In this article we argue that our present-day mode of looking at bodies expresses a cosmetic gaze, that is, a gaze already informed by the techniques, expectations and strategies of bodily modification and a way of looking at bodies as awaiting an improvement. The cosmetic gaze, as we see it epitomized in contemporary media phenomena like reality makeover shows on television, is also a physiognomic gaze in that it creates a short-circuit between inside and outside beauty. Our article (...) traces some of the history of the present short-circuit between an inside and an outside and analyzes how different visual media have informed and shaped the gaze in historically specific ways, but also how aspects of that history inhere in media practices today. More specifically, we will analyze John Caspar Lavater’s hand-drawn portraits, Francis Galton’s photographical composites, the anthropometrically defined but still intuitively discovered ideals of the ‘Aryan body’ in Nazi Germany, and today’s reality television makeover shows in order to understand some of the continuities and discontinuities of the cosmetic gaze. (shrink)

We examine creativity from a qualitative process rather than a quantitative product perspective. Our focus is on “habits of mind” (thinking dispositions) used during the creative process, and the categories we used were those of the eight Studio Habits of Mind observed in visual arts classrooms ( Hetland et al., 2007, 2013 ). Our source of data was footage from a popular reality television show, Project Runway, in which nascent fashion designers are given garment design challenges. An entire (...) season of the show (14 episodes) was transcribed and coded for the presence of eight Studio Habits of Mind. We found abundant evidence of all eight of these thinking dispositions in all portions of the show. We argue that the creative thinking occurring during fashion design bears strong resemblances to that which occurs in the art studio-classroom. Qualitatively created frameworks, like those of the Studio Habits of Mind, can be used to inform our understanding of creative behavior in various disciplines. (shrink)

“Reality television” is inspired by a particular fascination with “reality.” The detached way of “narrating” events with its occasional emergence of all-too-human constellations comes closer to that of dreaming than to that of analysis, consumption, or first-degree simulation. In the end, however, reality television adopts the form of an anti-narrative in which conventional narrative and receptive devices have not been overcome in order to create a real aesthetic of dreams, but have been overturned in order (...) to create a strange kind of fiction. (shrink)

Since the 1990s, the reality television phenomenon has transformed the face of television in many countries. In Spain, for instance, the private domain has gradually invaded the public domain in an attempt to increase audience ratings and also reflect patterns of asymmetrical societal organization. Different television formats, which range from docusoaps to the most blatant examples of so-called ‘voyeur television’, have occupied the prime-time hours. In particular, a wide range of reality television shows (...) has taken the place that mini-series, sitcoms and films of the week used to occupy. These reality television programmes show the transformation of the private domain into one which can be manipulated and incorporated as an essential element in the theatricalization of the intimate experiences of anonymous people. By addressing the relationship between mothering and gendered styles, this study adds to the field of research on reality television research by investigating language and gender within the institutional setting of a docusoap and throwing light on the discursive strategies which two different generations of women use to express anger and assertiveness and impose on others. The study reveals that the strategies used by the Spanish female teenagers under scrutiny are associated with hostile laddish verbal behaviour, whereas the mothers’ strategies relate to an instrumental view of aggression. (shrink)

This study examines the dynamics of cultural politics in reality television shows featuring North Korean resettlers in South Korea. As existing studies focus on the role of media representation reproducing a dominant ideology for the resettlers, this paper focuses on the specific media rituals of NKR2 programs, which can be seen as a product of the neoliberalist localization process of the global media industry. In doing so, this paper demonstrates how NKR2 programs interrupt the current dynamics of emotions (...) in regard to North Korean resettlers in South Korea. We argue that in shaping civic identity as an effect of the NKR2 show, cultural politics of citizenship in South Korea on North Korean resettlers serve the formation of relatively conservative and sexist civic identity. (shrink)

This paper contributes to the Business Ethics literature by unpacking the multimodal construction of moral narratives in popular culture and its portrayals of organizations and organizational roles. Understanding such portrayals and their construction is crucial to Business Ethics scholarship because they shape organizational imaginaries, influencing understandings and expectations of the ethical/moral responsibilities of organizations and the actors within them. In particular, we study the construction of moral narratives within a reality TV show that focuses on immigration and border control (...) at an airport. We find that the immigration officers are depicted as rational and heroic figures whilst the travellers are presented as emotional and potentially dangerous characters. Our analysis highlights how this is achieved via five multimodal editing dimensions—the structure of interactional scenes, the ability to address the camera, the narrator’s comments, the visual and music effects—that are key in constructing clearly defined personae. We show how, through the intersubjective construction of clear-cut characters, the show downplays the moral complexity of its content. Portraying immigration officers as heroic, while presenting travellers as potentially dangerous, allows for a silencing of any ethical questioning of immigration officers’ organizational practices. (shrink)

