Reality Television

Reality television is a genre of television programming which, it is claimed, presents unscripted dramatic or humorous situations, documents actual events, and features ordinary people rather than professional actors. It could be described as a form of artificial or "heightened" documentary. Although the genre has existed in some form or another since the early years of television, the current explosion of popularity dates from around 2000.

Reality television covers a wide range of television programming formats, from game or quiz shows which resemble the frantic, often demeaning programmes produced in Japan in the 1980s and 1990s (a modern example is Gaki no tsukai), to surveillance- or voyeurism- focused productions such as Big Brother.

Critics say that the term "reality television" is somewhat of a misnomer and that such shows frequently portray a modified and highly influenced form of reality, with participants put in exotic locations or abnormal situations, sometimes coached to act in certain ways by off-screen handlers, and with events on screen manipulated through editing and other post-production techniques.

Part of reality television's appeal is due to its ability to place ordinary people in extraordinary situations. For example, on the ABC show, The Bachelor, an eligible male dates a dozen women simultaneously, travelling on extraordinary dates to scenic locales. Reality television also has the potential to turn its participants into national celebrities, outwardly in talent and performance programs such as Pop Idol, though frequently Survivor and Big Brother participants also reach some degree of celebrity.

Some commentators have said that the name "reality television" is an inaccurate description for several styles of program included in the genre. In competition-based programs such as Big Brother and Survivor, and other special-living-environment shows like The Real World, the producers design the format of the show and control the day-to-day activities and the environment, creating a completely fabricated world in which the competition plays out. Producers specifically select the participants, and use carefully designed scenarios, challenges, events, and settings to encourage particular behaviours and conflicts. Mark Burnett, creator of Survivor and other reality shows, has agreed with this assessment, and avoids the word "reality" to describe his shows; he has said, "I tell good stories. It really is not reality TV. It really is unscripted drama."

Reality Television

Reality television is a genre of television programming which, it is claimed, presents unscripted dramatic or humorous situations, documents actual events, and features ordinary people rather than professional actors. It could be described as a form of artificial or "heightened" documentary. Although the genre has existed in some form or another since the early years of television, the current explosion of popularity dates from around 2000.

Reality television covers a wide range of television programming formats, from game or quiz shows which resemble the frantic, often demeaning programmes produced in Japan in the 1980s and 1990s (a modern example is Gaki no tsukai), to surveillance- or voyeurism- focused productions such as Big Brother.

Critics say that the term "reality television" is somewhat of a misnomer and that such shows frequently portray a modified and highly influenced form of reality, with participants put in exotic locations or abnormal situations, sometimes coached to act in certain ways by off-screen handlers, and with events on screen manipulated through editing and other post-production techniques.

Part of reality television's appeal is due to its ability to place ordinary people in extraordinary situations. For example, on the ABC show, The Bachelor, an eligible male dates a dozen women simultaneously, travelling on extraordinary dates to scenic locales. Reality television also has the potential to turn its participants into national celebrities, outwardly in talent and performance programs such as Pop Idol, though frequently Survivor and Big Brother participants also reach some degree of celebrity.

Some commentators have said that the name "reality television" is an inaccurate description for several styles of program included in the genre. In competition-based programs such as Big Brother and Survivor, and other special-living-environment shows like The Real World, the producers design the format of the show and control the day-to-day activities and the environment, creating a completely fabricated world in which the competition plays out. Producers specifically select the participants, and use carefully designed scenarios, challenges, events, and settings to encourage particular behaviours and conflicts. Mark Burnett, creator of Survivor and other reality shows, has agreed with this assessment, and avoids the word "reality" to describe his shows; he has said, "I tell good stories. It really is not reality TV. It really is unscripted drama."

Reality Television

Reality television is a genre of television programming which, it is claimed, presents unscripted dramatic or humorous situations, documents actual events, and features ordinary people rather than professional actors. It could be described as a form of artificial or "heightened" documentary. Although the genre has existed in some form or another since the early years of television, the current explosion of popularity dates from around 2000.

Reality television covers a wide range of television programming formats, from game or quiz shows which resemble the frantic, often demeaning programmes produced in Japan in the 1980s and 1990s (a modern example is Gaki no tsukai), to surveillance- or voyeurism- focused productions such as Big Brother.

Critics say that the term "reality television" is somewhat of a misnomer and that such shows frequently portray a modified and highly influenced form of reality, with participants put in exotic locations or abnormal situations, sometimes coached to act in certain ways by off-screen handlers, and with events on screen manipulated through editing and other post-production techniques.

