Engaging in a comprehensive examination of reality TV's advertising and promotional strategies, as well as the commodification of viewers, Consuming Reality dissects the unique and startling relation between mediation and consumption.
This book covers the ‘hot topic’ of the experiential consumption in an accessible manner and from a unique industry perspective which is not used in any other book. It highlights the idea that an experience is not something that can be readily managed by firms and is not limited to the market: an individual’s daily life is made up of consuming experiences that can occur with or without a market relation. Offering an overview of the consumption experience, it outlines a continuum of experiences of consumption that consumers go through, including: those that are mainly constructed by consumers around small items that comprise their daily life, such as organic products and non-profit or local associations those that have been co-developed by companies and consumers: tourism or adventure projects, rock concerts and cultural events those that have been largely developed by the companies where consumers are immersed in a hyper-real context such as fashion, sports brands, edutainment and retail. Broad and comprehensive, this book provides a challenging vision of the consumption experience, which is an invaluable tool for all those studying marketing and consumer behaviour.
This revealing book provides an incisive treatment of consumption on a global scale from a cultural, philosophical and business perspective. It is an original and radical analysis structured in a multi-disciplinary and progressive way.
An examination of the relationship between space, place and consumption offers important insights into some of the most powerful forces constructing contemporary societies. Space and place are made and remade through consumption. Yet how do cultures of consumption discover space, and how do they construct place? This book addresses these questions by exploring the implications of conceptualizing consumption as a spatial, increasingly global, yet intensely localized activity. The work develops integrative approaches that articulate the processes involved in the production and consumption of space and place. The result is a varied, engaging, and innovative study of consumption and its role in structuring contemporary capitalist political economies.
From early first-wave programs such as Candid Camera, An American Family, and The Real World to the shows on our television screens and portable devices today, reality television consistently takes us to cities—such as New York, Los Angeles, and Boston—to imagine the place of urbanity in American culture and society. Jon Kraszewski offers the first extended account of this phenomenon, as he makes the politics of urban space the center of his history and theory of reality television. Kraszewski situates reality television in a larger economic transformation that started in the 1980s when America went from an industrial economy, when cities were home to all classes, to its post-industrial economy as cities became key points in a web of global financing, expelling all economic classes except the elite and the poor. Reality television in the industrial era reworked social relationships based on class, race, and gender for liberatory purposes, which resulted in an egalitarian ethos in the genre. However, reality television of the post-industrial era attempts to convince viewers that cities still serve their interests, even though most viewers find city life today economically untenable. Each chapter uses a key theoretical concept from spatial theory—such as power geometries, diasporic nostalgia, orientalism, the imagination of social expulsions, and the relationship between the country and the city—to illuminate the way reality television engages this larger transformation of urban space in America.
Reality TV has changed television and changed reality, even if we are not among the millions who watch. Written for a broad audience, this accessible overview addresses questions such as: How real is reality TV? How do its programs represent gender, sex, class, and race? How does reality TV relate to politics, to consumer society, to surveillance? What kind of ethics are on display? Drawing on current media research and the author’s own analysis, this study encompasses the history and evolution of reality television, its production of reflexive selves and ordinary celebrity, its advertising and commercialization, and its spearheading of new relations between television and social media. To dismiss this programming as trivial is easy. Deery demonstrates that reality television merits serious attention and her incisive analysis will interest students in media studies, cultural studies, politics, sociology, and anyone who is simply curious about this global phenomenon.
In Consuming Places, Urry explores the concept of 'society', the nature of 'locality', the significance of 'economic restructuring', and how the concept of the 'rural' are examined in relationship to place.
The increasing prevalence of consumerism in contemporary society often equates happiness with the acquisition of material objects. Consuming Schools describes the impact of consumerism on politics and education and charts the increasing presence of commercialism in the educational sphere through an examination of issues such as school-business partnerships, advertising in schools, and corporate-sponsored curriculum. First linking the origins of consumerism to important political and philosophical thinkers, Trevor Norris goes on to closely examine the distinction between the public and the private sphere through the lens of twentieth-century intellectuals Hannah Arendt and Jean Baudrillard. Through Arendt's account of the human activities of labour, work, and action, and the ensuing eclipse of the public realm and Baudrillard's consideration of the visual character of consumerism, Norris examines how school commercialism has been critically engaged by in-class activities such as media literacy programs and educational policies regulating school-business partnerships.
Consuming History examines how history works in contemporary popular culture. Analysing a wide range of cultural entities from computer games to daytime television, it investigates the ways in which society consumes history and how a reading of this consumption can help us understand popular culture and issues of representation. In this second edition, Jerome de Groot probes how museums have responded to the heritage debate and how new technologies from online game-playing to internet genealogy have brought about a shift in access to history, discussing the often conflicted relationship between ‘public’ and academic history and raising important questions about the theory and practice of history as a discipline. Fully revised throughout with up-to-date examples from sources such as Wolf Hall, Game of Thrones and 12 Years a Slave, this edition also includes new sections on the historical novel, gaming, social media and genealogy. It considers new, ground-breaking texts and media such as YouTube in addition to entities and practices, such as re-enactment, that have been underrepresented in historical discussion thus far. Engaging with a broad spectrum of source material and comparing the experiences of the UK, the USA, France and Germany as well as exploring more global trends, Consuming History offers an essential path through the debates for readers interested in history, cultural studies and the media.
From The Real Housewives of Atlanta to Flavor of Love, reality shows with predominantly black casts have often been criticized for their negative representation of African American women as loud, angry, and violent. Yet even as these programs appear to be rehashing old stereotypes of black women, the critiques of them are arguably problematic in their own way, as the notion of “respectability” has historically been used to police black women’s behaviors. The first book of scholarship devoted to the issue of how black women are depicted on reality television, Real Sister offers an even-handed consideration of the genre. The book’s ten contributors—black female scholars from a variety of disciplines—provide a wide range of perspectives, while considering everything from Basketball Wives to Say Yes to the Dress. As regular viewers of reality television, these scholars are able to note ways in which the genre presents positive images of black womanhood, even as they catalog a litany of stereotypes about race, class, and gender that it tends to reinforce. Rather than simply dismissing reality television as “trash,” this collection takes the genre seriously, as an important touchstone in ongoing cultural debates about what constitutes “trashiness” and “respectability.” Written in an accessible style that will appeal to reality TV fans both inside and outside of academia, Real Sister thus seeks to inspire a more nuanced, thoughtful conversation about the genre’s representations and their effects on the black community.