This essay examines the connections between the Miss America pageant and reality makeover television shows. We argue that televised performances of gender have shifted focus from the intensely scripted, out-of-touch Miss America to reality makeover shows that normalize cosmetic surgery as a means to become the ‘ideal’ woman. While both spectacles offer their viewers performances of femininity, these performances need to be understood as emerging from the cultural and political conditions in which they are produced. This difference (...) in presentation of the subjects of beauty pageants and makeover programmes speaks respectively to the changing role of media in the normalization of performances of femininity, as well as to the affiliation of many young women with post-feminist politics in the United States. (shrink)

Reality medical television, an increasingly popular genre, depicts private medical moments between patients and healthcare providers. Journalists aim to educate and inform the public, while the participants in their documentaries—providers and patients—seek to heal and be healed. When journalists and healthcare providers work together at the bedside, moral problems precipitate. During the summer of 2010, ABC aired a documentary, Boston Med, featuring several Boston hospitals. We examine the ethical issues that arise when journalism and medicine intersect. We provide (...) a framework for evaluating the potential benefits and harms of reality medical television, highlighting critical issues such as informed consent, confidentiality, and privacy. (shrink)

L’émission Loft Story représente l’apogée de la néo-télévision. Elle a instauré un contrat de communication avec le public qui a mêlé la plupart des éléments caractéristiques de la télévision contemporaine. Participation du public au programme, symbolisée par la présence à l’écran de personnes anonymes issues de la société civile et par une interactivité poussée exprimée par les votes. Imbrication difficile à décrypter pour le téléspectateur entre réalité et fiction. Dimension ludique du programme et vécu en direct qui entretiennent le double (...) phénomène d’identification et de distanciation. Mise en scène de la dimension relationnelle de la vie privée. Écho de la culturelle adolescente, surtout dans son aspect interrelationnel. Utilisation du média comme acteur de la vie sociale, et notamment comme agent de promotion professionnelle.The show Loft Story represents the most extreme form of « neotelevision ». The communication contract it proposes to its audience brings together most of the elements that characterize modern television. 1) Public participation in the programme . 2) Unability for viewers to clearly sort out what pertains to reality and what belongs to fiction. 3) Playful dimension of a live broadcast that simultaneously triggers identificatory and distancing processes. 4) Focus on the private realm and on its relational dimension. 5) Particular attention paid to adolescent cultures, especially in their interrelational aspects. 6) Transformation of the medium into a social actor in its own right, specially as an agent of professional promotion. (shrink)

Public debates on reality television often address the display of emotion and immoral conduct. Television scholars have recently proposed that while reality television offers its audience an opportunity to learn valuable lessons, they rarely address the issue of the morality of the genre. In this contribution, we analyze the display of emotion and immoral conduct in the Dutch reality show The Golden Cage. Reality television is viewed as constituting a ‘moral laboratory’. The (...) question guiding our research revolved around the kind of exercise this moral laboratory provides for. A dramaturgical study of the display of actions and emotions as part of participant “projects” was used to answer this question. Results indicate that moral issues and emotions were continuously at stake, and immoral conduct appeared to be coupled with pleasurable emotions. It is concluded that the laboratory of The Golden Cage is at least equally suited for exercising autonomy and identity performance under competitive pressure as it is for the simulation of moral conflicts. (shrink)

From farmers’ markets to primetime television cooking shows, notions of ‘knowing where our food comes from’ and ‘reconnecting’ with the sources of our food are now central to a range of contemporary cultural movements and popular media texts. While these ideas have primarily been mobilized by those with activist commitments to ethical and sustainable food production, they are also increasingly appearing in the media and marketing strategies of large agribusiness and retailing corporations, including those of the major Australian supermarkets. (...) This paper explores some of the techniques currently used by major supermarkets to respond to criticisms about their food ethics, market control and relationship with producers. Using a case study of Australian supermarket Coles and its integration of its ‘Helping Australia Grow’ campaign into reality television cooking show, My Kitchen Rules, it will consider the textual practices of, and social media response to, Coles’ sponsorship and integrated advertising strategies of putting a ‘face’ to the farmers who produce the products found on supermarket shelves. By emphasizing to Coles customers that they, too, can ‘know where their food comes from’ and that their purchasing decisions support individual farmers and family farms rather than large conglomerates, these strategies help to locate Coles within a network of meanings that seek to both shift and contest negative perceptions of the supermarket chain’s corporate practices and food politics in ways that potentially complicate the activist discourses from which they draw. (shrink)

