Search results

The author explores the contemporary logics of branding and authenticity among contestants in the reality television show, RuPaul’s Drag Race. In the chapter, the author points to the inherent tension in performing a drag persona that is perceived as authentic by audiences whilst at the same time looking to take advantage of any financial opportunities that being on the show may generate. This tricky balancing act is examined in relation to the case of the drag persona, Tina Burner, who was criticised for not being authentic enough and overbranding herself. The chapter highlights the competing demands that contestants on a high-profile reality show must deal with and the difficulty of deciding ‘when to keep it real in reality TV’.

The purpose of this paper is twofold. First, it investigates the relationship between television, its audiences and Twitter around the creation of social TV events. Here it contributes to knowledge by charting usage in relation to different types of programmes and by comparing Twitter to Facebook data. Second, it evaluates the way in which student-led research can be used to conduct audience studies with the help of Twitter.

The research applies a quantitative approach, measuring the volume of Twitter messages before, during and after two different types of television programmes, i.e. Reality TV (The X Factor and The Only Way is Essex) and sports broadcasts (football and Formula One). Brief comparisons are also drawn with data collected from Facebook. The pedagogical evaluation of the research is based on self-reflection by the author/tutor.

The research established similar trends and patterns of viewer engagement for both types of television programming, with key activity during and towards the end of a broadcast which points to viewers using Twitter, or Facebook, while watching the event. The findings are compared to previous studies on television programmes and Twitter use. The study also identified that student research using Twitter can lead to a valuable learning experience as it allows students to use their own knowledge of social media to inform the research process.

This research makes a contribution to the small yet growing body of studies examining Twitter activity in relation to TV events. It also contributes to knowledge on the educational use of social media by providing an account of how Twitter can be applied as a research tool by students.

The increasing frequency with which food and beverage producers feature in mainstream media, including television cooking shows, provide opportunities and pitfalls for using media to promote artisan food and beverage businesses. The purpose of this paper is to evaluate these, as experienced by a group of food and beverage producers who appeared on the popular Australian television show, Gourmet Farmer.

Findings are based on semi-structured interviews with 14 of the producers featured on the show, plus textual analysis of relevant segments of the show.

While all of the producers felt that food television offered a good promotional tool, those who were most familiar with the practices of media production and whose businesses offered experiences through which viewers could access (or imagine) a “taste” of the Gourmet Farmer life tended to be more satisfied than those who were less familiar with the practices of media production and who expected a greater focus on their products and production practices.

The development of media skills is essential for artisan producers to get the best outcomes when using media to promote their businesses.

The experiences of food and beverage producers using food television to promote their businesses have not previously been the subject of thoroughgoing research. This paper offers new insights into how artisan producers can best capitalize on the opportunities offered by food media.

Purpose: This chapter explores the current hybridization between true crime and nonfiction investigative documentaries on Video on Demand (VOD) platforms. It would seem necessary to distinguish true crime productions from long-form journalistic documentaries in order to avoid confusion between different products that do not pursue the same ends, such as audiovisual products with highly emotive and engaging components versus a journalistic approach to the truth about what happened. Methodology/approach: The analysis is based on the specific theory of true crime developed by Punnett, who provides genuine narrative codes (Justice, Subversive, Geographic, Forensic, Vocative, and Folkloric) for true crime to distinguish it from the formal conventions and social objectives of journalistic documentaries. The case study (El crimen de Alcàsser) was selected because of its potential to drive a detailed and in-depth study on one of the most traumatic crimes in the country’s recent history: the kidnapping, rape, torture, and killing of three teenagers in 1992. Findings: Several scholars have identified journalistic elements in true crime productions in the digital context, adopted in an attempt to distance them from the true crime tradition of appealing to primitive instincts. Although it has been perceived also as a renewed formula for journalism to reach a wide audience and mainstream success, it banishes journalism from its origin and goals: to guarantee the citizenship’s right to be truly informed about crime. In this way, journalistic documentaries inspired by real crimes may play a crucial role in a democratic society, while true crime only exploits the empathy of viewers and places them in the active participation of determining the suspect-protagonist’s guilt as a mode of “clickable” entertainment in the digital culture. Research limitations: This is the first in a series of studies within a broader research project on true crime documentaries released on the VOD platforms in Spain. The findings are, in this case, preliminary. The analysis needs additional testing before its utility can be reasonably determined and a theory about true crime made in Spain could be developed. Originality: First, there is no specific research in the field of true crime in Spain, although crime stories already enjoyed a prominent place in Spain’s conventional TV programming. Second, the Punnett analysis model introduces an interesting way to complement existing theoretical references about the connections between true crime and journalism.

The transfer of management knowledge is usually seen as a formal process involving business schools, training courses and books. This paper aims to investigate the managerial content of TV drama programmes, considering the mechanisms that determine this and showing how this changes over time. The paper also shows how the content forms part of management discourse and how it may be used by viewers to understand what good and bad managers do and to modify their behaviour accordingly.

Two links are discussed: between the economic system and cultural products and between cultural products and the individual. Police drama series are used as an example to show how current management practices are mediated through popular culture and how they are legitimised.

The management styles and practices observed in police drama series have changed over the past 40 years to reflect the most recent trends. Bureaucratic management styles are shown in a negative light, whereas teamwork is shown positively. New trends such as the heavy use of consultants are also represented in recent programmes, providing evidence of how popular culture can make management practices part of managerial discourse.

Films and TV programmes are analysed by management scholars, but usually to illustrate a particular theme. This paper does not take the managerial content as a given but identifies mechanisms through which it is determined and shows how it changes. Additionally, it shows the relationship between content and viewer. It provides evidence of the role of popular culture in the transfer of management knowledge and of how management related contents change over time.

The public fascination for private investigators has led to an abundance of imagery in popular culture media. This study aims to examine the views of practising private investigators regarding their professional images of dirty work.

To fill the gap in the literature, this study used data collected from semi-structured interviews with 33 industry practitioners from 3 Australian states. The paper investigates private investigator’s perceptions about themselves/job roles and the public perceptions of private investigators in Australia. Interviews were recorded and transcripts created. A thematic analysis of the interview transcripts was undertaken.

Private investigators were drawn from a range of professions, including public policing and government regulation. The findings indicate that the reality differs from the images typically portrayed in popular culture. Interviewees discussed the contrasts between media images and reality, providing a more complex portrayal of private investigation and what private investigators find satisfying and challenging about their work.

This study is helpful for improving the understanding of private policing, the media views of policing, those who conduct work within an environment considered to be tainted and their views of self.

Using a qualitative research design, this paper offers insights into the challenges facing private investigators and how they reconcile being in a tainted occupation with providing a necessary service to the community.