By Brenda R. Weber
This essay assortment makes a speciality of the gendered dimensions of fact tv in either the us and nice Britain. via shut readings of a variety of fact programming, from discovering Sarah and Sister other halves to Ghost Adventures and Deadliest Warrior, the individuals imagine via questions of femininity and masculinity, as they relate to the intersections of gender, race, category, and sexuality. They attach the genre's mixture of actual humans and surreal studies, of authenticity and artifice, to the creation of identification and norms of citizenship, the commodification of selfhood, and the naturalization of regimes of energy. no matter if assessing the Kardashian relatives model, portrayals of hoarders, or big-family courses comparable to 19 children and Counting, the members learn fact tv as a correct website for the construction and function of gender. within the approach, they light up the bigger neoliberal and postfeminist contexts during which truth television is produced, promoted, watched, and experienced.
Contributors. David Greven, Dana Heller, Su Holmes, Deborah Jermyn, Misha Kavka, Amanda Ann Klein, Susan Lepselter, Diane Negra, Laurie Ouellette, Gareth Palmer, Kirsten Pike, Maria Pramaggiore, Kimberly Springer, Rebecca Stephens, Lindsay Steenberg, Brenda R. Weber
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This essay assortment makes a speciality of the gendered dimensions of fact tv in either the U.S. and nice Britain. via shut readings of a variety of truth programming, from discovering Sarah and Sister other halves to Ghost Adventures and Deadliest Warrior, the individuals imagine via questions of femininity and masculinity, as they relate to the intersections of gender, race, category, and sexuality.
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Extra resources for Reality Gendervision: Sexuality and Gender on Transatlantic Reality Television
39. “Aesthetics of authenticity” is a lovely phrase I borrow from Dana Heller during a conversation. 40. “Good Viewing Comes out of the Ordinary,” The Age (Melbourne), 5 January 2003, 12. 41. Reality tv as an industry is also deeply gendered, of course, since it relies on an emerging network of nontraditional labor in its producers, editors, and writers and in its talent. The power dynamics and differentials that gender theory is so adept at analyzing are fully in play in reality television’s production, casting, editing, and “acting”—so much so that a full rendering of the gendered dynamics of production I n t r o d u c t i o n • 33 culture is unfortunately the material for a different book.
Fake. Repetitive. Stupid. 2 Courtney of The Bachelor, critiqued for desiring fame over love. 35 From blogs to tabloids, the hatred directed at Courtney seemed due to the fact that she had used her model’s body to aggressively manipulate Ben, the bachelor, that she was mean and “catty” to other women, and, most damning of all, that she had participated on The Bachelor for celebrity and not for love, making her a shrewd operator rather than the naïve hopeful in which the show (and most fairy tales) asks us to believe.
These texts were condemned by critics, who alleged that popular and sentimental forms of “mass culture” were unworthy substitutes for “true literature”: see Andreas Huyssen, “Mass Culture as Woman: Modernism’s Other,” in Studies in Entertainment: Critical Approaches to Mass Culture, ed. Tania Modleski (Bloomington: Indiana University Press, 1986), 188 – 207. 28. Virginia Woolf, A Room of One’s Own and Three Guineas (New York: Oxford University Press, 1998 ). 29. As just two nineteenth-century examples of this, the American columnist Fanny Fern was the highest paid and one of the most famous authors of her time, holding the record for having written two of the best-selling books of the century: Fern Leaves (1853) and Ruth Hall (1854).