This study investigates how reality television viewing is linked to Facebook. Utilizing a survey of 736 students in a school of journalism at a large Midwestern university, researchers examined whether viewers of different genres of reality television were more prone to problematic information sharing on Facebook. The study found that all viewers of reality were prone to problematic information sharing. However, viewers of drama-, competition-, and crime-based shows were most likely to share problematic information. These (...) results are interpreted using social cognitive theory. (shrink)

Dateline NBC’s “To Catch a Predator”(2006-08) involved NBC staff working with police and a watchdog group called “Perverted Justice” to televise “special intensity” arrests of men who were lured into meeting adult decoys posing as young children, presumably for a sexual encounter. As reality television, “To Catch a Predator” facilitates public shaming of those caught in front of the cameras, which distinguishes it from fictional representations. In one case, a Texas District Attorney, Louis Conradt, shot himself on film, (...) unable to bear the public humiliation of cameras airing his arrest. The show engenders conflicting responses: Did the show fulfill a public service by informing the public about real dangers and deterring potential predators, or was it an insensitive effort to garner ratings by taking advantage of human weaknesses? Is the sort of public shaming it imposes an appropriate form of punishment given the legitimate purposes of punishment? Did the show portray justice, or did it entrap victims? How did NBC’s working relationship with local police bear on the answer to that question? This paper addresses these questions and develops three objections to the show: that NBC in effect metes out unjust punishment; that it invades privacy; and that it entraps. (shrink)

The bookModeling Reality covers a wide range of fascinating subjects, accessible to anyone who wants to learn about the use of computer modeling to solve a diverse range of problems, but who does not possess a specialized training in mathematics or computer science. The material presented is pitched at the level of high-school graduates, even though it covers some advanced topics (cellular automata, Shannon's measure of information, deterministic chaos, fractals, game theory, neural networks, genetic algorithms, and Turing machines). These (...) advanced topics are explained in terms of well known simple concepts: Cellular automata - Game of Life, Shannon's formula - Game of twenty questions, Game theory - Television quiz, etc. The book is unique in explaining in a straightforward, yet complete, fashion many important ideas, related to various models of reality and their applications. Twenty-five programs, written especially for this book, are provided on an accompanying CD. They greatly enhance its pedagogical value and make learning of even the more complex topics an enjoyable pleasure. (shrink)

Stereotypical images of Appalachians abound in entertainment media. When CBS proposed transplanting a poor Appalachian family to California for a reality television show titled The Real Beverly Hillbillies, Appalachians and advocacy groups were outraged. This article explores ethical issues raised by stereotypical portrayals of Appalachians and potential harm from those stereotypes as well as the reality from which they emerged. Using the theories of Levinas, Kant, and Aristotle, we then examine the ethics of stereotyping Appalachians and other (...) subcultures in entertainment media. Finally, we propose a decision tree to aid producers of entertainment media in creating ethical portrayals of fictional characters and real people. (shrink)

This article lies at the intersection of two problems: the one concerning the potential of fictional works to inform us about our social reality and foster our understanding of its various aspects, and the one concerning their potential to engage with philosophical issues. I bring these two together by analyzing the hit television series Law and Order: Special Victims Unit. According to my interpretation, the series is informative about our social world, and it raises philosophical concerns about it. (...) This makes it well-equipped to fulfill the educative function attributed to mass art by Noël Carroll, and to stand out as an example of what he calls popular philosophy. To support this interpretation, I rely on contemporary views regarding the nature of our engagements with fictional narratives. I then explore how philosophical concerns are generated and I elaborate on the role they have in deepening one’s understanding of one’s social circumstances. I further show how the series provides innovative and independent philosophical knowledge by means specific to the medium of generic serialized fiction. The central part of my argument is an analysis of the narrative strategies which enable the informative and philosophical aspects of the series to generate the series’ educative function. (shrink)

Once the province of film and media scholars, today the moving image is of broad concern to historians of art and architecture and designers of everything from websites to cities. As museums and galleries devote increasing space to video installations which no longer presuppose a fixed viewer, urban space becomes envisioned and planned through "fly throughs," and technologies such as GPS add data to the experience of travel, moving images have captured the attention of geographers and scholars across the humanities (...) and social sciences. Their practice of "mobility studies" is remaking how we understand a contemporary world in relentless motion. Media theorist and historian Anne Friedberg (1952-2009) was among the first practitioners of visual studies to theorize the experience of vision in motion. Although widely influential beyond her own discipline, Friedberg's work has never been the subject of an extended study. The Moving Eye: Film, Television, Architecture, Visual Art and the Modern gathers together essays by renowned thinkers in media studies, art history, architecture, and museum studies to consider the rich implications of her work for understanding film and video, new media, visual art, architecture, exhibition design, urban space, and virtual reality. Ranging from early cinema, to works by Le Corbusier, Sergei Eisenstein, Gordon Matta-Clark, and Pierre Huyghe, to theories of the image in motion informed by psychoanalysis, theories of the public sphere, and animal studies, each of the nine essays in the book advances the lines of inquiry commenced by Friedberg. (shrink)

