The Simpsons And Jerry Springer And How Both Shows Are Similar Yet Differentiate From One Another?

Greif (par 8) argues that Rousseau, more than two decades ago had stipulated in his Letter to M. D’Alembert that the audience is more attracted to action that they spectators and do at the same time. This idea of ideal entertainment has been achieved to some extent by the emergence of reality shows which allows ordinary people who are identified by their common titles such as teacher, lawyer, plumber, journalist etc. competing against each other.

Freak shows ceased to exist because it came to be morally questionable, exploiting and dehumanizing to the performers. Attending freakshows became socially inadmissible. The twenty-first century, the “unusual” body as entertainment has gone from a spectacle to a private viewing. Media and entertainment are predominantly consumed through television and the internet, which can be enjoyed from the comfort of one’s own home. This brings the idea of “guilty pleasure,” allowing people to enjoy questionable content in private, free from humiliation or judgment. Reality television has gone beyond the extent American Horror Story has. Rather than reflecting on the history of the freak show, reality shows have brought the freak show back to life in

In Tania Modleski’s “The Search for Tomorrow in Today’s Soap Operas” she introduces that the rare appearance and function of soap opera in two ways. The first being the viewer’s ability to occupy the text’s recommendation of the viewers position of ‘the good mother’, and the second using the stereotype ‘villainess’ to displace one’s own bottled up anger and powerlessness. I will analyze these two functions by using Modleski’s perspectives on the positions of soap operas, how a new genre of reality television programs that are featured today function in a similar way.

De St. Aubin (1996) defines personal ideology as “an individual’s unique philosophy of how life should be lived and of what forces influence human living”.

Ideology is a set of beliefs made in order to serve the interest of society. The difference between ideology and propaganda is propaganda is a set of misleading biased set of beliefs in order to promote a cause or point of view. By this definition, ideology can be propaganda. Most of the time the rich and powerful are the ones claiming these beliefs to benefit them. Ideology is needed in the United States to change the way our criminal justice system and other system for the better. This allows the working class to stand up and point out how unfair and unjust the distribution of wealth and power is in the United States.

I argue that authors and producers often attempt to impose their own set of cultural and political ideologies on its audience through a certain depiction of right and wrong. In this manner, works of fiction might influence, perhaps even alter, the ideologies of the audience.[3] Accordingly, analyzing the depiction of ideologies in media content can serve as a basis for further research on if and how producers intend to influence their audience.

on the sexual orientation of the guests, which provided a lot of much needed media

On the 31st of July, the Brisbane Bayside State College Drama students viewed the production ‘Slammed’ by crosstown artists at the Brisbane Powerhouse. The production was performed by the Brisbane based production company, Crosstown Artists. Crosstown Artists strive to produce and promote a range of quality artistic works with fiscal sustainability. From graffiti to hip hop to burlesque to poetry, Crosstown Artists passionately provide extraordinary opportunities for performers through their outstanding productions. ‘Slammed’ is directed by John Peek and focuses on real life issues that teenagers face daily. The extended response will examine and analyse the dramatic elements and conventions used throughout this thought provoking and engaging performance.

In an effort to expose the epistemology of television, which Postman believes has not been effectively addressed, he examines the effects of TV on several important American cultural institutions: news, religion, politics and education.  All four institutions, Postman argues, have realized that they have to go on television in order to be noticed which, in turn, requires them to learn the language of TV if they are to reach the people.  Therefore, they have joined the national conversation not on their own terms, but on TV's terms.  Postman contends that this transformation of our major institutions has trivialized what is most important about them and turned our culture into "one vast arena for show business" (80).  In the case of broadcast news, we see visually stimulating, disconnected stories about murder and mayhem along with a healthy dose of infotainment delivered by friendly and likeable anchors that remind us to "tune in tomorrow".  In the case of politics, we have discourse through distorted paid TV commercials and "debates" in which the appearance of having said something important is

Q1. Many television genres like crime drama, the sitcom and reality shows presuppose tensions and fractions(部分) in ‘normal’(规范的，标准的) social relations. So to win support [i.e. become popular] programmes(节目介绍)are drawn to difficult ideological areas that will then have to be negotiated… Ideology works by masking, displacing(顶替，置换的), and naturalizing（自然化） social problems and contradictions. Discuss a show or shows we encountered in class or one that you think are relevant and identify the ways they mask(掩饰) or displace ideological contradiction and work toward narrative closure(叙事的结尾) and thus ideological resolution(解决).

Do you know the guiltiest pleasure of the American public? Two simple words reveal all—reality TV. This new segment of the TV industry began with pioneering shows like MTV’s The Real World and CBS’s Survivor. Switch on primetime television nowadays, and you will become bombarded by and addicted to numerous shows all based on “real” life. There are the heartwarming tales of childbirth on TLC, melodramas of second-rate celebrities on Celebrity Mole, and a look into a completely dysfunctional family on The Osbornes. Yet, out of all these entertaining reality shows arises the newest low for popular culture, a program based on the idea of a rich man or woman in search of

Throughout the years of TV, it has done a good job of capturing some of the world’s most dominating issues and topics in a variation of angles in order to bring light to ones that can divide and unite many. These issues range from religion, gender, sexuality and social class.

He contends that all television is educational, but that it educates its viewers in the ideology of television. When children learn from a television, they learn only what

In her 2014 The Atlantic column “ The Collective Conscience of Reality Television,” Serena Elavia argues, viewer ratings significant influence of what appears on reality TV shows leads to irrational behavior by reality stars as well as exploits and violates the privacy of these stars. Elavia begins my mentioning viewer likes and dislikes. She notes that viewers “avidly consume” the physical and verbal fights that are shown on TV, thus indicating producers and the network will continue to air unpleasant and rowdy scenes. Also commenting that if viewer ratings go up due to these violent clips and if the network does not face any lawsuits then episodes displaying violence will continue to be aired. Later, Elavia points out the backlash the network

I have chosen to look at and analyse a television text. It is a TV drama aimed at a teenage audience called Skins. I chose this particular text as it focuses upon many different characters and scenarios in regards to sexuality and this forms a basis for analysis and evaluation. Skins also focuses upon Teenage sexuality, specifically, which I believe is a broad and interesting subject to analyse with many opportunities to elaborate.