blog four

What features make Akira cyberpunk, and how does it reference the wider subgenre? Link for question https://www.youtube.com/watch?v=sttm8Q9rOdQ&feature=share&fbclid=IwAR0ZOnQmyGabIr8FMiM6Lkz-DBE1–cZrqPuIA2StGx-4WIjVmBrOKS9GeA

The definition of cyberpunk is blurry and ambiguous. However, generally speaking, cyberpunk is a sub-genres and culture of science fiction, moreover, cyberpunk is mainly embodied in two forms, that are, cultures and genres (Neondystopia, n.d.). It is not difficult for audiences to identify cyberpunk literature. The movies and other forms of cyberpunk have significant descriptions and scenes of human urban which has neon light, hi-tech laser weapons or equipment and cyborgs (Indigo Gaming, 2019). Several attitudes and key features construct this term. For instance, anti-authoritarian and brand-averse attitudes, and the “high tech low life” feature (Neondystopia, n.d.). As Indigo Gaming (2019) states the cyberpunk genre is a sub-genre of science fiction and this culture were slowly accepted since 1980. More specifically, the cyberpunk genre intends to exhibit and explore the dark, dangerous side and factors of futurism and advanced technologies. For instance, the movie “West world” revealed that the whole society and social class have been radically changed due to an artificial program changed the safe order of those androids, the androids in the theme parks were originally designed to please and serve human being whereas all parks became to a slaughter place when safe order has been changed (Indigo Gaming, 2019). This familiar description and topic is also found in the anime “Akira”. In the future century, Japan government uses human to do the experiments due to they try to control an implausibility absolute power and the experiment finally succeed with a teenager whereas everything goes to different track due to that boy’s wanton uses of power and he does not have sufficient strength to control it. The consequences of the movie “West World” and anime “Akira” are cautionary for our human society and activities. From my perspective, the directors of the movie and anime intend to encourage and inspire people to reflect those consequences and tragedies to real human life and society, and to aware of the power of advanced technologies and development. Several key features make “Akira” a cyberpunk anime. For instance, urban-stylized motorcycles, tragic laboratory experiments and anti-authoritarian (Indigo Gaming, 2019).

According to Indigo Gaming (2019), this sub-genre reference science literature as it features advanced technologies. However, cyberpunk is more likely to explore and show the dark side behind that advanced development. It evokes people to aware and to reconsider the purposes of technologies as it may use to mask the underbelly of crime or spy on others’ private life while people enjoying its conveniences.

Indigo Gaming. (2019, December 1). Cyberpunk documentary part 1 | Neuromancer, Blade Runner, Shadowrun, Akira. [Video]. YouTube. https://www.youtube.com/watch?v=sttm8Q9rOdQ&feature=share&fbclid=IwAR0ZOnQmyGabIr8FMiM6Lkz-DBE1%E2%80%93cZrqPuIA2StGx-4WIjVmBrOKS9GeA&ab_channel=IndigoGaming

Neondystopia. (n.d.). What is cyberpunk? Neondystopia. https://www.neondystopia.com/what-is-cyberpunk/

blog three

How and why have Tintin’s gender and sexuality been question?

The gender issues are controversial in the Tintin universe, even the author of the Tintin collections, Hergé, had been argued that he tried to hid his femininity behind the character of Tintin (Bremner, 2017). There are two main issues in the Tintin universe been identified. That are, rare female characters’ existences in the Tintin universe and asexuality of Tintin. Hergé once admitted that he liked women whereas he did not want to caricature them and he also considered and acknowledged that women were rare existences in comic books and cultures. More importantly, Hergé believed that women were not capable to fit in the Tintin universe and thus women characters appeared hardly flattering in the Tintin collection. Furthermore, there is another issue that appeared in Tintin collections, that is, the characters in the collections are often commented and considered genderless. This perspective was firstly from a French philosopher, Vincent Cespedes. Vincent Cespedes (O’Connor, 2017) even argue and doubt that Tintin is a girl and her (Tintin) female features are not obvious due to Herugé tries to represent and build Tintin’s image as a tomboy. More importantly, Hergé tried to hide his femininity behind the Tintin. One of the key factor that Hergé built this tomboy character is that male appearance and disguised as a man can help Tintin to travel the world easier (O’Connor, 2017). Several things indicate that Tintin is a girl. Firstly, Tintin showed several traits that directly connected with femininity. For instance, in The Crab With The Golden Claws collection, Tintin’s attitudes and actions toward drunk captain were easily interpreted as a stereotype of femininity in that century (O’Connor, 2017). Secondly, Tintin wore female clothes whereas it was not necessary in those contexts (O’Connor, 2017). The aforementioned two key factors lead people to question Tintin’s gender.

