In shifting emphasis from history to historicity, I demonstrate how gamedocs must continuously update and reinvent its microcelebrities in order to sustain their own histories in a fast-paced convergent mediascape. Critical Studies in Television: The International Journal of Television Studies.

Su Holmes. Renee Middlemost. This article maps the career trajectory of Season 9 winner Sasha Velour to determine how she distinguishes herself from previous champions. Since winning Season 9, Velour has been an outspoken advocate for the transgender community and the need to diversify drag, in addition to drawing attention from the mainstream fashion industry for her art and style.

Natalia Quintas-Froufe. Revista Comunicar , Ana González Neira , Natalia Quintas-Froufe. The combination of social networks, second screens and TV has given rise to a new relationship between viewers and their televisions, and the traditional roles in the communication paradigm have been altered irrevocably.

Social television has spawned the social audience, a fragmentation of the real audience based on how they interact with social networks. This study is an attempt to analyze the factors which contribute to the success or failure of programs with a similar format in relation to their social audience.

To do so, the study took as its subject three talent shows launched on the principal mainstream TV channels in Spain in September The study looked at the impact of these shows on the Twitter network, employing a control form [and developing a categorization and coding system for the analysis with the aim of collating all the data collected].

The results showed that the success of the shows was influenced by the activity in the social network accounts of the presenters and the judges. The conclusions reached in this analysis of the Spanish audience could be used as a development model for social audiences in other countries where social television is not so widespread.

Anastasia Veneti. Yngvar Kjus. Ling Yang. Elisabeth Klaus. Mercè Oliva. Belén Monclús. Adapting Idols: Authenticity, Identity and Performance in a Global Television Format. Koos Zwaan. Adapting Idols: Authenticity, Identity and Performance in a Global Television Format edited by Joost de Bruin and Koos Zwaan.

OLADELE S E G U N oladelejerryyahoocom. Oliver Perez. Guy Redden. Heather Mendick. Jamie J. José Luis Blas Arroyo.

Óliver Pérez. Laura H C Robinson. An International Journal of Applied Lingustics. Begoña Lasa-Alvarez. Rosya Shamshudeen. Renan Limjuco. Editor Jarssh. Gunn Enli. Jamie Hakim. Cultural Oxymora: The Israeli Idol Negotiates Meanings and Readings. Television and New Media. Motti Neiger. Sandra Pitcher.

Mediactive Celebrity Issue 2 Spring edited by J. Heather Nunn , Anita Biressi. Jo Littler. Charles Fairchild. Revista Comunicar , Natalia Quintas-Froufe , Ana González Neira.

Rosalyn George. Pallabi Chakravorty. Lieve Gies. Sanchit Thapar. Alec Charles. Amanda LeBlanc. Gabriele Cosentino. Jian Xu. Jonathan Culpeper. Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link.

Need an account? Click here to sign up. Download Free PDF. Fame and Proffessional Success in «Operación Triunfo» and «Fama ¡a bailar! Revista Comunicar Mercè Oliva. See Full PDF Download PDF.

Related Papers. Revista Comunicar Fama y éxito profesional en «Operación Triunfo» y «Fama ¡a bailar! Download Free PDF View PDF.

Star image, celebrity reality television and the fame cycle. Celebrity Studies Star image, celebrity reality television and the fame cycle. Celebrity Studies. Celebrity Studies Rewriting 'herstory': Sasha Velour's drag as art and activism.

Active Audiences: Social Audience Participation in Television Audiencias activas: Participación de la audiencia social en la televisión. Comunicar Active Audiences: Social Audience Participation in Television. A Postmodern Reading of Greek Reality TV in Contemporary Television Series: Narrative Structures and Audience Perception.

In order to fulfil the objectives of this paper, these programmes were analysed using a methodology that combines narrative semiotics, audiovisual style and narrative form analysis, as well as ludology and game design the- ory.

The programmes depict modern society as meritocratic and evidence the impor- tance of image in the modern workplace. RESUMEN El presente artículo tiene como objetivo analizar los valores vehiculados por «Operación Triunfo» y «Fama ¡a bai- lar! Su relevancia como objeto de estudio reside en su popularidad especialmente entre los jóvenes y su carácter prescriptivo transmiten modelos de vida a partir de la identificación de problemas y la propuesta de objetivos y solu- ciones.

El análisis revela que en estos programas se representan el éxito profesional como gratificante a nivel personal y socio- económico, aunque también muy difícil de conseguir.

Tele-realidad, entretenimiento, estudios semiológicos, narrativa audiovisual, lenguaje audiovisual, reglas de juego, valores, fama.

Mercè Oliva is a Visiting Lecturer at the Department of Communication of the Universitat Pompeu Fabra in Barcelona Spain merce. oliva upf. Comunicar, n. XX, , Scientific Journal of Media Education; ISSN: ; pages www.

Introduction: study object and objectives conveys Cáceres, ; Sampedro, , two analy- Comunicar, 39, XX, «Operación Triunfo» debuted in Spain in , ses that are similar to the one proposed here.

Howe- setting a new trend in «reality game shows»1 in this ver, not very much theoretical attention has been paid country. Like «Pop Idol» it is a contest in which young Holmes a , Ouellette and Hay and people who are unknown to the public and who can Redden , nor has the programme been related sing well compete with each other over several weeks to other similar formats such as «Fama».

for a recording contract, and in which the audience In this article we bring together the main research after a pre-selection process by a panel of judges results and conclusions of a doctoral thesis that was chooses which contestants continue through each presented at the Department of Communication of the round until a winner is finally chosen.