Part of reality television's appeal is due to its ability to place ordinary people in extraordinary situations. For example, on the ABC show, The Bachelor, an eligible male dates a dozen women simultaneously, travelling on extraordinary dates to scenic locales. Reality television also has the potential to turn its participants into national celebrities, outwardly in talent and performance programs such as Pop Idol, though frequently Survivor and Big Brother participants also reach some degree of celebrity.

Some commentators have said that the name "reality television" is an inaccurate description for several styles of program included in the genre. In competition-based programs such as Big Brother and Survivor, and other special-living-environment shows like The Real World, the producers design the format of the show and control the day-to-day activities and the environment, creating a completely fabricated world in which the competition plays out. Producers specifically select the participants, and use carefully designed scenarios, challenges, events, and settings to encourage particular behaviours and conflicts. Mark Burnett, creator of Survivor and other reality shows, has agreed with this assessment, and avoids the word "reality" to describe his shows; he has said, "I tell good stories. It really is not reality TV. It really is unscripted drama."

Reality Television

Reality television is a genre of television programming which, it is claimed, presents unscripted dramatic or humorous situations, documents actual events, and features ordinary people rather than professional actors. It could be described as a form of artificial or "heightened" documentary. Although the genre has existed in some form or another since the early years of television, the current explosion of popularity dates from around 2000.

Reality television covers a wide range of television programming formats, from game or quiz shows which resemble the frantic, often demeaning programmes produced in Japan in the 1980s and 1990s (a modern example is Gaki no tsukai), to surveillance- or voyeurism- focused productions such as Big Brother.

Critics say that the term "reality television" is somewhat of a misnomer and that such shows frequently portray a modified and highly influenced form of reality, with participants put in exotic locations or abnormal situations, sometimes coached to act in certain ways by off-screen handlers, and with events on screen manipulated through editing and other post-production techniques.

Part of reality television's appeal is due to its ability to place ordinary people in extraordinary situations. For example, on the ABC show, The Bachelor, an eligible male dates a dozen women simultaneously, travelling on extraordinary dates to scenic locales. Reality television also has the potential to turn its participants into national celebrities, outwardly in talent and performance programs such as Pop Idol, though frequently Survivor and Big Brother participants also reach some degree of celebrity.

Some commentators have said that the name "reality television" is an inaccurate description for several styles of program included in the genre. In competition-based programs such as Big Brother and Survivor, and other special-living-environment shows like The Real World, the producers design the format of the show and control the day-to-day activities and the environment, creating a completely fabricated world in which the competition plays out. Producers specifically select the participants, and use carefully designed scenarios, challenges, events, and settings to encourage particular behaviours and conflicts. Mark Burnett, creator of Survivor and other reality shows, has agreed with this assessment, and avoids the word "reality" to describe his shows; he has said, "I tell good stories. It really is not reality TV. It really is unscripted drama."

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TEXTO I

CUIDADO: “por conta de” é o novo “a nível de”

O uso exagerado de uma locução que serve para qualquer situação é um miasma que pode ser tomado como evidência da diminuição da riqueza vocabular da língua portuguesa

Por: Sérgio Rodrigues

Disponível em: http://veja.abril.com.br/noticia/educacao/cuidado-%E2%80%9Cpor-contade%E2%80%9D-e-o-novo-%E2%80%9Ca-nivel-de%E2%80%9D Acesso em 20/03/2012

A locução prepositiva “por conta de” não é um novo animal na floresta da língua. Faz alguns anos que professores de português, conselheiros gramaticais e outros profissionais encarregados de zelar por uma versão limpa e correta do português falado no Brasil vêm alertando o público sobre seus riscos. Não adiantou. A novidade que se anuncia aqui é que esse modismo besta está vencendo o jogo - e de goleada. Se “a nível de” é uma praga que, de tão ridicularizada, entrou em declínio, “por conta de” está em alta. Quem separar uns poucos minutos para folhear com atenção revistas e jornais, navegar na internet ou ouvir TV e rádio - sobretudo este - encontrará uma impressionante variedade de frases sintaticamente mancas, construções rebarbativas e outras bobagens com “por conta de” no meio.

