REALITY TV RITUALS：现实电视仪式

REALITY TV RITUALS：现实电视仪式 REALITY TV RITUALS FMS 494 SPRING 2009 Professor: Brad Gyori Email: Bradford.Gyori@asu.edu Telephone: (480) 965-6747 Office Hours: ** Class Hours: Fridays from 10:00 to 12:00 Class location: TBA COURSE OUTLINE This course draws parallels between reality TV and ritual practice. Students examine the ways in which today’s unscripted programming both consciously and unconsciously mirrors ancient rites. With many of its traditional narrative components stripped away, television returns to a state prior to the advent of theatrical roles, in which ritual actors engaged in violent and orgiastic rites involving the production of real suffering and real pleasure. The first half of the semester will focus on common aspects shared by many “reality rituals.” The second half will compare specific reality shows with specific types of ritual practices, including mating rituals, kinship rites and human sacrifice. Each week, students will read two texts related to the topic of discussion, one written by a contemporary media scholar, and one written by a canonical ritual theorist. Through these lenses, they will explore the ways in which reality rituals serve to both maintain and subvert cultural norms. By the end of this course, students will be able to: 1) critically engage with reality programming, identifying its sociological and anthropological underpinnings; 2) analyze how “reality rituals” both shape culture and are shaped by it; 3) reflect on some of the methods and frameworks that scholars have employed in their study of reality programming and ritual practices; 4) articulate an understanding of reality rituals by strengthening writing, speaking, and listening skills; and 5) recognize themselves as historical subjects whose viewing experiences are contextually influenced and filled with meaning. You are expected to engage in all learning tasks and attend class every week. Since the class only meets once a week, more than four absences will result in a failing grade. To access the class website and eBoard, you can use your personal computer, one in the library, and/or computer labs at ASU. Readings: You will be reading a number of articles, all of which have been posted on the blackboard site linked to this class. In general, the weekly readings will be less than 40 pages, so you will be expected to read them carefully and on 1 time. They will form the basis of in-class discussions, reading reviews, presentations and the final essay. Policies: Late papers will not be accepted without instructor permission and absences will only be excused with a doctor’s note. No grades will be given out or discussed over e-mail at any time during or after the semester. PLAGIARISM POLICY In the “Student Academic Integrity Policy” manual, ASU defines “Plagiarism” as using another's words, ideas, materials or work without properly acknowledging and documenting the source. Students are responsible for knowing the rules governing the use of another's work or materials and for acknowledging and documenting the source appropriately.” You can find this definition at: #definitions. Academic dishonesty, including inappropriate collaboration, will not be tolerated. There are severe sanctions for cheating, plagiarizing and any other form of dishonesty. GRADED WORK Every student is expected to leave this course with a critical understanding of reality television, ritual practices and the parallels between them. Students are required to participate in in-class discussions, complete weekly reading reviews, present an in-class presentation, and write a critical essay relating to reality rituals. WEEKLY LEARNING TASKS This course is comprised of 15 lessons. Each lesson includes all or some of these tasks: 1. Reading: an article from a media scholar, and an article from a ritual theorist. 2. Reading Review: write a one-page analysis of one of the readings. 3. Small group interaction to discuss prompts based on readings. 4. In-class discussion of readings and lecture. ADDITIONAL LEARNING TASKS 1. In-Class presentation. Fifteen-minute “pitch” for a reality-show based on your life. 2. Essay outline turned in for feedback from professor. 3. Completed essay. GRADE BREAKDOWN Class Participation: (20%): Students should regularly attend class and participate in in-class discussions. Weekly Reading Reviews (20%): Each week, students will turn in a one page reading review based on one of the two assigned readings. These papers should be single-spaced and highly focused with a clear thesis statement at that top. The thesis should succinctly define the main argument of the article. A suggestion: carefully craft your thesis because it will be the compass that guides you through 2 the rest of the paper. Also, don’t let the word “review” fool you. These are not opinion pieces. Whether you love Foucault or hate him is completely irrelevant to the assignment. What I’m looking for is a clear articulation of his ideas and a way of linking those ideas to the subject of this class. In-Class “Pitch” (20%): Each student will sign up to present a 15 minute pitch of a reality show based on his or her own life before the rest of the class. Each pitch should address these three points… 1. Give us an overview of the show. What is its dramatic arc? Describe your cast of characters in terms of the cultural “types” they represent. Think of your cast members as ritual actors. Is there a shaman? A scapegoat? An object of desire? What roles are these characters performing? 