Like in «Big Universitat Pompeu Fabra in September Oliva, Brother», the contestants live together in a closed, iso- , which analysed «Cambio Radical», «Desnu- lated, purpose-built house full of cameras while they das», «Esta casa era una ruina», «Supernanny», «Her- receive classes; the programme is organised into weekly mano Mayor», «Ajuste de Cuentas», «Operación shows in which the contestants are nominated or evic- Triunfo» and «Fama ¡a bailar!

This article summari- ted, with daily summaries of the «everyday life» of the ses the main results and conclusions of the chapters participants in the academy; and the content expands devoted to the last two formats. over different time slots and media following the logic of the «killer format» Pérez Ornia, The «Circus» Cuatro, and «El aprendiz» LaSexta, text itself, regardless of the personal readings that can Of these, only «Fama ¡a bailar!

Therefore, seasons. The ly is important, we cannot forget the responsibility the programme is based on the «Operación Triunfo» for- text has in relation to the values conveyed and en- mula but includes some modifications: although it is an dorsed.

individual contest, the contestants compete in pairs; To carry out this study we have developed an new contestants enter the programme after the weekly analysis protocol2 that combines two consolidated evictions; the teachers are also judges; the programme perspectives of textual analysis that are not usually is broadcast daily, including performances, nomina- found together in the same study: narrative semiotics tions and evictions; and the weekly shows only begin and the study of the narrative form and audiovisual after a few weeks.

These programmes have had a strong impact on Narrative semiotics consists of analysing the story the Spanish television panorama and the social imagi- structure.

First, we analysed which narrative roles the nary, especially in relation to the redefinition of fame characters applicants, contestants, teachers, judges and the way of understanding work.

The aim of the and viewers play in the story. The roles identified are: present article, therefore, is to analyse the values con- subject of doing hero , subject of state benefits from veyed by «Operación Triunfo» henceforth «OT» the actions of the subject of doing , object of value and «Fama ¡a bailar!

tract sets and receives a mission respectively , oppo- In Spain «OT» has been analysed from different nent hinders the actions of the subject of doing , hel- perspectives. Studies have been carried out on its inter- per helps the subject of doing , rival wants the same activity and the role the audience plays Selva, object of value as the subject of doing , sender and 04; Castañares, ; Fouce, , its multimedia receiver of sanction gives and receives recognition or expansion strategy Cebrián, and the values it punishment respectively.

Zimmerman, As Ruiz Collantes shows in his stu- as the design of the contest difficulty. dies, systematically assigning certain roles and states to cer- tain social groups has conse- quences in relation to how Both «OT» and «Fama» are complex and contradictory these collectives are represen- ted.

And on the other hand, tat, physical appearance and they reveal the mechanisms involved in the manufacture the spaces the programmes are set in structure and design of of fame. We completed the semio-narrative analysis by This analysis protocol was applied to a corpus studying the narrative form and audiovisual style with made up of audition episodes, daily programmes and the aim of identifying the meaning that emerges from weekly shows of «OT » and «OT » «how» the story is told, how the text guides the view- Telecinco 4 and the first season of «Fama» Cuatro 5.

The audiovisual language has been 3. Results analysed in detail types of shots, camera angles and This section summarises the main results of the movements, sound and music, editing, computer gra- analysis of «OT» and «Fama» using the methodology phics, lighting , as well as the narrative form: plot orga- outlined in the previous section.

For reasons of clarity, nisation narrative acts, climaxes, turning points , time the section has been arranged thematically, relating the order, duration and frequency , point of view how results of the semio-narrative, formal narrative form the information is distributed between the viewer and and audiovisual style and ludic analyses.

the characters and the presence of explicit narrators and narratees receivers of the narration present in the 3. Professional success as the object of value text, for example, the on set audience. The analysis of In «OT» and «Fama» professional success is the the narrative form and audiovisual style was based on object of value main OV pursued by the participants the contributions made by Bordwell and Thompson and prescribed to the viewers.

Significantly, these pro- ; Gaudreault and Jost ; Kozloff ; grammes equate professional success with fame, that Casetti and Di Chio ; and Aranda and is, public recognition and renown.

It is also represen- De Felipe ted as a form of personal fulfilment and as a way of In addition, given that «OT» and «Fama» are con- rising socially and economically. Methods prescribed for obtaining the object of Comunicar, 39, XX, tions» able to give the contestants the necessary com- value petencies for achieving it.

Consequently, participating Once the contestants have been selected, their in the contest and winning it are the instrumental transformation process begins. This is carried out in objects of value. These are the two «solutions» pres- first. This is made clear in the auditions, in which it is cribed by these programmes for achieving professional shown that for the applicants getting onto the pro- success.

gramme and winning it is in itself a dream. In the audition episodes, the long queues, the 3. Training and education «OT» and «Fama» are not just simple talent contests; their objective is to transform the In both programmes analysed, success does not only depend participants through training and education.

Significantly, on talent and effort, it is also a question of appearances both formats use a school-rela- ted vocabulary to name the physical appearance and the way of dressing and speaking. spaces and the activities perfor- Therefore, we can relate «OT» and «Fama» to the concept med by the participants.