Uma complicação adicional é que nem sempre essa locução agride a gramática e o bom-senso, embora o desgaste provocado pela repetição excessiva torne cada vez mais difícil acomodá-la num texto de estilo apurado. Como costuma ocorrer com modismos linguísticos bem-sucedidos demais, os casos mais graves são aqueles em que a expressão fetichista, julgando-se todo-poderosa, transborda do nicho gramatical que lhe foi reservado e passa a atuar como predadora de outras espécies ao seu redor. Mais do que empobrecer o vocabulário em circulação na sociedade, esse espalhamento instaura um vale-tudo em que a muleta linguística faz o papel de curinga chamado a remendar às pressas raciocínios esfarrapados. É o momento em que a inteligência coletiva paga a conta.

Não se trata de exagero. Talvez os danos fossem menores, computados apenas no placar da elegância, se os ataques se restringissem às preposições simples e curtas - como “com”, “contra”, “por” e “de” - que são as primeiras vítimas de “por conta de”:

• • “Corintianos fazem piada por conta da derrota do Santos” (com);
• • “Atriz Y. está deprimida por conta da separação” (com);
• • “Moradores protestam por conta da situação da estrada” (contra);
• • “Escritor X. é processado por conta de plágio” (por);
• • “Morreu por conta de câncer” (de).

Nos casos acima, a locução do momento comete um crime típico do bacharelismo brasileiro, a enrolação palavrosa — a mesma que já levou muita gente a acreditar que soava sofisticada ao proferir tolices como “passar mal a nível de estômago”. Diante do que vem depois, porém, isso pode ser considerado secundário. Fortalecido pelas primeiras vitórias, “por conta de” logo se aventura em regiões distantes de seu habitat, passando a exterminar e substituir espécies linguísticas com as quais não tem a mais pálida semelhança. É o caso da preposição “sobre”: “O craque analisou a equipe adversária, mas por conta da queda do treinador preferiu não fazer comentários”.

E de repente atingimos o ponto culminante na escala da falta de noção: “por conta de” aparece ocupando o lugar de um advérbio como “apesar”, numa construção concessiva como esta: “Mesmo por conta da epidemia de dengue, as pessoas continuam deixando recipientes com água no quintal”.

Onde estarão errando os opositores de “por conta de” para ser ignorados de tal forma, inclusive por falantes que, para todos os efeitos, se incluem entre os praticantes da variedade culta da língua? Curiosamente, seu equívoco parece residir no excesso de rigor, e não na leniência — extremos que, como bem sabe quem educa ou já educou filhos, podem produzir resultados igualmente negativos. Ao condenarem indiscriminadamente como erro o uso dessa locução prepositiva com o sentido causal que dicionários de qualidade como Houaiss e Aulete (embora não o Aurélio) já reconhecem como um brasileirismo legítimo, tais críticos abrem o flanco a uma desmoralizante acusação de ultraconservadorismo. Qualquer um que, a essa altura dos estudos linguísticos, seja visto como defensor de um impossível imobilismo de idiomas vivos é excluído do jogo com facilidade.

O fato é que o sentido causal de “por conta de” está além da polêmica. Sua origem clara — e castiça — deve ser buscada em “à conta de”, locução prepositiva à prova de controvérsia, embora pouco usada hoje. “À conta de” quer dizer “por causa de, a pretexto de”, informa o Aurélio, dando como exemplo uma frase de frei Vicente do Salvador (1564-1639), autor do clássico História do Brasil: “...à conta de defenderem a jurisdição de el-rei, totalmente extinguiam a da Igreja”. Para transformar “à conta de” em “por conta de”, basta uma troca de preposição tão simples quanto a que levou o “para” do início desta frase a suplantar “por” como indicador de efeito a atingir, numa das evoluções marcantes do português antigo para o moderno analisadas por Said Ali em seus estudos pioneiros de gramática histórica.

No entanto, isso passa longe de esgotar a questão. Enquanto a expressão “por conta de” puder ser trocada por “em razão de”, “em decorrência de” ou “devido a” (que também já foi malvista, mas hoje goza de boa reputação), estaremos diante de uma defensável escolha de estilo, ainda que irreverente se observada por um prisma tradicional. Mas quando, numa língua de cultura como o português, filha legítima do latim, uma peça polivalente qualquer começa a substituir grosseiramente mecanismos programados para estabelecer entre palavras uma malha intrincada de relações lógicas, espaciais e temporais, como são as preposições, vemo-nos no terreno daquele círculo vicioso para o qual o escritor inglês George Orwell chamava atenção ao afirmar que, “se o pensamento corrompe a linguagem, a linguagem também pode corromper o pensamento”. A epidemia do “por conta de” é um sintoma da falência educacional brasileira.