References

Bremner, C. (2017). Great snakes! Is Tintin actually an asexual girl? THE TIMES. https://www.thetimes.co.uk/article/great-snakes-is-tintin-actuallyan-asexual-girl-v56jxxd25

O’Connor, R. (2017). Tintin is a girl and ‘probably asexual’, French philosopher claims. INDEPENDENT. https://www.independent.co.uk/arts-entertainment/books/news/tintin-woman-girl-femme-asexual-comic-character-herge-vincent-cespedes-philospher-theory-a7960561.html

blog two

Although some particular groups of people have controversial opinions towards Tintin (Bentahar, 2012). However, it remains to be a forerunner in several ways. At first, the original intention to creating Tintin collections is to promote the value of religion to Belgian children and then Hergé changed his intentions and incentives to create these collections especially after the album ‘the blue lotus’.

In the album ‘‘The Blue Lotus’ (Hergé, 1936), Hergé challenges the stereotypes of orientalism and sinophobic by creating a friendship between the main character Tintin and a Chinese boy that Tintin meets in his adventure and shows the invader image of Japan in this album. Japanese government once required an apology due to its prevalence and impact of this album. In this album, Hergé tried to erase the stereotypes of Chinese from mainstream western cultures in 1936 and tried to avoid falling into the sinophobic stereotypes due to the friendship between he and Chang Chong-chen. Chang Chong-chen is Hergé’s friend that introduces Chinese line drawing, poetry and more importantly, the political situation to him. Thus, Herge’s attitude and viewpoints in this album toward China were significantly different from other western mainstream perspectives back that time. This contemporary literature reveals western countries a new view of other cultures by representing a new value and viewpoints to them.

This album reveals a brave and sturdy hero image of Tintin and his Chinese friends that he saved in China and professor Feng from a Japanese drug dealer Yamato and help Didi to recover from the madness poison. More importantly, the invader image of the Japanese had been revealed in this album which was been denied before by the Japanese government. His friend Chang Chong-chen assists Hergé to describe and create this album from a more objective and comprehensive perspective and views and thus this album was a reality-based-on collection.

References

Bentahar, Z. (2012). Tintin in the Arab World and Arabic in the World of Tintin. ALTERNATIVE FRANCOPHONE, 1(5), 41–54. https://doi.org/10.29173/af12250

Mountfort, P. (2011). ‘Yellow skin, Black hair … careful, Tintin’: Hergé and orientalism. Australasian Journal of Popular Culture, 1(1), 33-49. https://doi.org/10.1386/ajpc.1.1.33_1

blog one

How has the academic reception of popular genres changes over time?

There are two main types of genres, ‘high’ (classical) and ‘low’ (popular) genres. According to the lecture content, poetry, prose literature and drama refer to ‘high’ taste genres and fantasy fiction, comics, manga and science fiction refer to ‘low’ taste genres. However, opinion changed as to exclude some genres based on ‘taste’ is a privilege for some certain groups of culture. Secondly, literature genres should not be marginalized if only due to they are new. Thirdly, scholar asserts that popular genres may bring more society knowledge to people than those ‘classical’ literature. Fourthly, contemporary genres have several qualities that conventional literature lacks. Fifthly, producers of contemporary literature usually expect more achievements for their works. Finally, contemporary genres bring pleasure feelings to their readers and thus readers consider they are ‘high’ literature as they are popular.

What might the value be of studying them?

The first value to study the popular genres is that to know and explore this dynamic market due to it has a large number of audiences (Wegrodzka, 2018). Furthermore, the author states that some particular genres and their authors come from various perspectives and interpretations. Thus, people can learn and understand different values. More importantly, The Encyclopaedia Britannica (n.d., as cited in Wegrodzka, 2018) states that the boundaries between high literature and popular literature are murky. Therefore, scholars should not marginalize particular types of literature and cultures. Moreover, study popular genres is a vital way to assist scholars and people to inquire into new categories of various literature and to explore how genres evolve. For instance, the ‘New adult’ (NA) fiction was a new category that emerged in 2009 and the definition of NA has continuously evolved with people’s updated perception (McAlister, 2018).