Below we outline the values that of «phantasmagoric labour» Sternberg, , that is, the guide this dimension of the programmes. importance of appearances in the current work environment Firstly, effort and sacrifice. and the need to apply «branding» strategies to individuals.

The extreme case ting and the diversity of applicants and contestants in is «Fama», in which any room can become a rehearsal relation to social class, education, habitat, sex, and, to area, which shows how the professional sphere a lesser degree, age6, conveys the idea of democratic expands and colonises the personal space.

In addition, and universal access to the opportunity of obtaining the contestants have to bear a large work load espe- the instrumental and main OV.

However, only a cially in «Fama» , which is emphasised in the daily small number of applicants can become contestants summaries thanks to their serial structure and a plot and only one of them will win the contest.

Therefore, centred on classes and rehearsals. Finally, the isolation while everyone has the opportunity, only the «best» the participants are subjected to during the contest sug- can obtain the OV.

gests the sacrifice of the personal and family life in The audition episodes also legitimate the main, favour of the quest for success. and especially, the instrumental OV and load them Secondly, constant pressure.

This is often dis- with positive connotations, which also helps to legiti- guised as the expectations the teachers place on the mate the actual programme.

In order to do this the participants, so that disappointment is usually invoked process for selecting the contestants is based on a when a contestant does not reach the required level.

At the motion, internal focalisation with respect to the partici- same time this pressure provokes emotional responses pants to generate intrigue, superimposed texts and in the participants shown and emphasised by the narrative dilation.

which they also do when the contestants cross the Finally, discipline is another characteristic element. without questioning them, not even in private given The weekly shows and live performances show that they are under constant video-surveillance and are the unique and extraordinary qualities of the contes- also evaluated for the attitude they show in their «pri- tants, but «OT» and «Fama» also include contents that vate life».

Both pro- dialectic on which the discourses on stars are traditio- grammes impose on the contestants which pieces they nally built Dyer, ; Marshall, will interpret, the attitude they should adopt on stage, how they should move and how they should dress.

In this sense, it is the subject of doing , while the main narrative pro- significant that the aesthetic conventions of «Big gramme of the story in which the contestants, trans- Brother» are used to emphasise the authenticity of the formed into heroes, obtain the main OV is omitted.

Both in «Fama» in the diary mental OV winning the contest and the main OV room and «OT» in the videoblogs on the program- becoming a star.

them as stars9 celebritising them. Finally, another way of «celebritising» the contes- First, this means portraying them as extraordinary tants is to construct the model viewer as a fan.

Firstly, people worthy of admiration. For example, in «OT» this is done through the game rules: the voting is in this is done in the weekly shows, in which the contes- favour of the contestants to save them, not to evict tants demonstrate their remarkable singing abilities that them , and therefore appeals to their followers this differentiate them from ordinary people.

Second, tion are also exceptional: dressed up and made up like the structure of the programmes, with contents that stars the contestants perform in a space designed to spread over different time slots and the Web, cons- mimic a pop concert, with an elaborate and spectacu- tructs a model viewer that gathers information to cre- lar set design and visual aesthetics.

This reference is ate a consistent identity of the two sides of the contes- not trivial, given that concerts are a ritual in which fans tant on and off the stage. Finally, the repercussions can show their commitment to the singer they admire, the programmes have in the outside world are inclu- and the singer can establish a more direct and emotio- ded in the text, showing images of fans that go to CD nal relationship with their fans Marshall, signings and performances, yelling, holding up signs Significantly, below the stage on which the con- and wearing T-shirts with supportive slogans.

In this testants sing there is a large pit full of spectators stan- way the programmes try to go beyond the limits of the ding up. Thanks to this stage design, the contestants pure textuality on which the contestants are «celebriti- are shown acting for an enthralled audience, who sed».

The formula for success represented as a problem that needs to be solved. Consequently, disagreements are cons- ; Turner, Although the traditional tantly arising between them.

However, «Fama» should be established between these is less obvious, and «OT» are based on this conventional definition especially in relation to the need to be competent at and this is, perhaps, one of the reasons behind the the vocal level and have the «x factor» necessary for great acceptance of this format Cáceres, generating fans which is not necessarily linked to the The fact that the reality TV shows analysed adopt first.

It is through the game rules that «OT» tips the the traditional definition of fame leads us to identify balance in favour of this second element: although two more values. First, the representation of a merito- mechanisms are established so that the judges and tea- cratic society, in which there is an equal access to chers can safeguard talent, the rules give more power opportunities but an unequal result in function of to the audience, for example, through the figure of the talent and effort.

A Marshall, Second and linked to the good example of this is Virginia, who won «OT » meritocracy , stars are paradigms of the individualism after overcoming numerous nominations and the expli- on which capitalist societies are based: they are indivi- cit opposition of the teachers and some of the judges.

duals with power and freedom who have arrived to However, in «Fama» there is an attempt to pre- where their talent and work has taken them indepen- sent talent and popularity as causal: popularity is a dently of their origins.

direct consequence of talent and work. In this pro- However, in «OT» and «Fama» this emphasis on gramme the teachers are also judges and have a lot of meritocracy and individualism is made compatible power they can nominate and evict contestants , with the subordination of the participants: they have while the viewers vote to evict contestants, which little power within the plot remember that they are makes it easier for the worst dancers to be eliminated.

still not «heroes» and a strong inequality is established Only in the last week is all the power given to the between them and the other characters of the pro- audience to choose their favourite dancer.

