Pop Genres 2020 