Page 61 - Metro

DQ\ VWUDWHJLF WKUXVW 7KLV ZDV D VLJQLĺFDQW PDWWHU RI FRQFHUQ LQ Endnotes
PDQ\ UHYLHZV RI WKH UHERRW LQ ZKLFK oWKH VWXII WKDW PDNHV >f@ 1 Doris Baltruschat, Global Media Ecologies: Networked Production
2TQUHUNQ JUHDW t VHFUHWV DQG OLHV t >KDG@ SOD\HG VHFRQG ĺGGOH in Film and Television 5RXWOHGJH 1HZ <RUN /RQGRQ
to grand speeches about mateship, casual sexism and long 2 LELG S HPSKDVLV LQ RULJLQDO
24
VKRWV RI PHQ FDWFKLQJ ĺVKp In fact, after the merge, the only 3 5REHUW - 7KRPSVRQ Television’s Second Golden Age: From Hill
tribal council where gameplay came into effect involved the Street Blues to (5 6\UDFXVH 8QLYHUVLW\ 3UHVV 1HZ <RUN
HOLPLQDWLRQ RI -RZHWW E\ WKHQ D PHPEHU RI WKH FRUH DOOLDQFH S
WKLV VWUDWHJ\ ZDV RUFKHVWUDWHG E\ (JJLQWRQ DQG ZDV SURPRWHG 4 Trisha Dunleavy, Television Drama: Form, Agency, Innovation,
heavily in advance. All other eliminations were predictable, as 3DOJUDYH 0DFPLOODQ /RQGRQ 1HZ <RUN
the eliminated contestants were outside the core alliance – an Jason Mittell, Complex TV: The Poetics of Contemporary
approach that fans of the show call ‘Pagonging’. Coined from Television Storytelling 1HZ <RUN 8QLYHUVLW\ 3UHVV 1HZ <RUN
WKH QDPH RI D WULEH IURP WKH $PHULFDQ VHULHVp ĺUVW VHDVRQ LW /RQGRQ S
denotes a dominant alliance purposefully voting out members 6 ,HQ $QJ FLWHG LQ 7DPDU 6DOLELDQ o7KH ,GHRORJ\ RI 0DVV &XOWXUH
of another contingent in succession. What this predictability DQG 5HDOLW\ 7HOHYLVLRQ :DWFKLQJ Survivor’, The International
results in is a fairly monotonous season. -RXUQDO RI WKH +XPDQLWLHV YRO QR SS t
To combat the eventual lack of gameplay in that season of &KULVWRSKHU - :ULJKW o:HOFRPH WR WKH -XQJOH RI WKH 5HDO
TRSQ@KH@M 2TQUHUNQ, advertisements had to emphasise potential 6LPXODWLRQ &RPPRGLWL]DWLRQ DQG Survivor’, The Journal of
upsets (or ‘blindsides’, yet another term popularised by the American Culture YRO QR -XQH SS t
American version and adopted locally) even though they did 8 -RVK )RUZDUG oSurvivor :RPHQ 7UHDWPHQW RI WKH 2YHU Vp
not eventuate in the actual episodes. One such example was Inside Survivor -XQH KWWS LQVLGHVXUYLYRU FRP
WKH IRUHVKDGRZLQJ RI o6XHpV %LJ 0RYHp UHIHUULQJ WR D SRWHQWLDO VXUYLYRU ZRPHQ WUHDWPHQW RI WKH RYHU V >, accessed
EOLQGVLGH RUFKHVWUDWHG E\ 6XH &ODUNH 7KH HSLVRGHV WKDW IRO 1RYHPEHU
lowed revealed no such ‘move’ by Clarke, however, and she was 0DUWLQ +ROPHV oSurvivor +LVWRU\ 2ULJLQ RI WKH *RDWp Inside
YRWHG RXW LQ D VWUDLJKWIRUZDUG PDQQHU &RQVHTXHQWO\ o6XHpV %LJ Survivor 0D\ KWWS LQVLGHVXUYLYRU FRP VXUYLYRU
0RYHp ZDV PRFNHG RQOLQH $V WKH 1HWZRUN 7HQ IRUPDW UHTXLUHV KLVWRU\ RULJLQ RI WKH JRDW ! DFFHVVHG 1RYHPEHU
advertising for events spanning multiple episodes, this case 10 , ZRXOG DOVR DGG VSRUW WR WKLV PL[ RI HVWDEOLVKHG JHQUHV VHH
H[HPSOLĺHV D IDLOHG DWWHPSW WR EXLOG QDUUDWLYH FRPSOH[LW\ %DOWUXVFKDW RS FLW S
11 Richard Kilborn, Staging the Real: Factual TV Programming in
