Annotated Bibliography

"Introduction." Reality TV: Remaking Television Culture. Ed. Susan Murray and Laurie Ouellette. New York: New York UP, 2004. 1-19. Print. In Reality TV: Remaking Television Culture, the editors, Susan Murray and Laurie Ouellette, really strive to explain in thorough detail how reality television has come to be, and what it generally consists of as far as the types of programs there are, the types of people used to bring the programs together (actors/nonactors), and the types of equipment. A lot of attention is drawn to the debate about whether reality TV is real or scripted and how whether it is or not effects viewers and interest in said shows. At one point, they mentioned a poll that people answered in regards to whether they believe reality TV is legit or not, This is borne out by a 2005 Associated Press/TV Guide poll, in which participants indicated that they did not believe reality TV was real, but they also didn't care that much." In fact, 25 percent of those polled said that reality shows are totally made up, and 57 percent said that they show some truth but are mostly distorted. And only 30 percent said that it mattered to them that reality shows were really truthful. This particular source can add facts about how reality TV came to be into the conversation concerning my topic of inquiry. Poniewozik, James. "How Reality TV Fakes It." Time Magazine 6 Feb. 2006: 1-4. Web. 24 Feb. 2014. <http://resource2.rockyview.ab.ca/ssela101/related_reads/how_reality_tv_fakes_it.pdf>. How Reality TV Fakes It focused primarily on what goes on behind the scenes and how editors manipulate scenes/things that were said to create fabricated events on reality shows that didnt particularly happen the way that they make it appear to. In reality TV, many producers use Frankenbiting: the art of selective editing. They also use other techniques such as fake settings, where they make it seems as if a reality series is taking place in a particular place that its actually not. In the article a statement from J. Ryan Stradal gave insight to Frankenbiting and how its effective as far as reality TV goes, Were using things said at different times, put together to make a statement or observation that may not have been succinctly demonstrated. Thats where Frankenbiting may come in. As far as the conversation concerning my topic of inquiry goes, this article can provide distinct emphasis on how Frankenbiting and other methods are used to fabricate what actually happens when reality shows are initially recorded. Leistyna, Pepi. "What's So Real and New about Reality TV." Media/cultural Studies: Critical Approaches. Ed. Rhonda Hammer and Douglas Kellner. New York: Peter Lang, 2009. 339-54. Print. In Whats So Real and New about Reality TV, Pepi Leistyna gives insight into what reality TV actually is overall, the large corporations that are over most reality television series, and many other factual information about reality TV. Pepi talks about how all reality shows arent bad news and how many of them are actually very useful to our knowledge as viewers. She states, But, when it comes to reality TV, it's not all bad news. An independent, international cable company has recently been selling the public new images of labor. With 1.5 billion subscribers across 170 countries, Discovery Communications INC. ---owned by Discovery Holding Co., includes the Discovery Channel, the Learning Channel, Animal Planet, the Science Channel, and Discovery Health. Ranked the number one nonfiction television and media brand globally, what do its reality TV shows Dirtiest Jobs, Miami Ink, American Chopper, Deadliest Catch, and Lobster Wars have to offer? Following her statement she goes on to explain these

shows, what theyre about, and how theyre not considered to be bad news like a lot of other reality television series. This source can add insight about well-respected reality television series and how they dont all consist of the same things. Rupel, David. "How Reality TV Works." Writers Guild Of America, West. Writers Guild Of America, West, n.d. Web. 24 Feb. 2014. <http://www.wga.org/organizesub.aspx?id=1091>. In Davids article, How Reality TV Works, he goes on to explain how reality TV comes about and how all types of reality TV has its own way of coming together. He explains how a reality television series is either created by followed story or planned story and gives a few examples of each of the two. Planned story is when the show does not have a storyline set in stone, and pieces of filming are put together to create the show: These shows tend to have longer shooting schedules, because you can't predict when something interesting is going to happen. On my early days on The Real World, we usually shot about six days to generate one 30-minute episode. Followed Story is when the events that are going to happen on a show are initially planned, such as on Survivor or The Bachelor. This source can give insight to how reality TV shows are categorized as far as the process of them coming together goes. Newsday. "'Frankenbiting' Scares up Reality Controversy." Chicago Tribune News 21 July 2005: n. pag. Print. The article Frankenbiting Scares Up Reality Controversy gives detailed explanations of the editing that happens with reality television and talks about Frankenbiting: the art of selective editing. Newsday talks about how some shows are recorded for hundreds of hours and the process editors go through to look through all of the recordings to pick and choose the segments they want to use to create one episode of a particular show. They also go on to talk about how the only thing that isnt piped up on reality shows is the dialogue, but even that is altered a lot of the time. Sharp says shows are indeed "scripted," and about the only thing that isn't piped is the dialogue. Although, he adds, "if you want a conversation to happen and it's not happening, we might stop the camera and say, 'we need you to talk about something.' "Sharp, one of an estimated 1,000 reality TV "writers," says a typical 42-minute episode has to be culled from hundreds of hours of tapes, so it is up the to the "writer" to structure a story out of this mishmash. This source can give insight to the process of the editing of reality television series. Thomas-Price, Deja' "Assignment One." Observation Notes (2014): n. pag. Print. These observations focused on three episodes of The Bad Girls Club and it involved details concerning those three episodes such as a description of the house, the girls, what goes on in the house between the girls, etc. There are detailed descriptions of the appearance of the mansion, some of the girls, discourse communities (subgroups within the show that has alike ways of communicating, interacting, etc.), etc. just to give insight to who is on the show and where theyre staying for their time on the show. The three observations, in particular, are timed observances of the show and what happens within each episode, in detail. These observations can be used within my conversation concerning my topic of inquiry to demonstrate what actually goes on on certain reality shows and how people can be placed in certain living conditions with certain people and how theyre prone to act when filmed while all of this is happening/going on.