However, gramme teachers, judges and viewers. In conclusion, this does not prevent disruptions and conflicts from ari- these programmes do not value the individual entre- sing within the programme; an example is Paula and preneur as much as the «good worker» who is capable Jandro, who reached the final thanks to the audience of adapting without complaining to the demands of a vote although their dance technique was not as good changing work environment, which calls for constant as the rest of the finalists.

Therefore, although the programmes promote 4. Discussion the idea that each participant needs the «x factor» In «OT» and «Fama» professional success is which marks them out from the rest, their objective is directly related to public recognition, and anonymity is to model the contestants.

that could compensate for the lack of these. Finally, In fact, both «OT» and «Fama» are complex and they define obedience and adaptability as desirable contradictory texts. On one hand, they convey and qualities in the workplace, while at the same time pro- legitimise a naïve definition of fame: stars as unique moting the pursuit of uniqueness and individuality.

individuals, chosen by the public for their talent and effort. And on the other hand, they reveal the mecha- Notes 1 Reality TV shows that combine the features of documentaries, TV nisms involved in the manufacture of fame following series and contests. The subgenre was born at the end of the 90s the current trend in the media identified by Gamson, with «Expedition: Robinson» Sweden, SVT, and «Big Thus, these programmes allow a dis- Brother» Netherlands, Veronica, tanced reading of fame and its generation process and, 2 The analysis protocol can be consulted in Oliva at the same time, they can create stars.

Obviously, an empirical viewer could interpret a programmes suggest that to be successful you must text in different ways to the one proposed, but this type of interpre- devote all your energy and sacrifice your personal life. tation is not considered in the present study. Although the empha- daily summaries of the third week The sis on effort and discipline can be viewed positively, rest of the weekly shows of the two editions have also been viewed.

we can also identify a danger: the approach to work 5 Audition episodes: Madrid Daily programmes: week Weekly shows: show labour without compensation» Hendershot, 2 the audition episodes include adult applicants.

question of appearances physical appearance and the 8 See Cáceres , an article that analyses «OT» as the story of way of dressing and speaking.

Therefore, we can a «quest». by the long path the contestants in the auditions need to follow, The two programmes analysed go into this aspect in which portrays the story of the journey from anonymity invisibility to popularity visibility. depth: the participants are stars because they look like 11 The legitimation of authority and discipline is also a fundamental stars.

This emphasis on the construction of a marketa- aspect of other contemporary reality TV shows like «Supernanny», ble image is directly related to the adaptability of the «Hermano Mayor», «Ajuste de Cuentas» and «Cambio Radical». place more easily.

In summary, «OT» and «Fama» reveal some of the References tensions involved in the current work market. En este trayecto, la pirotecnia jugó un papel importante en la evolución de las costumbres, lo que permite entender algunos de los aspectos del sentir festivo en la cultura popular que han identificado a la sociedad mexicana.

El despliegue de luces constituía el centro de atención de la fiesta popular e implicaba gastos excesivos en los que no reparaban los organizadores. Tal aspecto fue criticado por Max Weber, quien señaló que a diferencia de la ética protestante, la católica fomentó una cultura del despilfarro.

Sin embargo, la autora explora una parte de la práctica cultural que es el concepto de regocijo y el valor que tiene exaltar la exuberancia de la festividad en ambientes de pobreza. Podríamos señalar que estas emociones pocas veces han sido historiadas y analizadas a la luz de otros conceptos, por lo que al destacar sus motivaciones adquieren una dimensión que pocos autores aceptan filosóficamente.

En el gozo es, entonces, cuando los objetos adquieren un sentido distinto y los valores se imponen por encima de la parte material. Las raíces de este comportamiento se entienden a partir de la revisión que la autora hace a través del tiempo, enmarcando las diferentes funciones de la fiesta y de la forma de celebrarla.

Los motivos de los festejos y los resultados del arte efímero, que al estallar en luces multicolores, en un instante, embelesan al espectador y lo motivan a pensar que su contribución, para tal efecto, bien valió la pena, son uno de los motores que han fortalecido los cimientos del arte de la pirotecnia.

El libro está dividido en trece capítulos y un epílogo, en los que van aflorando las luces para iluminar el ambiente historiado.

Fue concebido como una obra en eclosión donde convergen tradiciones originadas en el mundo antiguo, con los aportes de las diferentes civilizaciones, para culminar en la historia de la pirotecnia en México a partir del contacto con los españoles hasta el siglo XIX.

Por él transita un conjunto de prácticas que fue incorporando la cohetería a la vida popular. Destacaremos ciertas ideas extraídas de algunos de los trece apartados, invitando al lector a continuar por ese viaje de regocijo no sin antes señalar que una obra de estas características, escrita con rigor, posee el soporte documental que abre líneas de investigación y sugiere abordar la fiesta desde diferentes ángulos.

A ello se agrega un extra que es la amenidad en la redacción, pues escribir sobre dicha festividad sin diversión no tiene sentido, y la lectura de este libro nos deja un grato sabor de boca al concluirla. Es de conocimiento general que el origen de la pólvora se atribuye a los chinos, pero es poco conocido su trayecto hacia Europa y el papel del mundo árabe.

Vázquez Mantecón señala la ruta del explosivo a través de Asia Menor, llegando a su perfeccionamiento en el mundo clásico y después resguardada la técnica por los árabes, quienes la trasladaron a España y la aplicaron en los primeros combates, uno de ellos durante el cerco de Algeciras.

