"This article analyses the role that Reality TV can play in the lives of young participants, when a programme is designed as a strategic intervention to achieve change. With roots in Communication for Development notions, this study brings together different theoretical fields to illustrate how medi
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a can be created with the intent of enhancing young people’s awareness of the important role they can play in society through targeted activities that occur during media production. The experience of the young contestants from The President TV show, broadcast in the Palestinian Territories in 2013 and 2015, is examined. Semi-structured interviews were conducted with some of the finalists of the show; information gathered has been analysed in the light of a framework that brings together media participation and civic engagement. Findings show how the format and structure of the programme has enhanced participants’ understanding of the social, political and economic spheres of a conflict-affected reality, contributing to their engagement with peace-oriented civic practices long after the end of the show." (Abstract)
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"[...] Tonny Njuguna ist Schauspieler und einer der beiden Moderatoren von Shamba Shape Up, einer Reality-TV-Show aus Kenia. "Shamba" bedeutet Farm in der Landessprache Kisuaheli, "shape up" ist Englisch und heißt so viel wie aufmotzen oder pimpen. Allein in Kenia schauen Woche für Woche bis zu ne
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un Millionen Menschen zu – und das bei 55 Millionen Einwohnern. Das Format ist so erfolgreich, dass Shamba Shape Up mittlerweile fast in jedem großen kenianischen Fernsehsender Nachahmer hat und das Original in andere ostafrikanische Länder exportiert wird.
Shamba Shape Up gibt es seit 2010, und während das Team die dreizehnte Staffel dreht, läuft im Fernsehen die zwölfte. Die Idee hat Ähnlichkeiten mit MTVs Pimp My Ride, wo der Rapper Xzibit Anfang der 2000er Schrottautos tunen ließ. Bei Shamba Shape Up geht es dagegen um andere Dinge: um das richtige Futter für die Kühe, wie man seine Farm an die Klimakrise anpasst und wann es sinnvoll ist, sich gegen Ernteausfälle zu versichern. Um finanzielle Bildung für Bauern, darum, was es heißt, sich gut zu ernähren, und was man tun kann, wenn der eigene Hof von eingewanderten Pflanzen überwuchert wird. Das Wichtigste dabei ist, dass nicht nur den Bauern geholfen wird, sondern die Zuschauer etwas lernen. Zum Beispiel, wie man Passionsfrüchte richtig pflanzt. So wie Vivien Machanury jedenfalls nicht. Ihre ersten Pflanzen waren zu widerspenstigen Büschen herangewachsen, deren mickrige Früchte sie aus dem Gestrüpp herausschütteln musste. Drei Tage lang wird das Filmteam auf ihrem Hof drehen, am Ende soll sie wissen, was sie besser machen kann: "Ich kenne das aus meinem vorigen Job: sich auf ein Projekt konzentrieren, dann das nächste angehen."
Vivian Machanury ist 50 Jahre alt. Vor drei Jahren hat sie ihren Beruf bei einem Telefonnetz-Betreiber aufgegeben. An der Wand ihres Hauses hängen noch Auszeichnungen als Mitarbeiterin des Monats und Zertifikate von Weiterbildungen. In ihrem Job hatte sie zuletzt ein Team von 50 Mitarbeitenden unter sich. Dann wurde sie Bäuerin. "Weißt du", sagt sie zu Tonny Njuguna, "ich habe mir das nur zugetraut, weil ich immer eure Sendung geguckt habe." Der ist sichtlich gerührt. "Das müssen wir gleich noch mal vor der Kamera machen", sagt er. [...]"