Magder, Ted. "7." The End of TV 101: Reality Television, Formats and the New Business of TV. N.p.: n.p., n.d. 137-52. Print. In The End of TV 101: Reality Television, Formats and the New Business of TV, Ted Magder goes into detailed explanations about the business side of reality television, and talks about the revenue model concerning reality TV. The revenue model is basically what the people in the television business goes by to determine how much a show will make, how much the actors, contestants, etc. on the show will be paid, and how much the network that the show is airing on will be paid. At one point, Magder began to talk about how much the actors in the show Friends were being paid each year the show aired for each episode, In 1994, the six principal actors agreed to a five-year contracts at $22,500 per episode. At each renewal of the contract, the Friends cast negotiated as a group, with threats to move on and pursue less exhausting film careers. In 1999, they were paid $125,000 for an episode, and the following two seasons, $750,000 and episode. For the 2002 season -- the final year for the show -- each cast member earned $1 million and episode, with each episode budgeted at $7.5 million. This source can really give input into the conversation concerning my topic of inquiry by talking about the revenue model for reality television and how it affects the process of how the shows are made and come together as a whole. Andrejevic, Mark. "The Appeal of The Real." Reality TV: The Work of Being Watched. Lanham, MD: Rowman & Littlefield, 2004. 7-13. Print. In Reality TV: The Work of Being Watched, Mark Andrejevic discusses how people in America really feel as if they can relate to reality television a lot more than other genres of TV shows, because they consist of people that generally arent actors. Moreover, the fans whom I interviewed overwhelmingly spoke of the ease with which they could identify with reality TV cast members, precisely because they were not professional actors or well-known celebrities. As one respondent discussing Survivor put it, "I like the fact that it's real people -- people I can identify with, instead of superstars and Olympians." Another viewer who is part of the predominant demographic to which reality TV caters, women ages eighteen to twenty-five, wrote, "I can see myself or others I know in the actions of those on television." The implicit theme of these responses --and many others--is that the celebrities and scenarios that populate prime-time fictional programming are harder to identify with, perhaps because they are massproduced artifacts of an ostensibly outdated era. This source can provide some insight into how viewers relate to television and why they feel as if they can relate to these type of shows more than others on television. Holmes, Su, and Deborah Jermyn. "Candid Camera and The Origins of Reality TV." Understanding Reality Television. London: Routledge, 2004. N. pag. Print. In this section of Understanding Reality Television, Su and Deborah talk about what they perceive to be the historical origins of reality television. They also explore the contexts that influence, and continue to influence its development. They go into detail talking about the reality show Candid Camera, how it came to be, and how its arguably one of the first reality television show. Also, they talk about how its associated with the Cold War. The show began as Candid Microphone in 1948, just as classical Hollywood cinema entered its demise, at the beginning of television's household dominance and in response to Cold War fears of national security. By the time Funt changed the name to Candid Camera in 1949 the country seems likely to be plagued with hidden microphones. This source can add to the

conversation about my topic of inquiry by giving some input into where reality TV could have possibly originated from. Fishman, Mark, and Gray Cavender. "Television Reality Crime Programs." Entertaining Crime: Television Reality Programs. New York: Aldine De Gruyter, 1998. 3-14. Print. This source talks about how reality television programs can be categorized and how crime programs can be put into one of the categories. Basically, the chapter goes on to speak about how reality television uses filming crime to its advantage and how common it is on television today. The chapter suggests how these types of programs are not only common in the United States, but they're popular all over the world (England, France, Germany, the Netherlands, etc.) The programs happen to vary from country to country. The popularity of television reality crime programming is now a worldwide phenomenon. In part, this is due to significant technological improvements in electronic equipment and satellites. However, even technological innovations are never ends unto themselves; they, too, are always embedded in a larger socioeconomic context. Entertaining Crime: Television Reality Programs can provide detailed discussion about how crime is having an effect on television today.