Los árabes la utilizaron para conmemorar sus festejos, formando parte del bagaje cultural introducido en España. Señala la escritora que la segunda etapa de la alquimia, que superó los conocimientos de los griegos, la encontramos en el mundo musulmán en los textos de Jabir Ibn Hayyan, utilizados por alquimistas famosos como Roger Bacon y Ramón Llull.

De ahí pasó a Italia donde adquirió carta de ciudadanía, popularizándose en las girándulas , juegos de luces mejorados por Miguel Ángel Buontalentti, conocido como Bernardo delle Girándole. El trabajo de los maestros alquimistas fue conocido en Europa y la pirotecnia italiana llegó a las fiestas cortesanas en Versalles, donde maravilló a propios y extraños con la imaginería que construyó.

La pólvora revolucionó las tácticas de guerra pero también el ambiente festivo. La pirotecnia en la guerra y en las festividades fueron de la mano. Vázquez Mantecón destaca una serie de puntos en común en las acciones y anota que, además del empleo de la pólvora para las armas, su uso en las festividades sirvió para reforzar la forma de hacer las conmemoraciones, pues la quema de cohetes fue una metáfora de la guerra.

Celebraciones como las naumaquias combates navales y la morisma reavivaron en la diversión popular las acciones bélicas de los escenarios, culminando en juegos de luces; eran recursos didácticos para reforzar en el imaginario popular los eventos históricos.

Pero además de estas escenificaciones, la pirotecnia fue construyendo ambientes con fines políticos y de diversión. Cámaras, salvas de cohetes y quema de artificios fueron frecuentes en los festejos religiosos y civiles.

Los estruendos sirvieron para romper la rutina, pero también para recrear en la memoria los triunfos de uno u otro bando. En este sentido, dos acciones antagónicas como la guerra y la fiesta se conjugaron y fueron construyendo un escenario de regocijo que alimentó el imaginario popular.

Los ambientes festivos fomentaron la imaginación y establecieron una relación con los prodigios naturales. La bóveda celeste sirvió de inspiración a los artífices de la pirotecnia para elaborar sus obras.

Vázquez Mantecón señala que las figuras recrearon los fenómenos naturales para ofrecer el despliegue de luces durante la noche y apunta que la pirotecnia no es otra cosa que la emulación de un cielo diurno y nocturno mirado a simple vista. Para corroborar dichas inspiraciones retoma varias opiniones de autores de época que exaltaron los juegos de luces y se valieron de metáforas tomando como referencia los fenómenos naturales.

Los manuales instruían a sus lectores sobre el modo de fabricar todo tipo de soles, lunas, estrellas y cometas, que se constituyeron en las figuras protagónicas. En el siglo XIX hubo innovaciones en la elaboración de los fuegos artificiales.

Se desarrollaron varias figuras producto de la imaginación. En México, por ejemplo, Genaro Vergara creó en el sol endiablado, que consistía en ruedas giratorias. Los informes sobre los espectáculos bautizaron los efectos recurriendo a lo que estaba a su vista y buscaron un paralelo con la naturaleza; las luces parecían bandadas de luciérnagas, girones de estrellas o fragmentos de sol.

La importancia del fuego en las culturas y la forma en que lo divinizaron y encontraron su explicación en la naturaleza, se remonta a prácticas ancestrales. Como lo señala Vázquez Mantecón, las nociones e importancia de los fuegos sagrados con las hogueras prendidas en el día de San Juan subsisten todavía en Europa, como puede apreciarse en las celebraciones en Portugal y en Cataluña, España; un ejemplo de esta costumbre lo tenemos en la célebre canción de Joan Manuel Serrat titulada La Fiesta.

En el centro de México, los pueblos mesoamericanos daban un lugar importante al fuego y, en sus mitos, uno de los soles estaba relacionado con este elemento y el tlacuache, el Prometeo mesoamericano lo había robado a los dioses, fijando el mito con un sello particular en la bóveda celeste, pues el mamalhuaztli , instrumento para su elaboración, se asociaba con una constelación del Cinturón de Orión.

El fuego tenía en general una función en los ritos de purificación y en los fuegos artificiales no hubo excepción. Tales visiones se plasmaron en el arte de la orfebrería. Este trayecto le sirve de pretexto a la autora para introducir el trabajo de los artífices, demostrando cómo a través del lenguaje surgieron términos que fueron definiendo las actividades.

En ese sentido, los artífices de la pirotecnia llegaron a dominar el arte de la cohetería. Explica, Vázquez Mantecón, tres términos que dan cuenta de ese trabajo peculiar: arte, artificio y artificial.

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Para corroborar dichas inspiraciones retoma varias opiniones de autores de época que exaltaron los juegos de luces y se valieron de metáforas tomando como referencia los fenómenos naturales.

Los manuales instruían a sus lectores sobre el modo de fabricar todo tipo de soles, lunas, estrellas y cometas, que se constituyeron en las figuras protagónicas. En el siglo XIX hubo innovaciones en la elaboración de los fuegos artificiales.

Se desarrollaron varias figuras producto de la imaginación. En México, por ejemplo, Genaro Vergara creó en el sol endiablado, que consistía en ruedas giratorias. Los informes sobre los espectáculos bautizaron los efectos recurriendo a lo que estaba a su vista y buscaron un paralelo con la naturaleza; las luces parecían bandadas de luciérnagas, girones de estrellas o fragmentos de sol.

