Some racial and ethnic groups are overrepresented, and others significantly underrepresented, but minority status (gender, race, ethnicity, or age) does not affect performance in competitions, meaning marginalized groups do not fare any differently than majority group members. Analyses suggest no significant difference in the proportion of contestants who are female in comparison with the American population. Census data to answer key research questions. Racial, ethnic, age, disability status, and elimination order data were collected from 653 contestants. Data from casts in shows airing from 2000 to 2013 were collected.
#SPIKE TV ONCE TV#
Competitive reality TV programs were chosen due to the perception that anyone can try-out or be chosen for most of these shows, leading to a larger pool of possible participants. effects of race and ethnicity portrayals on reality TV programs. This content analysis aims to address a gap in the literature, as a first step toward understanding the cultivation. population, and if marginalized status influences elimination order. The present study focuses on whether contestants of differing ethnicities, ages, and abilities in competitive reality TV programming in the United States are represented authentically in comparison with the U.S. The essay concludes by demonstrating that audiences' own oral and written responses to television history reveal something of how people, situated in their specific times and places, understand both their past and their present.
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It argues for the need to retain a dual focus upon such programming's historical content and its televisuality if we are to appreciate the intricacies of viewers' cultural consumption. The essay draws on original qualitative, empirical research on audiences of historical reality television through a specific, small-scale case study of BBC Wales' Coal House at War (Indus 2008). before exploring what opportunities and problems it affords viewers. This essay argues that media history scholars need better to understand what happens when audiences consume television history, examining the critical debates concerning the genre's specific modalities of rendering the past on screen. Television history channels and programming have seen considerable growth in recent years, yet empirical research on television history audiences remains limited. The article therefore addresses how gendered power structures the ways in which war is known, understood, and also opposed through authenticity-based authority claims. I explore what perspectives and understandings of war might be revealed if we consider non-combat personnel as actively engaged in, and experiencing, war and discuss implications for dissent. Potentially more unruly war experiences, such as those of non-combat military personnel, remain obscured. Examination of two prominent dissenting subject positions within the movement, the “(anti)war hero” and the “peace mom,” suggests that authority to oppose war is organized around the hegemonic military masculine figure of the warrior hero.
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and sexuality through which particular understandings of war (principally war as combat and violence) are reproduced. The article identifies how the authority of ground truth is bound with accounts of gender.
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Ground truth refers to the “truths” about war that soldiers who have experienced its realities can bring to bear on prevailing war narratives in order to disrupt them. This article analyses the politics of “ground truth,” a premise central to the contemporary military dissent movement in the United States.