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"Against the background of the media commercialization reform since the 1990s in China and drawing on the case of »X-Change« (2006-2019), Wei Dong investigates the entanglements between emotion and subjectivity, ideology, identity and hegemonic power in the multimodal text of the program. The focu
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s lies on the ways in which emotions are appropriated and disciplined by regimes of power and identity, and the ways in which affect - in this case primarily kuqing (bitter emotions) communicated by the material and the body - have the potential to challenge or exceed existing relations of power in the mediascape. Wei Dong shows how Chinese reality TV provides a historical and theoretical opportunity for understanding the affective structures of contemporary China in the dynamic process of fracture and integration." (Publisher description)
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"Narratives about Africa are often shaped by deficit discourses that frame “development” as an instrument for advancing the interests of global capitalism. From within this neoliberal view, Africa has to “catch up” to and “be taught” how to emulate and achieve the standards promulgated i
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n mainstream media. Through the lens of an alternative realism, however, such narratives can be reshaped. The African philosophy of ubuntu is one example of a deeply relational ethic from within which development can be reconceptualized as “freedom” in terms of democratic ideals and which can be used as a guiding principle for media work and the refashioning of (reality television) images." (Abstract)
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"Edutainment, the combination of education with entertainment through various media such as television, radio, mobile phone applications and games, is increasingly being used as an approach to stimulate innovation and increase agricultural productivity amongst smallholder farmers in sub-Saharan Afri
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ca. Shamba Shape Up, a widely publicised makeover reality TV programme, is an example of edutainment that has received considerable attention, and airs in three countries in East Africa where it is estimated to be watched by millions of viewers.
There is no published academic research on the influence of makeover television formats on innovation systems and processes in smallholder agriculture. Using an Agricultural Innovation Systems approach, this paper explores how makeover edutainment is influencing smallholder farmer innovation systems together with the effect this is having on smallholder farms. In the absence of previous research, it articulates a Theory of Change which draws on research traditions from mass communication, agricultural extension and innovation systems. Data came from two large scale quantitative (n=9885 and n=1572) surveys and in-depth participatory qualitative research comprising focus group discussions, participatory budgets, agricultural timelines, case studies and key information interviews in Kenya. An estimated 430,000 farmers in the study area were benefiting from their interaction with the programme through increased income and / or a range of related social benefits including food security, improving household health, diversification of livelihood choices, paying school fees for children and increasing their community standing / social capital.
Participatory research showed SSU enhanced an already rich communication environment and strengthened existing processes of innovation. It helped set the agenda for discussions within farming communities about opportunities for improving smallholder farms, while also giving specific ideas, information and knowledge, all in the context of featured farm families carefully selected so that a wide range of viewers would identify with them and their challenges.
Broadcasts motivated and inspired farmers to improve their own farms through a range of influences including entertainment, strong empathy with the featured host farm families, the way ideas emerged through interaction with credible experts, and importantly through stimulating widespread discussion and interaction amongst and between farmers and communities of experts on agricultural problems, solutions and opportunities. The fact that local extension workers also watched the programmes further enhanced the influence on local innovation systems. The findings indicate that well designed makeover edutainment can strongly influence agricultural innovation processes and systems resulting in impact on the agricultural production and behaviours of large numbers of smallholder farmers." (Abstract)
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"Lifestyle TV analyzes a burgeoning array of lifestyle formats on network and cable channels, from how-to and advice programs to hybrid reality entertainment built around the cultivation of the self as project, the ethics of everyday life, the mediation of style and taste, the regulation of health a
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nd the body, and the performance of identity and “difference.” Ouellette situates these formats historically, arguing that the lifestyling of television ultimately signals more than the television industry’s turn to cost-cutting formats, niche markets and specialized demographics. Rather, Ouellette argues that the surge of reality programming devoted to the achievement and display of lifestyle practices and choices must also be situated within broader socio-historical changes in capitalist democracies." (Publisher description)
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"Der Bedarf an non-fiktionalen Unterhaltungsformaten ist groß: Er beschränkt sich nicht mehr nur auf das klassische »On Air«-Fernsehen, sondern erstreckt sich zunehmend auf zusätzliche, onlinefähige Medienkanäle, die über Computer, Smartphones oder Tablets abgerufen werden können. Das erste
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Buch mit umfassenden Informationen und praxisnahen Anleitungen zur Formatentwicklung non-fiktionaler Bewegtbildangebote – ergänzt um Best Practices, Interviews mit Experten aus der Branche und idealtypischen Konzepten.