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Conclusion
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televisual landscape, with TRSQ@KH@M 2TQUHUNQ embodying a DQG 1DUUDWLYHV RI 6WDUGRP LQ Pop Idol’, Television & New Media,
FRQVLGHUDEOH FKDOOHQJH IRU $XVWUDOLDpV PHGLD HFRORJ\ 1HWZRUN YRO QR 0D\ S
Ten’s other reality shows rarely generate the type of narrative 13 %DOWUXVFKDW RS FLW S
complexity that requires the audience to engage in any mem 14 0LWWHOO RS FLW S HPSKDVLV LQ RULJLQDO
ory recall. The dedicated American 2TQUHUNQ viewer, however, 6H\PRXU &KDWPDQ Story and Discourse: Narrative Structure
relishes the evolution of gameplay strategy and contestant in Fiction and Film &RUQHOO 8QLYHUVLW\ 3UHVV 1HZ <RUN
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paratextual media such as +HED @S /NMCDQNR@, (MRHCD 2TQUHUNQ 16 0LWWHOO RS FLW S
and 1NA '@R @ /NCB@RS. 6HH 0DUWLQ +ROPHV oSurvivor (GJLF t DQ ,QWURGXFWLRQp Inside
Baltruschat’s study of franchise localisation proposes that Survivor 6HSWHPEHU KWWS LQVLGHVXUYLYRU FRP VXUYLYRU
a successful adaptation must be not only infused with local HGJLF DQ LQWURGXFWLRQ ! DFFHVVHG 1RYHPEHU
content and adherent to the network’s industrial model, but 18 1LFN ,DGDQ]D LQ 5RE &HVWHUQLQR oAustralian Survivor )LQDOH _
also consistent with the product’s extant format. The biggest 1LFN ,DGDQ]Dp 5RE +DV D 3RGFDVW 2FWREHU http://
challenge faced when localising a complex reality show such UREKDVDZHEVLWH FRP DXVWUDOLDQ VXUYLYRU ŷQDOH QLFN LDGDQ]D >,
as 2TQUHUNQ, then, is how best to cater for both new @MC old DFFHVVHG 1RYHPEHU
fans. While the latter would want continued variation in and 9ODGLPLU 3URSS FLWHG LQ %DOWUXVFKDW RS FLW S }
development of the show’s gameplay, more recent audiences 20 %DOWUXVFKDW LELG S
would generally be unfamiliar with its strategic elements. The 21 6HUJLR 6SOHQGRUH o0HGLD /RJLF 3URGXFWLRQ +RZ 0HGLD
DEVHQFH RI D VLJQLĺFDQW SURSRUWLRQ RI WKH $PHULFDQ YHUVLRQpV 3UDFWLWLRQHUV LQ ,WDOLDQ 5HDOLW\ 7HOHYLVLRQ /RFDOL]H 79 )RUPDWV
JDPHSOD\ IUDPHZRUN LQ TRSQ@KH@M 2TQUHUNQ therefore resulted in DQG 6HOHFW q(QWHUWDLQPHQW 9DOXHVrp Journal of Popular Television,
a monotonous experience for many established fans. In order to YRO QR 2FWREHU SS } t
appeal to a local demographic yet to become acquainted with 22 %DOWUXVFKDW RS FLW S
WKH IUDQFKLVH WKH RULJLQDOpV QDUUDWLYH FRPSOH[LW\ ZDV VDFULĺFHG 23 Tiffany Dunk, ‘Survivor q0HDQ *LUOVr (O %URRNH DQG )OLFN 'HIHQG
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,DKANTQMD 'HR kQRS LNMNFQ@OG The Queer Film Festival: Popcorn FH H I ! DFFHVVHG 1RYHPEHU
and Politics HR OTAKHRGDC VHSG /@KFQ@UD ,@BLHKK@M 'D G@R OQDUH- 24 0DHYH 0DUVGHQ o0HDQ *LUOV DQG 0DWHVKLS :K\ ,V Survivor So
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'DŭHR BTQQDMSKX RDBQDS@QX ENQ Senses of Cinema. m IHPDOH DOOLDQFHV ! DFFHVVHG }1RYHPEHU

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