2. Why would viewers around the world relate to it? Do not merely assume that the masses will find your show entertaining. Explain why it will reflect some of the cultural preoccupations of society at large. How will your show compare it to other popular ritual practices? 3. If your show was a huge international hit, how might it begin to influence the social customs of other cultures? Give specific examples of the types of impact it might have in specific locations around the world. Paper Proposal and Annotated Bibliography (10%): A one-page outline of your proposed paper, and a brief bibliography with at least three sources properly formatted according to MLA standards. Completed Essay (30%): There are many different approaches you can take to writing this paper. You can start with a reality show that you find interesting and then locate a theory and ritual that apply to it. You can start with a ritual you find fascinating. Or you can begin with the work of your favorite theorist. All that you assemble three key components: a reality show, a ritual, and a theory. It does not matter whether or not we discussed the particular show, ritual, or theory in class or not. Just be sure that the professor signs off on your approach before you begin writing the paper itself. Once you have received feedback and begin writing, feel free to briefly allude to other shows and theories if this helps to inform your central argument, but try to avoid mixing and matching too many disparate concepts. Your paper should address the following three concerns… 1. How does the theory allow you to draw parallels between the reality show and the ritual practice in question? 2. What aspects of the reality series differ from the ritual practice you are comparing it to? How do you account for these differences? 3 3. What does the audience response to this reality show say about our society at this moment in history? Your paper should be 2000 words long, about seven pages double-spaced, 12 pt. font with one-inch margins and a 150-word cushion on either side. The due date is Friday May 8th, at 10:00am. Essays will be docked one letter grade each day they are late without permission of the professor. Your grade for this paper will be based on the quality of your research, the quality of your writing and composition, and the competence, originality and insightfulness of your argument and approach. A poor paper will be one that is under-researched, not very detailed or poorly written, and/or does not have a clear thesis. A good paper will be one that is thoroughly researched and which has a clear thesis that supports a credible, detailed historical argument. A great paper will be one that takes a good paper to an extra level: it will take a risk. It will be creative. It will be insightfully argued. It will be original. REALITY RITUAL: PRIMITIVE RITES TO MODERN MEDIA Lesson 01: (Friday, 1/23) Lecture: Course overview. Survivor and ritual as paradox. Concepts: Horace Newcomb and Paul M. Hirsch. Television: the critical View. “Television as a Cultural Forum.” Frederick Nietzsche. On the Genealogy of Morals. Q: Do “reality rituals” maintain the status quo, disrupt it, or both? Clips and Stills: Survivor, The Warhol Superstars, Taradise, The Ritual of Dionysus. Lesson 02: (Friday, 1/30) Lecture: The Swan and ritual as transformation. Reading: Nick Couldry. Media Rituals: a Critical Approach. “Ritual and Liminality.” Pg. 21-36. Victor Turner. Dramas, Fields, and Metaphors. “Social Dramas and Ritual Metaphors.” Pg 23-57. Clips and Stills: The Swan, Dr. 90210, The Biggest Loser, Celebrity Fit Club, Queer Eye For the Straight Guy, He’s a Lady, Black. White., Brat Camp, Flip This House, Flavor of Love Girls: Charm School, Celebrity Rehab with Dr. Drew. Due: One page reading review of one of the readings. Lesson 03: (Friday, 2/6) Lecture: Dancing with the Stars and ritual as interactivity. Reading: Henry Jenkins. Convergence Culture. “Democratizing Television? The Politics of Participation.” Pg. 240-260. Pierre Bourdieu. Outline of a Theory of Practice. “Structures and the Habitus.” Pg. 72-95. Clips and Stills: Dancing with the Stars, Treasure Hunters, Reality Check, Tabloids, Internet polls, Stage Diving, Hopi Snake Dance. Due: One page reading review of one of the readings. 4 Lesson 04: (Friday, 2/13) Lecture: Project Greenlight and production space as ritual space. Reading: John Thorton Caldwell. Production Culture. “Trade Rituals and Turf Marketing.” Pg. 69-88. Émile Durkheim. Selected Writings. “Religion and Ritual.” Pg. 217-230. Clips and Stills: Project Greenlight, Making the Band, Fernwood Tonight, My Talk Show, The Mystery of Picasso, Burning Man. Due: One page reading review of one of the readings. Lesson 05: (Friday, 2/20) Lecture: The Surreal Life and ritual as alternate reality. Reading: Jay David Bolter and Richard Grusin. Remediation. “Immediacy, Hypermediacy, and Remediation.” Pg. 20-50. Jean Baudrillard. Simulacra and Simulation. “Holograms” 105-109. Clips and Stills: The Surreal Life, I’m With Busey, The Hills, Colonial House, MTV’s The Seventies