Im ersten Teil des Buchs stehen die Grundlagen des TV Developments im Zentrum: Wie gestaltet sich der Kooperationsprozess zwischen Produktionsunternehmen und Sendern und welche Instrumente stehen zur Verfügung, um den Programmbedarf von Sendern zu evaluieren? Es wird ferner aufgezeigt, wie der Prozess der Ideenentwicklung organisiert und Formatideen generiert werden können. Zudem wird am Beispiel von Reality TV-Formaten, Quiz- und Gameshows dargestellt, welche Besonderheiten bei der inhaltlichen Ausgestaltung zu beachten sind. Gezeigt wird, wie Konzepte für Formatideen aufgebaut sein müssen, wie man sich auf den Pitch bei den Senderverantwortlichen vorbereitet, ein Pitch-Tape auszusehen hat und sich die Rechtslage hinsichtlich des Formatschutzes gestaltet. Im dritten Teil werden die spezifischen Herausforderungen beim Development von transmedialen Formaten erklärt: Wie können die Handlungsstränge über die verschiedenen Medienkanäle hinweg strukturiert werden und welche Steuerungsoptionen bestehen, um Entwicklungs-, Produktions- und Konsumtionsrisiken zu mindern." (Verlagsbeschreibung)
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"Kwanda was an innovative community development initiative of the Soul City Institute and partners. Five deprived communities were challenged to make their areas 'look better, feel better and work better’ by addressing health and development issues. Responses to this challenge were documented in a
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13-episode reality TV series that culminated in a viewer vote for the most successful community. The series attracted more than a million viewers on late-night television, and feedback indicated that many viewers were motivated to take action. The evaluation of the initiative led to the conclusion that Kwanda offers possibilities for using the reality TV format to foster community development and the scaling-up of development messaging. Importantly, Kwanda demonstrated that when communities organise on their own behalf, government is better able to deliver. The evaluation also raised several questions for the Kwanda partners which would need to be taken into account in future efforts." (Abstract)
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"For decades, television scholars have viewed global television through the lens of cultural imperialism, focusing primarily on programs produced by US and UK markets and exported to foreign markets. Global Television Formats revolutionizes television studies by de-provincializing its approach to me
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dia globalization. It re-examines dominant approaches and their legacies of global/local and center/ periphery, and offers new directions for understanding television’s contemporary incarnations. The chapters in this collection take up the format phenomena from around the globe, including the Middle East, Western and Eastern Europe, South and West Africa, South and East Asia, Australia and New Zealand, North America, South America, and the Caribbean. Contributors address both little known examples and massive global hits ranging from the Idol franchise around the world, to telenovelas, dance competitions, sports programming, reality TV, quiz shows, sitcoms and more." (Publisher description)
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"Popular Media, Democracy and Development in Africa examines the role that popular media could play to encourage political debate, provide information for development, or critique the very definitions of 'democracy' and 'development'. Drawing on diverse case studies from various regions of the Afric
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an continent, essays employ a range of theoretical and methodological approaches to ask critical questions about the potential of popular media to contribute to democratic culture, provide sites of resistance, or, conversely, act as agents for the spread of Americanized entertainment culture to the detriment of local traditions. A wide variety of media formats and platforms are discussed, ranging from radio and television to the Internet, mobile phones, street posters, film and music." (Publisher description)
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"Salam Shabab (Peace Youth) is a unique reality TV series filmed in Iraq that brought together youth from six provinces of Iraq to compete for a chance to become youth “Ambassadors of Peace.” The views of young Iraqis participating in Salam Shabab, along with new surveys on youth perspectives, h
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ave begun to create a potential profile of the next generation of Iraqi leaders. Many Iraqi youth express conflicting views on politics and youth participation in Iraq. They are disappointed about not having their voices heard by political and civil society leaders, yet optimistic about their role in shaping the future of their country. Iraqi teenagers express tremendous pride in their local communities, which they associate with peace, unity and coexistence. Yet, the same youth often cannot clearly define what national identity means to them." (Abstract)
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