In this article, I defend the cognitive value of certain generic television series. Unlike media and television scholars, who have been appreciative of the informative capacity of television fiction, philosophers have been less willing to acknowledge the way in which these works contribute to our understanding of our social reality. My aim here is to provide one such account, grounded in aesthetic cognitivism, that is, the view that fiction is a source of knowledge. Focusing on crime (...) and courtroom dramas, I start by offering some examples of the cognitive benefits available in some of these series and I argue that the more beneficial cases establish superior mimetic relations with reality, enhancing their capacity to present ethically challenging issues. I then examine whether the fictional dimension of these works presents an obstacle to their informative potential and I conclude that it does not. A central aspect of my account is the claim that the degree of cognitive benefit depends on the underlying narrative strategy of the series. Specifically, there are clues in any given show, including the treatment of ongoing characters, which signal the extent to which it can be taken as mimetically reliable and thus, cognitively valuable. I complete my account by addressing anti-cognitivists’ arguments which call to doubt the informative aspect of television series and their capacity to address ethical concerns. (shrink)

The article aims at showing how far the technologies of audiovisual registration affect not only the ontology of images but also our sense of realism in politics and history. As argue Jacques Derrida and Bernard Stiegler, historical events have become “tele-events” after the birth of these technologies. Our handling with images has changed accordingly. As argues Pietro Montani, we no longer consider them as “copies” of real objects but rather as “occasions” for initiating processes of “validation” of history. Hannah Arendt’s (...) opposition between the ancient concept of history being based on praxis and the modern concept of history as “fabrication” (poiesis) of the humankind must be therefore reconsidered. History is rather the negotiation between these two attitudes (praxis and poiesis): cinema might be one of the exemplary sources of this negotiation, as epitomized by the documentary work in the audiovisual archives conducted by Esfir Shub (1927) and Harun Farocki (1992). Representation (Louis Martin) becomes thus a dynamical power of imagination dealing with historical and political reality; consequently, the “ideal spectator”, just as the “ideal reader” for novels (Umberto Eco), is charged with a new task of actualizing the sense of images with regard to their historical and political references. (shrink)

This article focuses on the social construction of femininity in a reality television program, America's Most Wanted. The program blurs fact and fiction in reenactments of actual crimes. The analysis focuses on its depiction of women crime victims. A prior study argues that the program empowers women to speak about their victimization. Other research suggests that such programs make women fearful. The authors compare episodes from the 1988-1989 and the 1995-1996 seasons. Although women spoke about their victimization, men (...) spoke more often and presented master narratives about the crimes. In both seasons, the program imagery emphasized feminine vulnerability to violence from strange, devious, and brutal men and masculine technical expertise and authority as women's protection from such violence. (shrink)

This article takes a critical look at the television show ‘Uit de Kast’ that has been broadcast on Dutch public television for the past three years. In this program, young male and female lesbian, gay, and bisexual participants, who have not come out yet for various reasons, reveal their homosexuality to their family, peers, and colleagues while being documented on camera. We problematize the compatibility of the genre ‘reality television’, which by definition focuses on personal emotions (...) and conflict, with subjects that have emancipatory goals, such as the creation of more awareness for and acceptance of homosexuality. The data reveal that in the show LGB emancipation is framed as a personal problem and not as a socio-political issue with moral and ideological dimensions. In the end, we argue, the effect could very well be that the show does not promote but rather – ironically – hinders LGB emancipation. (shrink)

ABSTRACTThe most publicised rebellion during the so-called ‘Shareholder Spring’ of 2012 was at Barclays PLC. Using multi-modal and critical discourse analysis, this paper examines how three UK television channels with different public service obligations covered this story on 27 April 2012. It finds that broadcasters’ regulatory obligations do not obviously impact content and that, for example, simple reporting routines contain judgemental phrases. Generally, the multi-dimensional nature of executive pay is simplified and the real balance between private and individual shareholders (...) is obscured. Analysis also reveals that editing and the use of images can subtly construct discourses that may not reflect the reality of the dissent. The paper concludes that established criticisms that business journalism is indolent and that corporate discourses are privileged are not supported, but also that the coverage contributes little to promote wider understanding of executive pay debates. (shrink)