House, Kid Nation, The Elysian Mysteries. Due: One page reading review of one of the readings. Lesson 06: (Friday, 2/27) Lecture: Terrorism in the Grip of Justice (Iraqi TV) and ritual as chaos and control. Reading: Henry A. Giroux. Beyond the Spectacle of Terrorism. “Resisting the Spectacle of Terrorism.” pg. 67-83. Bronislaw Malinowski. Magic, Science and Religion. “Tradition of Magic” pg. 74-84. Clips and Stills: Terrorism in the Grip of Justice, 9/11, The Day After Tomorrow, Survivor, Navajo Rain Dance. Due: One page reading review of one of the readings. Lesson 07: (Friday, 3/6) Lecture: Big Brother and ritual as surveillance. Reading: Charles L. Ponce de Leon. Self-Exposure: Human Interest Journalism and the Emergence of Celebrity in America 1890-1940. “Exposure or Publicity? The Paradox of Celebrity Journalism.” Pg. 76-95. Michel Foucault, Discipline and Punish: the Birth of the Prison. “Panopticism.” Pg. 195- 210. Clips and Stills: Big Brother, The Up Series (Michael Apted), An American Family, Real Life (Albert Brooks), The Real World, Candid Camera, Surveillance Cameras, Public Access, America’s Funniest Home Videos, Tom Green, Girls Behaving Badly, Punk’d, Public Shaming Rituals (stocks, tarring and feathering.) Due: One page reading review of one of the readings. SPRING BREAK: 2/8-2/15 Lesson 08: (Friday, 3/20) Lecture: Engine Room (new MTV series highlighting digital artists) and ritual as semiotic construction. 5 Reading: Neil Postman. Amusing Ourselves to Death: Public Discourse in the Age of Show Business. “The Typographic Mind.” Pg. 44-63. Ferdinand de Saussure. Course in General Linguistics. “The Nature of the Linguistic Sign.” Pg. 65-75. Clips and Stills: Engine Room, LA Ink, The Gulf War, Tibetan Sand Painting, Hanna Montana (Duff), Hanna Montana 2.0 (Cyrus). Due: Paper Proposal and Annotated Bibliography. One page reading review of one of the readings. Lesson 09: (Friday, 3/27) Lecture: The Bachelor, The Bachelorette and mating rituals. Reading: Jon Kraszewski. Reality TV: Remaking Television Culture. “What Do Women Watch? Tuning in the Compulsory Heterosexuality Channel.” Pg. 179-196. Judith Butler. Gender Trouble. “From Interiority to Gender Performatives.” Pg. 183- 193. Clips and Stills: The Bachelor, The Bachelorette, Temptation Island, The Flavor of Love, Rock of Love, Papa New Guinea Fertility Rites. Due: One page reading review of one of the readings. Lesson 10: (Friday, 4/3) Lecture: Trading Spouses and kinship rituals. Reading: John Seely Brown, Paul Duguid. The Social Life of Information. “Innovating Organization, Husbanding Knowledge.” Pg. 147-172. Claude Lévi-Strauss. Structural Anthropology. “Structural Analysis in Linguistics and in Anthropology.” Pg. 31-41. Clips and Stills: Trading Spouses, Wife Swap, The Real Housewives of Orange County, Blind Date, The Fifth Wheel, Elimidate, Date my Mom, Boy Meets Boy, Meet the Parents, Beauty and the Geek, The Osbournes, Family Jewels, Hogan Knows Best, Indo-European, African and Oceanic Kinship Systems (circulation of women). Due: One page reading review of one of the readings. Lesson 11: (Friday, 4/10) Lecture: American Idol and ritual apotheosis. Reading: Daniel J. Boorstin. The Image. “Extravagant Expectations.” Pg. 3-6. Robert Merton. On Social Structure and Science. “Social Structure and Anomie.” Pg. 132-152. Clips and Stills: American Idol, Star Search, Last Comic Standing, So You Think You Can Dance, The Contender, America’s Top Model, The Apprentice, Can You be a Porn Star?, The Gong Show, Who Wants be a Superhero?, Pussycat Dolls: Search For the New Doll, The New Gong Show, Grade School Talent Show, Balinese Dancing. Due: One page reading review of one of the readings. Lesson 12: (Friday, 4/17) Lecture: Breaking Bonaduce and ritual self-sacrifice. Reading: Richard Schickel. Intimate Strangers: The Culture of Celebrity in America. “Magic Bullets.” 1-22. 6 Kenneth Burke. A Grammar of Motives. “Dialectic of the Scapegoat.” Pg. 406-408. Clips and Stills: Breaking Bonaduce, Celebrity Rehab with Dr. Drew, The Surreal Life, Strange Love, Britney Spears at the MTV awards, Fat Actress, rituals of mortification, blood sacrifice, crucifixion. Due: One page reading review of one of the readings. Lesson 13: (Friday, 4/24) Lecture: Cops and ritual persecution. Reading: Stuart Hall. Representation: Cultural Representation and Signifying Practices. “The Spectacle of the Other.” Pg. 223-240. Rene Girard. The Scapegoat. “That Only One Man Should Die.” Pg. 112-124. Clips and Stills: Cops, World’s Wildest Police Videos, America’s Most Wanted, Dog he Bounty Hunter, Jail, DEA, Armed and Famous, Stoning, Burning at the Stake, exposure, banishment. Due: One page reading review of one of the readings. Lesson 14: (Friday, 5/1) Lecture: The Simple Life and ritual reversals. Reading: Gareth Palmer. Understanding Reality Television. “The New You: Class and Transformation in Lifestyle Television.” Pg. 173-190. Jacques Derrida. Limited Inc. “Afterword Toward an Ethic of Discussion.” Pg. 111-124. Clips and Stills: The Simple Life, Joe Millionaire, Masters and Servants, Survival of the Richest, Queer Eye For the Straight Guy, Black. White., 30 Days, Roman Saturnalia. Due: One page reading review of one of the readings. Lesson 15: (Friday, 5/8) Surprise clips! Due: Final essay. 7