Page 57 - Metro

2TQUHUNQ Another popular commentary source is the website
(MRHCD 2TQUHUNQ, which tracks contestant gameplay, editing and
spoilers for future seasons.
The show has avoided repetition and stagnation through
the implementation of themes for seasons, resulting in a
TXDVL VRFLRORJLFDO VWXG\ RI $PHULFDQ VRFLHW\ 5HFHQW WKHPHV
have touched on class (as seen in the ‘white collar, blue col
lar, no collar’ season) and on individuals’ supposed biggest
gameplay asset (as in the two ‘brains, brawn and beauty’
seasons). Other seasons have divided contestants by age,
gender, or whether they are fans of the show or returning
favourites, while one season saw returning players compete
against their loved ones. 2TQUHUNQ "NNJ (RK@MCR was perhaps
the most controversial season, as it divided contestants by
UDFH ZKLWH $IULFDQ $PHULFDQ $VLDQ DQG +LVSDQLF 7KH ODW
HVW VHDVRQ IHDWXUHG WKH WKHPH oKHURHV KHDOHUV DQG KXVWOHUVp

Quality and complexity in reality programming
,Q KLV VHPLQDO ZRUN RQ WKH WRSLF 5REHUW - 7KRPSVRQ SURSRVHV
a list of factors associated with ‘quality television’ (the entirety
RI ZKLFK LV EH\RQG WKH VFRSH RI WKLV HVVD\ D NH\ DVSHFW RI KLV
WKHVLV LV WKDW RI DXGLHQFH PHPRU\ 6KRZV WKDW GUDZ RQ RU FDWHU
WR DXGLHQFH PHPRU\ EHFRPH LQFUHDVLQJO\ VHOI FRQVFLRXV HV
pecially when referring to their own history:

3GNTFG :LDLNQX< L@X NQ L@X MNS AD RDQH@KHYDC HM BNMSHMT-
HMF RSNQX KHMDR SGDRD RGNVR SDMC SN QDEDQ A@BJ SN OQDUHNTR
DOHRNCDR "G@Q@BSDQR CDUDKNO @MC BG@MFD @R SGD RDQHDR FNDR
NM $UDMSR @MC CDS@HKR EQNL OQDUHNTR DOHRNCDR @QD NESDM TRDC
NQŭQDEDQQDC SN HM RTARDPTDMS DOHRNCDR

As such, while television shows develop a working memory
DQG VFKHPD VR WRR GRHV WKH DXGLHQFH t DV VHHQ IRU LQ
VWDQFH LQ WKH PXWXDO XVH RI ORDGHG ZRUGV DQG SKUDVHV ZLWK
RXW DFFRPSDQ\LQJ H[SODQDWLRQV )RU 7ULVKD 'XQOHDY\ VKRZV
of this sort tend towards innovation through noncompliance
4
with standards and expectations. Once the audience has
developed a set of expectations about the form of the show,
these can be challenged through repetition and slight varia
WLRQ 'XQOHDY\pV QRWLRQ RI oTXDOLW\p LV RI FRXUVH SUHPLVHG RQ
an adherence to an arthouse cinematic form and narrative
structure, whereas, for reality television, a judgement of quality
would need to concern format and gameplay structure. I am
DOVR LQFOLQHG WR WDNH -DVRQ 0LWWHOOpV FKDUDFWHULVDWLRQ RI WKLV
W\SH RI SURJUDPPLQJ DV EHLQJ DERXW GLIIHUHQWLDWLRQV LQ WDVWH
to him, the term ‘quality television’ 7KLV VSUHDG FORFNZLVH IURP WRS ULJKW !MERICAN
Survivor HOST AND COnEXECUTIVE PRODUCER *EFF 0ROBST
THE CAST OF 3EASON OF THE !MERICAN Survivor;an
HR LNRS TRDETKKX TMCDQRSNNC @R @ CHRBTQRHUD B@SDFNQX TRDC ELIMINATION FOLLOWING @TRIBAL COUNCIL AND ONE OF MANY
SN CHRSHMFTHRG BDQS@HM OQNFQ@LR EQNL NSGDQR VHSG RTBG OQN- CHALLENGES BOTH FROM Australian Survivor 3EASON
FQ@LR KDRR TMHSDC AX ENQL@K NQ SGDL@SHB DKDLDMSR SG@M TRDC AŢCHALLENGE FROM Australian Survivor 3EASONŢ
@R @ L@QJ NE OQDRSHFD SN DKDU@SD SGD RNOGHRSHB@SHNM NE UHDVDQR
VGN DLAQ@BD RTBG ?PT@KHSX OQNFQ@LLHMF

While the American 2TQUHUNQ, along with many other reality
programs, is often denigrated as a product of what Ien Ang
6
calls ‘bad mass culture’, I argue that it is an example of what
, UHJDUG DV oTXDOLW\ UHDOLW\ WHOHYLVLRQp ZKHUHLQ WKHUH LV VLJQLĺ
cant narrative complexity and expectations on audiences’
memories. As with most competitive reality television, the au
dience takes pleasure in hearing Probst’s familiar catchphras
es, such as, ‘The tribe has spoken.’ A similar case is evident in
/QNIDBS 1TMV@X, in which televisual branding is invoked when

www.metromagazine.com.au | © ATOM | Metro Magazine 195 • 55