La importancia del fuego en las culturas y la forma en que lo divinizaron y encontraron su explicación en la naturaleza, se remonta a prácticas ancestrales.

Como lo señala Vázquez Mantecón, las nociones e importancia de los fuegos sagrados con las hogueras prendidas en el día de San Juan subsisten todavía en Europa, como puede apreciarse en las celebraciones en Portugal y en Cataluña, España; un ejemplo de esta costumbre lo tenemos en la célebre canción de Joan Manuel Serrat titulada La Fiesta.

En el centro de México, los pueblos mesoamericanos daban un lugar importante al fuego y, en sus mitos, uno de los soles estaba relacionado con este elemento y el tlacuache, el Prometeo mesoamericano lo había robado a los dioses, fijando el mito con un sello particular en la bóveda celeste, pues el mamalhuaztli , instrumento para su elaboración, se asociaba con una constelación del Cinturón de Orión.

El fuego tenía en general una función en los ritos de purificación y en los fuegos artificiales no hubo excepción.

Tales visiones se plasmaron en el arte de la orfebrería. Este trayecto le sirve de pretexto a la autora para introducir el trabajo de los artífices, demostrando cómo a través del lenguaje surgieron términos que fueron definiendo las actividades.

En ese sentido, los artífices de la pirotecnia llegaron a dominar el arte de la cohetería. Explica, Vázquez Mantecón, tres términos que dan cuenta de ese trabajo peculiar: arte, artificio y artificial. Unidos a la pirotecnia, se entienden como el arte que trata de todo género de invenciones de fuego, tanto en máquinas militares como en distintos artificios.

El discurso ilustrado novohispano prefirió llamar artífices a los que elaboraban fuegos de artificio, aunque también encontramos que fueron mentados —en pocas ocasiones— como maestros coheteros, demeritando su obra.

Los funcionarios virreinales nunca permitieron que los artífices de cohetería formaran un gremio, y paralelamente empezó a utilizarse la palabra juego para referirse a la pirotécnia. Tales artificios fueron llamados juguetes de pólvora, como en España, o más nacionalmente, juguetes de carrizo.

En el siglo XVIII, con el desarrollo científico cambió la concepción de las artes mecánicas; los términos —ingenio e invención— pasaron de moda en el lenguaje pirotécnico. La autora explora un ámbito diferente de la cohetería analizando el uso y significado de la pólvora en sus diferentes motivaciones.

Este elemento jugó un papel importante en la Conquista. No sólo por su fuerza destructora sino por los estridentes truenos de las armas que dan pie a la reflexión sobre la relación entre las acciones de los rayos y el papel del complejo de deidades pluviales. Los españoles buscaron fuentes para abastecerse de dicho producto e hicieron incursiones en busca de azufre para elaborarla.

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Rosya Shamshudeen. Renan Limjuco. Editor Jarssh. Gunn Enli. Jamie Hakim. Cultural Oxymora: The Israeli Idol Negotiates Meanings and Readings. Television and New Media. Motti Neiger. Sandra Pitcher. Mediactive Celebrity Issue 2 Spring edited by J. Heather Nunn , Anita Biressi.

Jo Littler. Charles Fairchild. Revista Comunicar , Natalia Quintas-Froufe , Ana González Neira. Rosalyn George. Pallabi Chakravorty. Lieve Gies. Sanchit Thapar. Alec Charles. Amanda LeBlanc. Gabriele Cosentino. Jian Xu. Jonathan Culpeper.

Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Download Free PDF. Fame and Proffessional Success in «Operación Triunfo» and «Fama ¡a bailar!

Revista Comunicar Mercè Oliva. See Full PDF Download PDF. Related Papers. Revista Comunicar Fama y éxito profesional en «Operación Triunfo» y «Fama ¡a bailar! Download Free PDF View PDF. Star image, celebrity reality television and the fame cycle.

Celebrity Studies Star image, celebrity reality television and the fame cycle. Celebrity Studies. Celebrity Studies Rewriting 'herstory': Sasha Velour's drag as art and activism. Active Audiences: Social Audience Participation in Television Audiencias activas: Participación de la audiencia social en la televisión.

Comunicar Active Audiences: Social Audience Participation in Television. A Postmodern Reading of Greek Reality TV in Contemporary Television Series: Narrative Structures and Audience Perception.

In order to fulfil the objectives of this paper, these programmes were analysed using a methodology that combines narrative semiotics, audiovisual style and narrative form analysis, as well as ludology and game design the- ory.

The programmes depict modern society as meritocratic and evidence the impor- tance of image in the modern workplace. RESUMEN El presente artículo tiene como objetivo analizar los valores vehiculados por «Operación Triunfo» y «Fama ¡a bai- lar! Su relevancia como objeto de estudio reside en su popularidad especialmente entre los jóvenes y su carácter prescriptivo transmiten modelos de vida a partir de la identificación de problemas y la propuesta de objetivos y solu- ciones.

El análisis revela que en estos programas se representan el éxito profesional como gratificante a nivel personal y socio- económico, aunque también muy difícil de conseguir. Tele-realidad, entretenimiento, estudios semiológicos, narrativa audiovisual, lenguaje audiovisual, reglas de juego, valores, fama.