BackgroundApproximately 7% of the general population is affected by an orphan disease, which, in the United States, is defined as affecting fewer than 1 in 1500 people. Disease awareness is often low and time-to-diagnosis delayed. Different legislations worldwide have created incentives for pharmaceutical companies to develop drugs for orphan diseases. A journalistic article in Bloomberg Businessweek has claimed that pharmaceutical companies have tried marketing orphan drugs by placing a specific disease into the popular television series “House, M.D.” which features (...) diagnostic journeys and was produced between 2004 and 2012. This study aimed to describe the presentation of orphan diseases in the television series “House, M.D.”, to test in an exploratory fashion the hypothesis that treatable orphan conditions are overrepresented in “House, M.D.” and to discuss whether such marketing practices may or may not be ethical.MethodsA list of all medical cases depicted in the television series “House, M.D.” was obtained and classified as orphan or non-orphan according to the Orphanet database. The ratios of orphan diseases among all diseases, such with an orphan drug designation and such with an orphan drug approval by the FDA were then compared with conservative approximations of real world conditions (chi-squared tests for equality of proportions). STROBE criteria were respected.ResultsOut of a total of n = 181 different medical diagnoses, n = 42 (23.2%) were orphan diseases. The difference in percentages in between “House, M.D.” and reality was not statistically significant for orphan diseases overall (p = 0.96), yet was statistically significantly higher for both orphan diseases with one or more orphan drug designations (p = 0.0192) and such with one or more approved orphan drugs (p < 0.0001).ConclusionsOrphan diseases with a designated and/or approved orphan drug were overrepresented in the television series “House, M.D.” with statistical significance while orphan diseases overall were not. This may be explained by (so far) undocumented efforts of pharmaceutical companies to place their orphan drugs in the television series, as described in the article in Bloomberg Businessweek. Further research is needed into marketing practices in popular and emerging media formats. (shrink)

This paper presents the results of some recent experiments in neuroscience and introspectionist psychology that reveal the role of virtual reality in normal visual perception, and the use of television information compression technology by the visual brain. This involves particularly the cholinergic system in the forebrain. This research throws new light on the nature of consciousness, in particular in connection with the debate between Naïve Realists and Physiological Realists.

More and more schools begin to design simulation technology based on virtual imaging technology and virtual reality in their course contents. In particular, among these technical courses, there is a need to first strengthen the Film and Television Production education in higher institutions. This article aims to study the impact of VRT, VR, and Internet of things technology on FTP courses and audience psychology in higher institutions under the era of intelligent multimedia. How to use emerging VR technology (...) to promote the psychological wellbeing of students or patients has become a new research direction, the exploration of which has a far-reaching significance for the applications of the related technologies. First, the principle and applications of VR and IoT technology are described. Thereon, the deep learning -based training model is used to analyze the postproduction of VR-based Sand Table game, and the function and effect of the designed game model are discussed. Subsequently, VR-based Sand Play Therapy is applied to mentally ill patients to obtain its therapeutic effect. The results show that the designed VR-based Sand Table game model can be used to treat mentally ill patients and alleviate their negative psychological states. Meanwhile, the Test Anxiety Scale scores prove the significant therapeutic effect of the designed game model on the mental problems of patients. Therefore, VR-based psychological SPT can be applied in the stress relief of students and the treatment of mentally ill patients, as well as alleviate their mental health problems. This research provides a new direction and some theoretical support for the application field of VR technology. (shrink)

Abstract:For many people, the media is the main source of their knowledge and understanding about policing and crime. As a result, a common thread running through content analysis of television police shows is the gap between the “reality” of police work, crime, criminals, and the justice system and the picture painted by media representations. I argue, however, that all representations of social reality are partial and that commercial imperatives, working processes, ideological frames of the makers, and format (...) of individual shows shape and constrain the stories told. Given that police shows can never be totally authentic, I argue that scholars should be exploring the symbolic value of these shows, the types of discourse produced, and whether such shows habituate viewers into ways of thinking about crime and punishment that may be excessively simplified. (shrink)

The authors of the preceding articles1 raise legitimate questions about patient and staff rights and the unintended consequences of allowing ABC News to film inside teaching hospitals. We explain why we regard their fears as baseless and not supported by what we heard from individuals portrayed in the filming, our decade-long experience making medical documentaries, and the full un-aired context of the scenes shown in the broadcast. The authors don’t and can’t know what conversations we had, what documents we reviewed, (...) and what protections we put in place in each televised scene. Finally, we hope to correct several misleading examples cited by the authors as well as their offhand mischaracterization of our program as a “reality” show. (shrink)

