The Makeover: Reality Television and Reflexive Audiences by Katherine Sender
By Katherine Sender
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A deeply own, deeply hilarious memoir from one in all America's such a lot loved Saturday evening stay comedians.
With his goofy smile, sleepy eyes, and stoner's chortle, Jim Breuer would possibly not seem to be the main introspective comic in the market. the truth that he made his mark taking part in Goat Boy on Saturday evening dwell and a recalcitrant toker within the stoner vintage part Baked doesn't support his popularity in any respect. yet in I'm no longer excessive, we meet an entire new Jim Breuer: the Jim who excursions the rustic together with his complete relatives in tow; the Jim who cares for his unwell eighty-five-year-old father; the Jim who considers himself a deeply non secular individual. I'm no longer excessive unearths the complicated guy in the back of the simpleminded character, bringing to existence real tales from a profession that has spanned riotous (yet by some means semi-righteous) a long time.
Jim dishes on every thing from the SNL years to his early adventures in movie. the forged of characters in I'm no longer excessive contains Chris Farley, Dave Chapelle, and Tracy Morgan-who all taught Jim lasting classes in regards to the high-stakes video game of popularity. He additionally chronicles the consistent function his kinfolk has performed in conserving him sincere. no matter if he's arguing along with his spouse approximately faith (Is it alright to think in God yet no longer think in church? ), attempting to look after his youngsters, or aiding his father get throughout the day along with his dignity in tact, it's transparent that a few of his top fabric comes from his top moments as a son and a dad and a husband.
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Extra resources for The Makeover: Reality Television and Reflexive Audiences
Chapter 7 turns a skeptical gaze on reflexivity in the process of audience research itself. Here I consider the ways in which audiences are aware of their participation in the research process, explicitly shaping their narratives of their viewing pleasures and life stories and critiquing interviewers’ techniques, and using the interview as an opportunity to display expertise. I conclude by considering the extent to which reflexivity may be a classed and gendered performance demanded by the research context, and the implications of this for audience research.
They naturalize class privilege by representing the candidates’ current habitus as wholly inadequate, rather than simply the habitus of a particular class. The routines of the shows—the ambush, the diagnoses of inadequacy, the use of surveillance—all contribute to a distancing from the candidates’ origins and the insistence on adopting the appearance of privilege. The effacement of class through gendered norms is particularly apparent in The Biggest Loser’s address of overweight bodies, both female and male.
In the 1950s, the social world and its commercial imperatives became the realm to which individuals should accommodate. ”10 This move toward interiority was also accompanied by a feminization of the field of self-help. Alongside the ongoing popularity of apparently gender-neutral titles such as Stephen Covey’s Seven Habits of Highly Effective People exploded a market of self-help books for women. 11 This book market has proven highly popular and has spawned an industry of related revenue-generating products: magazines, DVDs, CDs, seminars, and so on.