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Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BROTHER OF CHRISTMAS ISLAND (AT, Mathew Kelley, 1999)

Author: Hemphill, Brooke
PhysDes: Article
Subject: BIG BROTHER [TV] (AT, 2001-)
Summary: Hemphill visits the set of the reality television show Big Brother

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings; Publicity
Subject: BIG BROTHER [TV] (AT, 2001-)
URL status: URL: 'http://file://Q:/T/BIG_BROTHER.TV.zip' Checked: 31/08/2021 1:07:20 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: PERSONALITY CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BROTHER [TV] (AT, 2001-)

Call No: 802.22 BAZ
Author: Bazalgette, Peter
Source: UK
Place: London
Publisher: Time Warner
PubDate: 2005
PhysDes: viii, 306 p. ; b&w ill. : 24cm.
Subject: REALITY TV; SMITH, PAUL; DE MOL, JOHN; PARSONS, CHARLIE; BIG BROTHER [TV] (AT, 2001-); WHO WANTS TO BE A MILLIONAIRE? [TV]; SURVIVOR [TV]
Summary: Story of how Paul Smith, Charlie Parsons and John de Mol brought 'Who wants to be a millionaire?', 'Survivor' and 'Big brother' to popular television.
Notes: Includes bibliographic references and index
ISBN: 0316729159
Language: English

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: BIG BROTHER [DAI SI HING] (HK, Kam Ka-Wai , 2018)