There are persons with disabilities in each society. Theinclusion of PWDs by society, as supported by the United Nation’s sustainabledevelopment goals, could be encouraged by advertising. Advertising’sinfluence on one’s worldview is obvious with cultivation theory espousing thephenomenon that prolonged viewing of television could fashion audiences’worldview by making them believe that the images projected are accuratedepictions of reality. PWDs not only nurture compassion within us but provideus with a wealth of opportunities by coming up with inventions that improvetheir quality (...) of life. These inventions could empower PWDs by giving themgreater independence. The global brand, Apple, through its technologicaldevices, gives PWDs jobs, a platform for expression and dignity. Apple hascreated a series of video advertisements that depict its embrace of inclusionthrough its technological innovations. The study examines selected Apple’svideo advertisements using critical discourse analysis. The outcomeof the study is a framework for brands to use as a guide when incorporatingadvertising images on the inclusion of PWDs. (shrink)

This paper investigates the logistics of crafting and accounting for animal realities on television. Using the case of The Making of David Attenborough’s Conquest of the Skies, a behind-the-scenes documentary about how the Sky TV series David Attenborough’s Conquest of the Skies was created, it explores how the material reality of animals becomes a televisual reality. In seeking to challenge the lingering concern within many media studies critiques of wildlife TV about the constructed and manipulated nature of (...) televisual animals, we propose an approach focused on how realities are provoked. This approach draws on recent debates within STS and screen theory about the contingent elements and accountability relations that become practically operative in making something real. Equally significant is the animal performer. How do the animals, often domesticated, that are used in television to simulate wildness or scientific facts participate in and resist the television apparatus? And how do these animal performances shape distinct animal–human relations and contact zones? (shrink)

Derek Paget _No Other Way To Tell It: Dramadoc/Docudrama on Television_ Manchester: Manchester University Press, 1998 0-7190-4532-0 237pp.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 26-32 [Access article in PDF] A Sense of Reality In the current highly information-oriented society, electronic media have entered into our daily lives ever so naturally, even unnoticeably, yet their great influence on us is beyond measure. In addition to the many ways that information surrounds us in our everyday lives, we are also exposed to information from outer space via (...) television; computer networks; the surveillance satellite, Landsat; and the weather satellite, Himawari. The means ofunderstanding the "world" no longer come through our own bodies or through immediate involvement with phenomena. Instead, our experience via technologies of information is now mainly indirect. The changes in the [End Page 26] structure of experience have effectuated diverse influences on people, raising problems both within individuals and in society.This essay was written as an introduction to the exhibition "A Sense of Reality," held at the Utsunomiya Museum of Art in the summer of 1999. The purpose of this exhibition was to question the new relationship betweenmedia art and today's society, and the relationship between electronic media and human beings.For this exhibition, based on "sense" and "language," our objective was to examine the transformation of our bodily sensations and the state of "the self," including the changing relations between the two and in the present computerized society. The exhibition has been constructed to have the viewers interact directly with the exhibited works. The works by four artists and two groups cover a wide range of expression, from an installation using a video projector, to digital prints of a virtual space using a computer. Body Absorbed into Media "Lovers," a collaboration by Teiji Furuhashi and Artlab, was first exhibited in 1994 at Hillside Plaza in Tokyo, and has since traveled to various countries. This work can be seen as a work depicting the present state of "information" and "body" with the strongest determination, while also superbly revealing the present-day problems in relation to these. When the viewers entered the virtual space constructed by the electronic media, their living bodies were projected as images. Through intertwining and assimilating sensations both through and about the body, the feeling of merging into an imaginary world at some point creates a sense of bodily unification.This world, originated as a vessel for the "mother of electronics," thatblessed us with "eternal love," was the last device created by Teiji Furuhashi, who had a premonition of his own death. Except for the floor, which was made of white linoleum, the dark space was covered with a black cloth, ten meters in length and width, and six meters in height. A tower-shaped object was installed in the center of the floor. On the tower were video and slide projectors with sensors, which continuously showed the images of nine women and men on the walls and ceiling. The viewers encountered the life-size images that appeared from nowhere, and were compelled to interact with these images. The incidents that took place inside the dark, rectangular space enabled the viewers to actualize various encounters and partings with the images of naked bodies.Though the viewers felt as if they were dreaming or hallucinating, they had an uncanny sensation that the memory of this experience would become manifest deep inside their bodies. "Lovers" was an extraordinary interactive work that fully utilized electronic media, but was uncommon in that the technology was hardly noticeable. This work signified the future state of "the body and media," or "the body absorbed into media." The [End Page 27] work also urged us to recreate a humanistic relationship with the electronic media. Neutral Mind-Body Today, we are surrounded by a variety of electronic media, most of which are beyond the world of art. Many have already become essential devices in our daily lives. The widespread proliferation of electronic media such as video products, CDs, mobile phones, and devices which use information from satellites, have brought about convenient changes in our living environment and in communication. Real-time information, bi-directional information, and other electronic networks circle the globe.Electronic media have... (shrink)