References

McAlister, J. (2018). Defining and redefining popular genres: The evolution of ‘New adult’ fiction. Australian Literary Studies. https://doi.org/10.20314/als.0fd566d109

Wegrodzka, J. (2018). Popular Genres and Their Uses in Fiction (Transatlantic Studies in British and North American Culture) (New ed.). Peter Lang GmbH, Internationaler Verlag der Wissenschaften.

Week 12 Questions – Reality Tv Pt.2

Can reality tv still be thought of as a genre given the high level of hybridity that exists?

Over the long haul of things, especially in terms of television and its given, the class of reality television has developed to incorporate various kinds and ideas through the concept of what is known to be hybridization. In theory, there is a wide range of all sorts and kinds of “unscripted” reality television programs around in the world we live in today. Such as for instance, programmes like game shows (who wants to be a millionaire), celebrity lifestyles (keeping up with the Kardashians), competitions and many more of this sort. Since there is such a huge assortment of the sorts of unscripted television shows, following the historical backdrop of the class of unscripted television and pinpointing it to a solitary purpose of birthplace can be of very troublesome nature. Also, in light of the fact that such a significant level of hybridity exists inside the domain of unscripted television, the inquiry emerges of whether we can even believe unscripted television to be its own kind, given that there are other endless types of these genres that merge together to make the entirety known as reality Tv.

Although, while the class of reality television contains a plenitude of various kinds of configurations, these, overall, can be seen as being steel to one another. It doesn’t generally make a difference what kind of reality tv program one is watching. The shared characteristic between all these is that they are intended for giving amusement to the mass crowd in the end. The genre of reality tv often tends to “cannibalise” itself in order to have a means of survival (Hill, 2005). It is rather difficult to pinpoint exactly the sort of genre reality tv has evolved into as originally it had started out as an individual genre but as of present time it has adopted as well as adapted to various changes in terms of formats. Hill (2005) also talks about how television “draws upon existing genres to create successful hybrid programmes” which overall then lead into the concept of such new genres being created. He also further expresses that attempting to make an ideal thought of what the class of unscripted television really is and which other sub-sorts fit under its flag is a pointless exertion. We can’t compel the unscripted television sort to fit under one explicit, extraordinary genre. Such means of reality television is a kind in its own right, and keeping in mind that it genuine that it has absolutely changed and advanced throughout the long term, and that individual sorts of unscripted television programmes have jumped up from its branches, that doesn’t remove the title of such unscripted shows as its own mainstream class of reality TV.

Asides from Hill (2005) stressing that narrative TV has prompted business accomplishment by joining particular kinds of reality designs, and that the social explicitness of reality programming and the improvement of specific arrangements inside various telecom conditions. This shows up as a cross breed of unscripted television. It is stated by Wood (2004) “reality is not the preserve of one sort of programming. Rather, all media content produces worldliness and so can be typed according to the variety of ways in which it accomplishes this sense of the real”. Thus the principle components of TV such as themes and ideas of certainty, fiction, diversion, and promoting tend to then make reality in an assortment of ways.

References

Wood, B. (2004) A World in Retreat The Reconfiguration o Hybridity in 20th Century New Zealand Television Media Culture and Society DOI: 10.1177/0163443704039709

Hill, A,. (2005) Reality TV: Audiences and Popular Factual Television, London, Routledge

Week 8 Response – Chloe Pope

Referring to Mountfort et al. (2018), in what ways is cosplay analogous to citation?

Cosplay is analogous to citation in two key ways. The first being the obvious, in that it makes reference to a specific text. This is argued in the 2018 book, Planet Cosplay, by Mountfort, P, who writes that, when looking at the act of cosplay from the perspective of it being a referential form, ‘cosplay can be regarded as a form of citation, with cosplayers collectively involved in performing myriad ‘citational acts.’ (Mountfort, 2018)

While cosplay takes many forms and can be executed at various levels of professional to casual, generally, cosplayers make an effort to appear as a very specific character from a specific text, or portion within a larger text (for example, a lengthy, on-going series such as comic books or manga), rather than simply bearing a resemblance to the character in general; the difference between merely having green hair, and wearing make-up, a purple suit and wide-brimmed hat, and slicked back green hair to cosplay as Jack Nicholson’s Joker from Batman (1989, dir. Tim Burton). As put in Planet Cosplay (2018), ‘The thousands of costumes and accoutrements, such as weapons and other props, are, on one level, like trees in a forest of citation that link the cosplay back to the source text’. (Mountfort, 2018)

Alongside the costumes and props, there is also the behaviour and actions of the cosplayers. Many stay ‘in character’ as their chosen character while in cosplay dress; doing various actions, skits, or even playing out certain notable scenes with other cosplayers. This constitutes the ‘act’ portion of Mountfort, P.’s naming of cosplay as a ‘citational act’. (Mountfort, 2018) These ‘acts’, just as with the costuming, are specific to the chosen character, whether it be in direct quotation of dialogue or mimicking speech mannerisms, body language and character-specific tics.