Call No: 761 BEA
Author: Beattie, Keith
Source: UK
Place: Houndmills, Basingstoke, Hampshire
Publisher: Palgrave Macmillan
PubDate: 2004
PhysDes: 276 p ; 21cm
Subject: DOCUMENTARY FILMS; DOCUMENTARY DRAMAS; IMPERIALISM AND THE CINEMA; CINEMA VERITE; CINEMA-DIRECT; JOURNALISTS, FILM; POPULAR CULTURE AND TV; REALITY TV; TABLOID JOURNALISM; POPULAR CULTURE AND THE CINEMA; AUSTRALIAN BROADCASTING CORPORATION; BRITISH BROADCASTING CORPORATION; COLUMBIA BROADCASTING SYSTEM; NATIONAL FILM BOARD OF CANADA; NATIONAL INDIGENOUS DOCUMENTARY FUND; NBC TELEVISION NETWORK; PUBLIC BROADCASTING SERVICE; NETWORK TEN; VIDEODISCS; GRANADA; IMAX; INDEPENDENT TELEVISION COMMISSION; INTERACTIVE TV; MUSIC TELEVISION; TELEVISION JOURNALISTS; BUERK, MICHEAL; CAVADINI, ALESSANDRO; DE ANTONIO, EMILE; DREW, ROBERT; DYLAN, BOB; FLAHERTY, ROBERT; GRIERSON, JOHN; LEACOCK, RICHARD; LORENTZ, PARE; MAYSLES, ALBERT; MAYSLES, DAVID; MCELWEE, ROSS; MOORE, MICHAEL; MORIN, EDGAR; O'ROURKE, DENNIS; PENNEBAKER, D. A.; PILGER, JOHN; ROUCH, JEAN; RUTTMAN, WALTER; TAJIRI, REA; VERTOV, DZIGA; ATOMIC CAFE, THE (US, Kevin Rafferty & Jane Loader & Pierce Rafferty, 1982); CHEQUER-BOARD [TV] (AT, 1969-1975); [FOUR] 4 CORNERS [TV] (AT, 1961-); BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); BIG BROTHER [TV] (AT, 2001-); BIGGIE AND TUPAC (US, Nick Broomfield, 2001); BILL, THE [TV] (UK, 1984-); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); BOWLING FOR COLUMBINE (US/CA, Michael Moore, 2002); BUENA VISTA SOCIAL CLUB (GG/US, Wim Wenders, 1999); CAMBODIA: YEAR ZERO (AT, John Pilger, 1989); CANE TOADS : AN UNNATURAL HISTORY (AT, Mark Lewis, 1987); CANNIBAL TOURS (AT, Dennis O'Rourke, 1987); CATHY COME HOME (UK, Ken Loach, 1966); COPS AND ROBBERSONS (US, Michael Ritchie, 1994); CROCODILE DUNDEE (AT, Peter Faiman, 1986); CUNNAMULLA (AT, Dennis O'Rourke, 2000); DEATH OF A PRINCESS [TV] (UK/US/NZ/AT/NE, Antony Thomas, 1980); DISMISSAL, THE [TV] (AT, George T. Miller & others, 1983); DON'T LOOK BACK (US, D.A. Pennebaker, 1967); GOOD WOMAN OF BANGKOK, THE (AT, Dennis O'Rourke, 1991); LIFE AND TIMES OF ROSIE THE RIVETER, THE (US, Connie Field, 1980); MABO: LIFE OF AN ISLAND MAN (AT, Trevor Graham, 1997); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); MONTEREY POP (US, D. A. Pennebaker, 1968); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); POLICE STATE (AT, Chris Noonan, 1989); SYLVANIA WATERS [TV] (AT, Brian Hill & Kate Woods, 1993); WALKING WITH DINOSAURS[TV] (UK, 1999); WAR GAME, THE (UK, Peter Watkins, 1966)
Summary: Documentary Screens is a comprehensive and critical examination of the formal features and histories of central categories of documentary film and television. Among the categories examined are autobiographical, indigenous and ethnographic documentary, compilation films, direct cinema and cinema verite and television documentary journalism. The book also considers recent so called popular factual entertainment and the future of documentary film, television and new media. [Taken from back cover].
ISBN: 033374117X
URL status: URL: 'http://-' Checked: 31/08/2021 1:11:55 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: 461.25 WHI
Author: Cheryl-Anne Whitlock
CorpAuthor: University of Wollongong - School of Creative Arts
Source: AT
Place: Wollongong, NSW
Publisher: University of Wollongong
PubDate: 2012
PhysDes: xii, 297 leaves ; 30cm
Subject: REALITY TV; REALITY TV. AUSTRALIA; BIG BROTHER [TV] (AT, 2001-); BIG BROTHER [TV] (AT, 2001-); BIG BROTHER UNCUT [TV] (AT, 2001-); AUSTRALIAN IDOL [TV] (AT, 2003-)
Summary: "The main purpose of the thesis is to determine to what extent duty of care is extended to reality television participants, to what extent elements of reality television programming are manipulated and whether those manipulations are ethical. Program participants are encouraged to be their ‘real’ and authentic selves, yet reality programming itself is often so extensively manipulated that the genre renders its own output inauthentic, thus compromising participants’ contributions and casting their performance in the same false light. Despite this, reality television continues to be promoted and marketed as representative of the real, despite evidence to the contrary and accusations that the generic term is a falsehood. This research employed a methodology combining textual analysis with a mixed method study. Input was sought from scholars and psychologists from the United States of America (US), Australia and the United Kingdom (UK). The research revealed that almost every stakeholder in the genre manipulated other stakeholders in a cannibalistic and parasitic business model. It was found that some manipulations were considered necessary, while others were even deemed ethical when situated in Kantian moral philosophy. Some manipulations were considered blatantly unethical when viewed through the same prism in the context of stakeholders using others to serve their own ends. It was also found that a range of important production processes were not standardised and this lack of standardisation allowed for the use of duplicitous production methods. The research process also uncovered that between 1994 and 2011, 20 former reality television participants reportedly committed suicide following their contribution to a reality program. The psychological effects of participation in this programming has not been measured in any meaningful way and there is a considerable push from consulting psychologists to monitor participants for a year following their filmed participation to study the psychological effects of taking part." -- FROM THESIS ABSTRACT.
Notes: Thesis -- ring bound -- includes abstract - incudes table of contents -- includes bibliography -- includes list of abbreviations - includes appendeces
Language: EN
Contents: Prologue -- Literature review -- Television in practice -- Methodology -- Results -- Case studies -- Discussion and conclusions

Call No: 76:759 REA
Author: Susan Murray (ed.); Laurie Ouellette (ed.)
Place: New York; London
Publisher: New York University Press
PubDate: 2004
PhysDes: 23 cm ; 358 p
Subject: REALITY SHOWS, TV. AUSTRALIA; DOCUMENTARIES; GAMES SHOWS; PROGRAMME GENRES; OSBOURNES, THE [TV] (US, 2002-); WOMEN AND TV; VIOLENCE ON TV; BIG BROTHER [TV] (AT, 2001-)
Summary: Beginning by unearthing its historical roots in early reality shows like Candid Camera and wending its way through An American Family, Cops and The Real World to the most recent crop of reality programs, Reality TV is the first book to address the economic, visual, cultural, and audience dimensions of reality television. The essays provide a complex and comprehensive picture of how and why this genre emerged, what it means, how it differs from earlier television programming, and how it engages societies, industries, and individuals. Topics range from the construction of televisual “reality” to the hanging face of criminal violence on TV, to issues of surveillance, taste, and social control. By spanning reality television’s origins in the late 1940s to its current overwhelming popularity, Reality TV demonstrates both the tenacity of the format and its enduring ability to speak to our changing political and social desires and anxieties. [Taken from the back cover].
ISBN: 0814756883