As the development of artificial intelligence technology, the deep-learning -based Virtual Reality technology, and DL technology are applied in human-computer interaction, and their impacts on modern film and TV works production and audience psychology are analyzed. In film and TV production, audiences have a higher demand for the verisimilitude and immersion of the works, especially in film production. Based on this, a 2D image recognition system for human body motions and a 3D recognition system for human body motions based (...) on the convolutional neural network algorithm of DL are proposed, and an analysis framework is established. The proposed systems are simulated on practical and professional datasets, respectively. The results show that the algorithm's computing performance in 2D image recognition is 7–9 times higher than that of the Open Pose method. It runs at 44.3 ms in 3D motion recognition, significantly lower than the Open Pose method's 794.5 and 138.7 ms. Although the detection accuracy has dropped by 2.4%, it is more efficient and convenient without limitations of scenarios in practical applications. The AI-based VR and DL enriches and expands the role and application of computer graphics in film and TV production using HCI technology theoretically and practically. (shrink)

The present paper explores the moral psychology of fiction conceptually through the paired concepts ‘fictional relief’ and ‘reality check’. I suggest that the spectator of fictional films and television series sees himself as relieved from some of the moral obligations the spectator of nonfiction films sees himself as subject to, such as considering the consequences of a character's actions and attitudes. A fictional attitude is disturbed when elements of nonfiction are inserted into the fiction, such as the documentary (...) photographs in Dogville (Lars von Trier, 2003), or when the fiction otherwise reminds the spectator of the moral and political consequences of his engagement. I call this reality check, and explore how Dr Melfi often reminds the spectator of The Sopranos (HBO, 1999–2007) of the consequences of having a sympathetic attitude towards the main character and gangster Tony Soprano. The related notion fictional relief captures the relief from considering such consequences, and finally I discuss how Omar Little exemplifies fictional reliefs at work in a socially realistic setting in The Wire (HBO, 2002–08). (shrink)

Illness narrative has often been found to play a positive role in both patients’ and providers’ efforts to find meaning in the illness experience. However, illness narrative can sometimes become counterproductive, even pathological, particularly in cases of medical mystery—cases wherein biopsychosocial factors blur the distinction between bodily dysfunction and somatizing behavior. In this article, the author draws attention to two examples of medical mystery, the clinical presentation of medically unexplained symptoms, and the popular reality television program Mystery Diagnosis, (...) to demonstrate the potentially harmful effects of illness narrative. The medical mystery’s complex narrative structure reflects and tends to reinforce providers’ and patients’ mistaken assumptions, anxieties, and conflicts in ways which obstruct, rather than facilitate, healing. (shrink)

Many theorists have charted for some time how capital extends its lines of flight into new spaces, creating new markets by harnessing affect and intervening in intimate, emotional and domestic relationships, and into bio-politics more generally. Feminists have known for a long time that women’s ‘domestic’ labour has been central to the reproduction of capital but that it has been made invisible, surplus and naturalised and is rarely taken into account in theories of value. Yet we are now in a (...) bizarre historical moment wherein a format has emerged (reality television) in a major capitalist industry (the media) that is premised upon spectacularly visualising women’s labour in all its forms, especially through its focus on relationships, dispositions and emotional performance. Drawing on an ESRC research project, ‘Making Class and the Self through Mediated Ethical Scenarios’, this paper demonstrates how very different spheres of exchange—economy and affect—have come together, offering possibilities for fusing calculation and care. This process bears remarkable similarity to the legal adjudication of property and propriety in intimate relationships. Yet the paper shows how, as attempts are made to commodify affect, it is precisely affect that exposes and disrupts exchange and enables reality television as a technology of affect to visualise the different types of person-value that are constituted through class and gender relations. (shrink)

Recently I asked a well-known ID sympathizer what shape he thought the ID movement was in. I raised the question because, after some initial enthusiasm on his part three years ago, his interest seemed to have flagged. Here is what he wrote: An enormous amount of energy has been expended on "proving" that ID is bogus, "stealth creationism," "not science," and so on. Much of this, ironically, violates the spirit of science. The proof of the pudding is in the eating. (...) But on the other side, too much stuff from the ID camp is repetitive, imprecise and immodest in its claims, and otherwise very unsatisfactory. The "debate" is mostly going around in circles. The real work needs to go forward. There is a tremendous ferment right now in the "evo/devo" field, for instance. Some bright postdocs sympathetic to ID (and yes, I know how hard a time they would have institutionally at many places) should plunge right into the thick of that. Maybe they are at this very moment: I hope so! Every now and again we need to take a good, hard look in the mirror. The aim of this talk is to help us do just that. Intelligent design has made tremendous inroads into the culture at large. Front page stories featuring our work have appeared in the New York Times, L.A. Times, Wall Street Journal, San Francisco Chronicle, and so on. Television, radio, and weeklies like Time Magazine are focusing the spotlight on us as well. This publicity is at once useful and seductive. It useful because it helps get the word out and attract talent to the movement. It is seductive because it can deceive us into thinking that we have accomplished more than we actually have. (shrink)