This specificity goes even further in the case of cosplay; to continue the Joker analogy, there is a marked difference between a person cosplaying as Jack Nicholson’s 1989 Joker, and another person cosplaying as Heath Ledger’s 2008 Joker, despite the two being the same character. This is because the cosplayers are specifically referencing the text in which these characters exist, and not just the character themselves – Burton’s 1989 film and Nolan’s 2008 film, respectively. This is pointed out within Planet Cosplay’s section on cosplay as citation, ‘After all, where cosplay differs from dressing up more generally—including fashion subcultures that are sometimes part of the milieu but not strictly cosplay, such as steampunk and Lolita—is in its specific indebtedness to source media on which it is heavily reliant.’ (Mountfort, 2018)

The second key way in which cosplay is a citational act is in how it makes (often new) meaning out of text by making reference to it within a new context. The majority of cosplay takes place at fan meetings, which are most often in the form of conventions such as San Diego’s Comic-Con or New Zealand’s Armageddon Expo. At such meet-ups, there are often many other cosplayers embodying different characters from a range of texts. This can lead to interactions between characters, originally from wildly different franchises and ‘worlds’, who would have otherwise never met; not unlike the fanfiction trend of ‘crossovers’ between texts. These can also occur between characters from the same worlds/texts; the difference between these interactions and the aforementioned skits, etc. is that these interactions are wholly new and improvised by the cosplayers themselves. They are the product of the cosplayers embodying their characters completely (truly ‘playing’ as them) and creating new meaning in the form of their interactions as the characters with others that they encounter within the new context (in this case, conventions). Examples of this can be seen in popular online videos from fan conventions, such as a video of Deadpool and Spiderman (established friends within their shared canonical universe) doing a choreographed dance sequence together. (Star Dragonair, 2018)

It is worth noting that not all instances of this occur within the context of fan conventions, or even with other characters, however. A popular trend within the online ASMR community has been for creators to act out ‘roleplay’ ASMR videos as certain characters. This involves all the aspects of cosplay – in both costuming and acting – and is another instance of fans creating new meaning within the new context of ASMR and an ASMR roleplay, as these are, once again, either improvised or new material written by the cosplayer themselves ‘in character’. An example of this would be ASMR Youtube creator Gibi ASMR’s video in which she cosplays as Linda from Bob’s Burgers. (Gibi ASMR, 2017)

References

Gibi ASMR. (2017, October 27). [ASMR] Eat At Bob’s Burgers! (Linda Roleplay) [Video]. YouTube. https://youtu.be/jS51HkoP2PE

Mountfort, P. (2018). Cosplay as Citation. In P. Mountfort, A. Peirson-Smith, & A. Geczy, Planet Cosplay (pp. 21-24). Chicago: The University of Chicago Press.

Star Dragonair. (2018, May 28). Deadpool and Spiderman Dance at Anime Convention [Video]. YouTube. https://youtu.be/kDe2J16Zqn8

Week 11: Reality TV

Reality TV is referring to television show or programs genre, shows that are unscripted, documenting real people in real situations, so not fictional and no professional actors.

According to Kilborn (1994) TV shows started to get group into this ‘Reality Programming’ genre in 1980s. No matter if its fictional shows or factual shows, television has become a lot more into notion of realist enterprise. The audience has also seemingly gain insatiable desired for ‘real life’ TV shows. Reality TV shows have a wide range of human activities, which are the basic elements of this genre, the main point of this is that the audience should be able to always relate to things that there are watching or seeing on screen. As this is the appeal of this genre, the sense that the things they are watching can happened to them or people whom are sitting at home watching the show. “Thus, those candid camera sequences featuring members of the public caught in compromising or embarrassing situation are popular with viewers” (Kilborn, 1994, p. 424). This not just because they find it funny but because they know have the sense that they could be perhaps become the next star of the show. Example of Reality TV shows are documentary, competition and survival shows, etc.