Call No: 76(94):759(94) MUR
Author: Murphy, Kerrie
Source: AT
Place: Milton, Qld
Publisher: John Wiley & Sons,
PubDate: 2006
PhysDes: xii, 260 p., [8] p. of plates : ill., ports. ; 24 cm
Subject: REALITY TV. AUSTRALIA; REALITY TV; PROGRAMME GENRES; HISTORY OF TV. AUSTRALIA; AUDIENCE RECEPTION; PERSONALITIES ON TV; BIG BROTHER [TV] (AT, 2001-); AUSTRALIAN IDOL [TV] (AT, 2003-); SURVIVOR [TV]
Summary: You may not realise it, but reality television has been around longer than you think. Looks at the country's love/hate relationship with reality TV. Explores our viewing habits and our favourite programs.
Notes: Includes bibliographical references and index
ISBN: 9781740311380 (ISBN 13); 1740311388 (ISBN 10)
ID2: 128

Call No: 76:759.5 ALE
Author: Sophie Alexiadis
Place: Melbourne
PubDate: 2004
PhysDes: 185 p ; 30 cm
Subject: REALITY SHOWS, TV. AUSTRALIA; BIG BROTHER [TV] (AT, 2001-); GAMES SHOWS; GAMES SHOWS. AUSTRALIA; PROGRAMME GENRES; AESTHETICS
Summary: This thesis conducts a formal analysis of the ways in which phenomenal television successes Survivor and Big Brother are situated in histories of dcumentary, reality television and game shows; and how they may indicate a broader change in television production aesthetics and viewing practices for the new millenium. Historically, the reality game shows Survivor and Big Brother can be seen as belonging to and perpetuating a form which commenced with the first television broadcasts: the game show genre. Yet, with hybridized formats incorporating elements of news, soap opera, talk shows or fly-on-the-wall documentaries, these recent shows exploit the latest television technology. How shows such as Survivor and Big Brother expand or subvert the game show genre is, therefore, central to this thesis. [Taken from thesis summary].
Notes: RMIT masters thesis

Call No: 76:759 SAL
Author: Salamon, Winnie
Source: AT
Place: Melbourne
PubDate: 2010
PhysDes: 275 leaves, bound ; 30 cm
Subject: PERSONALITIES ON TV; PERSONALITIES ON TV. AUSTRALIA; POPULAR CULTURE AND TV; POPULAR CULTURE AND TV. AUSTRALIA; REALITY SHOWS, TV. AUSTRALIA; REALITY SHOWS. AUSTRALIA; REALITY TV; REALITY TV. AUSTRALIA; RESEARCH TV; TELEVISION; AUSTRALIAN IDOL [TV] (AT, 2003-); BIG BROTHER [TV] (AT, 2001-); BIG BROTHER [TV] (AT, 2001-); BIG BROTHER [TV] (AT, 2001-); BIG BROTHER UNCUT [TV] (AT, 2001-); BIGGEST LOSER, THE [TV] (AT, 2006)
Summary: "This thesis examines first person accounts of former reality television participants who have appeared on Australian versions of Big Brother, Australian Idol and The Biggest Loser. While scholars have researched audience responses to a wide range of reality shows, little research has been conducted on the participants themselves. My qualitative research study involving 15 semi-structed one-on-one interviews with reality TV participants addresses this gap, using these accounts to explore broader issues surrounding late modern identity and subjectivity" -- ABSTRACT
Notes: Typescript; Thesis (Ph.D.)--University of Melbourne, School of Culture and Communication, 2011; Includes bibliographical references
Contents: -- acknowledgments -- introduction -- chapter one: reality tv and our collective selves: a history and review of the literature -- chapter two: qualitative research and reflexivity: interviewing through an ethnographic gaze -- chapter three: 'there's no reality in reality tv': performing the real in a 'reality flavoured' universe -- chapter four: what about me? reality tv and the self-governed citizen -- chapter five: brand new world: reality tv and the branded human -- chapter six: reality is a bitch: expectations and disappointments in reality tv -- chapter seven: hijacking the branded self: reality tv and the politics of subversion -- conclusion -- appendix 1: the interviewees -- appendix 2: interview questions -- bibliography --