Mercè Oliva is a Visiting Lecturer at the Department of Communication of the Universitat Pompeu Fabra in Barcelona Spain merce.

oliva upf. Comunicar, n. XX, , Scientific Journal of Media Education; ISSN: ; pages www. Introduction: study object and objectives conveys Cáceres, ; Sampedro, , two analy- Comunicar, 39, XX, «Operación Triunfo» debuted in Spain in , ses that are similar to the one proposed here.

Howe- setting a new trend in «reality game shows»1 in this ver, not very much theoretical attention has been paid country. Like «Pop Idol» it is a contest in which young Holmes a , Ouellette and Hay and people who are unknown to the public and who can Redden , nor has the programme been related sing well compete with each other over several weeks to other similar formats such as «Fama».

for a recording contract, and in which the audience In this article we bring together the main research after a pre-selection process by a panel of judges results and conclusions of a doctoral thesis that was chooses which contestants continue through each presented at the Department of Communication of the round until a winner is finally chosen.

Like in «Big Universitat Pompeu Fabra in September Oliva, Brother», the contestants live together in a closed, iso- , which analysed «Cambio Radical», «Desnu- lated, purpose-built house full of cameras while they das», «Esta casa era una ruina», «Supernanny», «Her- receive classes; the programme is organised into weekly mano Mayor», «Ajuste de Cuentas», «Operación shows in which the contestants are nominated or evic- Triunfo» and «Fama ¡a bailar!

This article summari- ted, with daily summaries of the «everyday life» of the ses the main results and conclusions of the chapters participants in the academy; and the content expands devoted to the last two formats. over different time slots and media following the logic of the «killer format» Pérez Ornia, The «Circus» Cuatro, and «El aprendiz» LaSexta, text itself, regardless of the personal readings that can Of these, only «Fama ¡a bailar!

Therefore, seasons. The ly is important, we cannot forget the responsibility the programme is based on the «Operación Triunfo» for- text has in relation to the values conveyed and en- mula but includes some modifications: although it is an dorsed.

individual contest, the contestants compete in pairs; To carry out this study we have developed an new contestants enter the programme after the weekly analysis protocol2 that combines two consolidated evictions; the teachers are also judges; the programme perspectives of textual analysis that are not usually is broadcast daily, including performances, nomina- found together in the same study: narrative semiotics tions and evictions; and the weekly shows only begin and the study of the narrative form and audiovisual after a few weeks.

These programmes have had a strong impact on Narrative semiotics consists of analysing the story the Spanish television panorama and the social imagi- structure. First, we analysed which narrative roles the nary, especially in relation to the redefinition of fame characters applicants, contestants, teachers, judges and the way of understanding work.

The aim of the and viewers play in the story. The roles identified are: present article, therefore, is to analyse the values con- subject of doing hero , subject of state benefits from veyed by «Operación Triunfo» henceforth «OT» the actions of the subject of doing , object of value and «Fama ¡a bailar!

tract sets and receives a mission respectively , oppo- In Spain «OT» has been analysed from different nent hinders the actions of the subject of doing , hel- perspectives. Studies have been carried out on its inter- per helps the subject of doing , rival wants the same activity and the role the audience plays Selva, object of value as the subject of doing , sender and 04; Castañares, ; Fouce, , its multimedia receiver of sanction gives and receives recognition or expansion strategy Cebrián, and the values it punishment respectively.

Zimmerman, As Ruiz Collantes shows in his stu- as the design of the contest difficulty. dies, systematically assigning certain roles and states to cer- tain social groups has conse- quences in relation to how Both «OT» and «Fama» are complex and contradictory these collectives are represen- ted.

And on the other hand, tat, physical appearance and they reveal the mechanisms involved in the manufacture the spaces the programmes are set in structure and design of of fame. We completed the semio-narrative analysis by This analysis protocol was applied to a corpus studying the narrative form and audiovisual style with made up of audition episodes, daily programmes and the aim of identifying the meaning that emerges from weekly shows of «OT » and «OT » «how» the story is told, how the text guides the view- Telecinco 4 and the first season of «Fama» Cuatro 5.

The audiovisual language has been 3. Results analysed in detail types of shots, camera angles and This section summarises the main results of the movements, sound and music, editing, computer gra- analysis of «OT» and «Fama» using the methodology phics, lighting , as well as the narrative form: plot orga- outlined in the previous section.

For reasons of clarity, nisation narrative acts, climaxes, turning points , time the section has been arranged thematically, relating the order, duration and frequency , point of view how results of the semio-narrative, formal narrative form the information is distributed between the viewer and and audiovisual style and ludic analyses.

the characters and the presence of explicit narrators and narratees receivers of the narration present in the 3. Professional success as the object of value text, for example, the on set audience.

The analysis of In «OT» and «Fama» professional success is the the narrative form and audiovisual style was based on object of value main OV pursued by the participants the contributions made by Bordwell and Thompson and prescribed to the viewers.

Significantly, these pro- ; Gaudreault and Jost ; Kozloff ; grammes equate professional success with fame, that Casetti and Di Chio ; and Aranda and is, public recognition and renown. It is also represen- De Felipe ted as a form of personal fulfilment and as a way of In addition, given that «OT» and «Fama» are con- rising socially and economically.

Methods prescribed for obtaining the object of Comunicar, 39, XX, tions» able to give the contestants the necessary com- value petencies for achieving it.

Consequently, participating Once the contestants have been selected, their in the contest and winning it are the instrumental transformation process begins.