There are many types of different format, content or certain feature of the Reality TV shows, but they all has the same claims that their show are the authenticity real life situation and event. However, reality TV shows might not be as ‘REAL’ as they want the viewers and audience to believed. Sometimes viewers were deceived due to the techniques and the technologies the shows used, as traditional cinema and television makers set the way viewers perceive reality on screen. Such as if the camera technique being used is ‘hand held’ or technologies being used is hidden camera, then can deceive viewers to presume what ever they are seeing on screen as real.

According to Parton (2018), reality TV shows that are not ‘real’ is ‘Matchmaker’ and ‘Love island’. ‘Matchmaker’ is a Canadian dating show, where people meet and go on blind date, and decide if they hit it off or not. Behind the scene. DomashnaRakija a Reddit website user claimed their cousin were on the show, they actually met with their soon to be ‘blind date’ before the camera began rolling, and producers tell them what they should do. Questions and answers which should be from the people on the show were not, it was scripted by the producers as well. ‘Love island’ is quite like ‘Survival’ show, but people were forced to couple up for romance, money and opportunity, even dialogue were scripted.

So, reality TV are not always about real people in real-life situations, as many shows are scripted and being manipulate by producers, to make sure their get the product that is what the audience want, even though they had to fake it.

References:

Kilborn, R. (1994). `How Real Can You Get?’: Recent Developments in `Reality’ Television. European Journal of Communication. http://doi.org/10.1177/0267323194009004003

Parton, J. (2018, February 16). 8 Fakest Reality Shows (And 8 That Are Totally Real). Screen Rant. https://screenrant.com/reality-tv-shows-fake-real/

Week 7:

King describes horror as being defined through three basic elements. Explain, using references, what these three elements are. Think of a horror story you’ve read/watched/heard that makes use of all three of these elements and show how King’s definition is at play in that narrative.

The three basic elements that define horror are said to be terror, horror and gag reflex by the famous author Stephen King. These elements can be seen in the 2019 film “In the Tall Grass” directed by Vincenzo Natali based on the Stephen King and Joe Hill’s 2012 novella of the same name the film is a good example of how these three elements come into narrative.

Terror is the feeling of dread it is basically induced by the mind because the human mind fears the unknown. This can be seen in the film where “Becky” and her brother “Cal” panic because when they enter the field the grass randomly changes their course which leaves them in even more fear when they weren’t able to run back to the car because they weren’t able find their way back to the car. This when the terror kicks in when watching the film because the audience get to witness the actors expression of dread and fear of the unknown.

Secondly, Horror is something that humans cannot comprehend it is beyond the human imagination. This can be seen the film “In the Tall Grass” where “Becky” gets carried by the unknown grass entity who take her to the rock that has prophetic drawings on it which tells her the future about her pregnancy. This leaves not only “Becky” horrified by what is happening to her but also the audience because we aren’t able to comprehend what is going on and how its possible for a rock to tell “Becky’s” future.

Lastly, revulsion is when the audience is disgusted by the horror of certain aspects of the story having a story that can cause the audience to be disgusted has a greater impact on an audience when it is exhibited through a film because of the graphics that is produced so it helps the audience feel disgusted. We are shown this in the film where “Becky” stabs the chracther “Ross” although she was trying to escape from “Ross” who was going to attack her it still leaves the audience in disgust because of how visually grpahic the scene is.

References:

King, S. (1981). Danse Macabre.

In the Tall Grass (film). (2020, October 28). Retrieved September 26, 2020, from https://en.wikipedia.org/wiki/In_the_Tall_Grass_(film)

Week 10: Alternate history, Postmodern alternate history and Uchoronie

Alternate history, Postmodern alternate history and Uchoronie are the subgenres of science fiction. Science fiction is a novel genre that have futuristic elements, such as advance science, technology, or concepts of space and extraterrestrial being. The subgenres, alternate history, postmodern alternate history and Uchoronie have to do with their stylistic and philosophical time, dimensions or universe within the novel.

Alternate history is basically the “what if…” of a part of history that we known. Philip K. Dick’s The Man in the High Castle, can perhaps be considered an alternate history piece, as the story is about one of the most well known history of all time, World War II, with the Nazis wining the war (Mountfort, 2016, p. 301).

Postmodern Alternate History, according to Mountfort (2018) it is a concept of Frederic Jameson’s Archaeologies of the Future (2005). It has synchronic view of time with the spectre of the postmodern relativism (Mountfort, 2016, p. 301).