Media in Question sets the agenda for a revitalized debate on the hybrid communicative practices that constitute the postmodern media landscape: practices that cross the boundaries between fact and fiction, information and entertainment, public knowledge, and popular culture. In this challenging and provocative collection, the individual contributors rethink key issuesùthe meaning of the public interest, the quality of media performance, and deregulation. In the process they raise questions rarely addressed in normative media theories, for example, the ethics of sports reporting, (...) the moral reasoning in popular culture, and the required professional standards for infotainment genres such as reality television and gossip journalism. Accessible and wide-ranging, The Media in Question will be essential reading for students in mass communication and political communication studies. (shrink)

In her latest book, Dr. Louise Kaplan, author of the groundbreaking Female Perversions, explores the fetishism strategy, a psychological defense that aims to tame, subdue, and if necessary, murder human vitalities. Through an exploration of such cultural phenomena as footbinding, reality television, and the construction of robots, Kaplan demonstrates how, in a technology-driven world, an understanding of the fetishism strategy can help to preserve the human dialogue that is the basis of all human relationships. Kaplan writes from the (...) heart as well as from the intellect. (shrink)

ABSTRACTBigg Boss has been among India’s highest grossing reality television shows. Audiences fall in love with the housemates and either carry their projections on themselves, or they see housemates living their life on the screen. In this way, audiences get influenced by the housemates and showrunners pave tracks to earn profits. Organizers and Channel use different methods such as telephone, online voting, internet space selling in virtual and social media, offering brand integration, promotions through advertisements, sponsorships etc are (...) used in the pursuance of business growth. While housemates make attempts to brand self and deal with the competition, the organisers ensure edginess throughout the show. Participants take risks to discomfort and expose themselves. I understand that more discomfort means better social image, more social image means more votings, and more votings mean more business value where human sensitivity remains zero. (shrink)

L'émission de télévision française Loft Story, diffusée au printemps 2001, peut être interprétée comme le signe de l'aboutissement de la logique de l'audience dans le régime télévisuel. Nous proposons ici de montrer que le diffuseur et le producteur ont agencé une industrialisation de l'audience et orchestré une instrumentalisation de la critique. Industrialisation de l'audience en ce sens que tous les ressorts déjà expérimentés ailleurs ont été utilisés ici pour maximiser le nombre de téléspectateurs réunis devant leur écran et pour optimiser (...) la vente de l'espace publicitaire aux annonceurs. Et surtout, instrumentalisation de la critique car la pluralité des voix qui se sont élevées pour discuter du sens social de ce programme de «télé-réalité» a tout à la fois masqué la finalité strictement économique du dispositif et participé à sa réussite.The French television programme "Loft Story" broadcast in spring 2001 can be interpreted as the ultimate illustration of the drive for high TV audience ratings. We aim to show that the broadcasters arranged an 'industrialization ' of ratings and orchestrated a reaction by critics. The ratings were industrialized in the sense that all methods previously established were used here to maximize the number of the viewers and to optimize the level of exposure of advertisements. More specifically, the orchestration of a critical reaction was illustrated in the abundance of critics ready to raise their voices to discuss the social connotations of this "reality television" programme. This not only masked the financial purpose underlying the programme but also contributed to its success. (shrink)

This article analyses representations of Conservative Laestadianism in contemporary Finnish and Finnish-American popular culture. Drawing from political studies, religious studies and cultural studies, the article sheds light on the ways in which Conservative Laestadianism is present in societal debate and in the cultural imagination. Focusing on religious corporeality, the article scrutinises the embodied practices of Conservative Laestadianism and the ways in which the representations participate in making sense of gender, sexuality, and power in religious communities. Contemporary understandings in popular culture (...) are revealed through the detailed analysis of four cultural products of different genres depicting Conservative Laestadianism: a film entitled Kielletty hedelmä, a novel entitled We Sinners, a reality television show entitled Iholla, and a play entitled Taivaslaulu. As a synthesis of the representations of Conservative Laestadianism, the article presents a dynamic triad of care, longing, and control. Furthermore, the article raises questions about the potential of popular culture in calling for a dialogue between Conservative Laestadianism and society at large. (shrink)