This is carried out in objects of value. These are the two «solutions» pres- first. This is made clear in the auditions, in which it is cribed by these programmes for achieving professional shown that for the applicants getting onto the pro- success.

gramme and winning it is in itself a dream. In the audition episodes, the long queues, the 3. Training and education «OT» and «Fama» are not just simple talent contests; their objective is to transform the In both programmes analysed, success does not only depend participants through training and education.

Significantly, on talent and effort, it is also a question of appearances both formats use a school-rela- ted vocabulary to name the physical appearance and the way of dressing and speaking. spaces and the activities perfor- Therefore, we can relate «OT» and «Fama» to the concept med by the participants.

Below we outline the values that of «phantasmagoric labour» Sternberg, , that is, the guide this dimension of the programmes.

importance of appearances in the current work environment Firstly, effort and sacrifice. and the need to apply «branding» strategies to individuals. The extreme case ting and the diversity of applicants and contestants in is «Fama», in which any room can become a rehearsal relation to social class, education, habitat, sex, and, to area, which shows how the professional sphere a lesser degree, age6, conveys the idea of democratic expands and colonises the personal space.

In addition, and universal access to the opportunity of obtaining the contestants have to bear a large work load espe- the instrumental and main OV. However, only a cially in «Fama» , which is emphasised in the daily small number of applicants can become contestants summaries thanks to their serial structure and a plot and only one of them will win the contest.

Therefore, centred on classes and rehearsals. Finally, the isolation while everyone has the opportunity, only the «best» the participants are subjected to during the contest sug- can obtain the OV. gests the sacrifice of the personal and family life in The audition episodes also legitimate the main, favour of the quest for success.

and especially, the instrumental OV and load them Secondly, constant pressure. This is often dis- with positive connotations, which also helps to legiti- guised as the expectations the teachers place on the mate the actual programme.

In order to do this the participants, so that disappointment is usually invoked process for selecting the contestants is based on a when a contestant does not reach the required level. At the motion, internal focalisation with respect to the partici- same time this pressure provokes emotional responses pants to generate intrigue, superimposed texts and in the participants shown and emphasised by the narrative dilation.

which they also do when the contestants cross the Finally, discipline is another characteristic element. without questioning them, not even in private given The weekly shows and live performances show that they are under constant video-surveillance and are the unique and extraordinary qualities of the contes- also evaluated for the attitude they show in their «pri- tants, but «OT» and «Fama» also include contents that vate life».

Both pro- dialectic on which the discourses on stars are traditio- grammes impose on the contestants which pieces they nally built Dyer, ; Marshall, will interpret, the attitude they should adopt on stage, how they should move and how they should dress.

In this sense, it is the subject of doing , while the main narrative pro- significant that the aesthetic conventions of «Big gramme of the story in which the contestants, trans- Brother» are used to emphasise the authenticity of the formed into heroes, obtain the main OV is omitted.

Both in «Fama» in the diary mental OV winning the contest and the main OV room and «OT» in the videoblogs on the program- becoming a star. them as stars9 celebritising them. Finally, another way of «celebritising» the contes- First, this means portraying them as extraordinary tants is to construct the model viewer as a fan.

Firstly, people worthy of admiration. For example, in «OT» this is done through the game rules: the voting is in this is done in the weekly shows, in which the contes- favour of the contestants to save them, not to evict tants demonstrate their remarkable singing abilities that them , and therefore appeals to their followers this differentiate them from ordinary people.

Second, tion are also exceptional: dressed up and made up like the structure of the programmes, with contents that stars the contestants perform in a space designed to spread over different time slots and the Web, cons- mimic a pop concert, with an elaborate and spectacu- tructs a model viewer that gathers information to cre- lar set design and visual aesthetics.

This reference is ate a consistent identity of the two sides of the contes- not trivial, given that concerts are a ritual in which fans tant on and off the stage. Finally, the repercussions can show their commitment to the singer they admire, the programmes have in the outside world are inclu- and the singer can establish a more direct and emotio- ded in the text, showing images of fans that go to CD nal relationship with their fans Marshall, signings and performances, yelling, holding up signs Significantly, below the stage on which the con- and wearing T-shirts with supportive slogans.

In this testants sing there is a large pit full of spectators stan- way the programmes try to go beyond the limits of the ding up. Thanks to this stage design, the contestants pure textuality on which the contestants are «celebriti- are shown acting for an enthralled audience, who sed». The formula for success represented as a problem that needs to be solved.

Consequently, disagreements are cons- ; Turner, Although the traditional tantly arising between them. However, «Fama» should be established between these is less obvious, and «OT» are based on this conventional definition especially in relation to the need to be competent at and this is, perhaps, one of the reasons behind the the vocal level and have the «x factor» necessary for great acceptance of this format Cáceres, generating fans which is not necessarily linked to the The fact that the reality TV shows analysed adopt first.

It is through the game rules that «OT» tips the the traditional definition of fame leads us to identify balance in favour of this second element: although two more values. First, the representation of a merito- mechanisms are established so that the judges and tea- cratic society, in which there is an equal access to chers can safeguard talent, the rules give more power opportunities but an unequal result in function of to the audience, for example, through the figure of the talent and effort.

A Marshall, Second and linked to the good example of this is Virginia, who won «OT » meritocracy , stars are paradigms of the individualism after overcoming numerous nominations and the expli- on which capitalist societies are based: they are indivi- cit opposition of the teachers and some of the judges.

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