Uchoronie is a French term, according to Mountfort (2018) the genre describe “the presence of competing timelines or alternate histories” (p. 66). Referencing William Joseph Collins, there are three subcategories of uchoronie, which are Pure uchoronia, Plural uchoronia, and Infinite uchronia. Pure uchoronia have one alternative world. Plural uchoronia when one world and an alternate world exist in parallel. Infinite uchronia have many or infinite parallel worlds. (Mountfort, 2016, 306).

Looking simply at The Man in the High Castle by Philip K. Dick, it may look like a simple alternate history genre, however many also argue that its should be consider as postmodern alternate history genre and even uchoronie genre. When comparing ‘The Man in the High Castle’ story’s philosophical intricacies, literary quality and the intellectual depth, with how too wide and simple the alternate history genre seems to be, it does not seem appropriate. Winthrope Young said that this Philip K. Dick work piece outranks many other pieces that are considered alternate history (Mountfort, 2016, 301). The main argument has to do with Dick’s concept of time and the multiverse. According to Mountfort (2016), Heath Massey mention that “Dick’s idea of a temporal multiverse is, like eternal recurrence, more of a speculative hypothesis than a theory about the world” (p. 305). The Man in the High Castleview of time are not at all linear or casual, it actually breaks away from these basic alternate history genre elements, Dick’s notion of history is more synchronic (p. 301). Dick himself state that “If You Find This World Bad, You Should See Some of the Others” (1977). (Mountfort, 2016, 305). He takes the idea of the “multiverse” really seriously, he even frames the novel in the context of “possible time dysfunctions” in one of his letter (1975).

References:

Mountfort, P. (2016). The I Ching and Philip K. Dick’s The Man in the High Castle. Science Fiction Studies.

Mountfort, P. (2018). Science fictional doubles: Technologization of the doppelganger and sinister science in serial science fiction TV. Journal of Science & Popular Culture, 1(1) 59-75. https://doi.org/10.1386/jspc.1.1.59_1

Week 11 – Reality TV

How real is reality TV?

In todays day and age, it is fair to assume that there is an unspoken agreement that reality TV is not completely real. With an increasing blurred definition and position on the line between fiction and reality, the ‘realness’ can vary depending on the context or purpose of the show, for example shows that focus on emergency services etc, however it is important to establish that Reality TV is not always made with the purpose to mirror real life.

Reality TV series, like any other show or film, have producers. These producers have the power over the path they want these shows to follow and which participants they believe will clash or gel the best. Some shows that are not openly scripted are those such as Storage Wars, The Apprentice, Catfish, Hell’s Kitchen and Jerry Springer (Baker, 2017). The realities we are shown are constructed in some way – reality TV is not about real life as we know it, but instead intends to construct an entirely new reality (Smith, 2020). Many of these shows will claim authenticity and spontaneity, but are also concerned with extracting as much entertainment potential as possible (Kilborn, 1994), so in considering that reality TV is made by carefully putting together specific interactions and scenes, and showcasing certain personalities, we can understand that these realities are crafted with the intention to move the audience. Allen & Mendick discuss these ideas, and concluded that young, working-class viewers often reject the dominant discourses that pathologise contestants who are also working-class and in turn value their lack of pretentiousness (2013).

Smith stated that as humans we are natural voyeurs who do not want to see the real and abosolute truth, which is remnant of the not wanting to hear the hard truth sometimes. The ability to manipulate how participants are perceived goes hand in hand with an awareness of this. By finding entertainment in observing everyday, seemingly regular people as they fall in and out of love, or we find ourselves favouring certain people to win the competition, illuminates an acceptance of these constructed realities and thus, the human interest in the space between fiction and real (Smith, 2020).

References

Allen, K. & Mendick, H. (2013). Keeping it Real? Social Class, Young People and ‘Authenticity’ in Reality TV. In Sociology, 47(3):460-476. SAGE Publications, 2013.

Baker, A. (2017). 15 ‘Real’ Shows Producers Don’t Want You To Know Are Scripted. Retrieved from https://screenrant.com/reality-tv-shows-scripted-fake/

Kilborn, R. (1994). How real can you get?: Recent developments in ‘reality’ televsion. In European Journal of Communicaton, 9:421. DOI: 10.1177/0267323194009004003

Smith, P. (2020). Reality TV (part one) Recorded lecture.

Smith, P. (2020). Reality TV (part two) Recorded lecture.