Metro Australia — January 2018

http://www.metromagazine.com.au | © ATOM | Metro Magazine 195• 59

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to grand speeches about mateship, casual sexism and long
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tribal council where gameplay came into effect involved the
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heavily in advance. All other eliminations were predictable, as
the eliminated contestants were outside the core alliance – an
approach that fans of the show call ‘Pagonging’. Coined from
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denotes a dominant alliance purposefully voting out members
of another contingent in succession. What this predictability
results in is a fairly monotonous season.
To combat the eventual lack of gameplayin that season of
TRSQ@KH@M 2TQUHUNQ, advertisements had to emphasise potential
upsets (or ‘blindsides’, yet another term popularised by the
American version and adopted locally) even though they did
not eventuate in the actual episodes. One such example was
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lowed revealed no such ‘move’ by Clarke, however, and she was
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advertising for events spanning multiple episodes, this case
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Conclusion

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televisual landscape, with TRSQ@KH@M 2TQUHUNQembodying a
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Ten’s other reality shows rarely generate the type of narrative
complexity that requires the audience to engage in any mem
ory recall. The dedicated American2TQUHUNQviewer, however,
relishes the evolution of gameplay strategy and contestant
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paratextual media such as+HED@S/NMCDQNR@,(MRHCD2TQUHUNQ
and1NA '@R @ /NCB@RS.
Baltruschat’s study of franchise localisation proposes that
a successful adaptation must be not only infused with local
content and adherent to the network’s industrial model, but
also consistent with the product’s extant format. The biggest
challenge faced when localising a complex reality show such
as2TQUHUNQ, then, is how best to cater for both new@MCold
fans. While the latter would want continued variation in and
development of the show’s gameplay, more recent audiences
would generally be unfamiliar with its strategic elements. The
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JDPHSOD\ IUDPHZRUN LQ TRSQ@KH@M 2TQUHUNQtherefore resulted in
a monotonous experience for many established fans. In order to
appeal to a local demographic yet to become acquainted with
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,DKANTQMD
'HR kQRS LNMNFQ@OGThe Queer Film Festival: Popcorn
and Politics HR OTAKHRGDC VHSG /@KFQ@UD ,@BLHKK@M
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Endnotes

(^1) Doris Baltruschat,Global Media Ecologies: Networked Production
in Film and Television 5RXWOHGJH 1HZ<RUN /RQGRQ
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(^3) 5REHUW - 7KRPSVRQTelevision’s Second Golden Age: FromHill
Street Bluesto(56\UDFXVH8QLYHUVLW\3UHVV1HZ<RUN
S 
(^4) Trisha Dunleavy,Television Drama: Form, Agency, Innovation,
3DOJUDYH 0DFPLOODQ /RQGRQ 1HZ <RUN 
 Jason Mittell,Complex TV: The Poetics of Contemporary
Television Storytelling 1HZ <RUN8QLYHUVLW\3UHVV1HZ<RUN
/RQGRQ  S 
(^6) ,HQ $QJ FLWHG LQ 7DPDU 6DOLELDQ o7KH ,GHRORJ\ RI 0DVV &XOWXUH
DQG 5HDOLW\ 7HOHYLVLRQ :DWFKLQJSurvivor’,The International
-RXUQDO RI WKH +XPDQLWLHV YRO  QR   SS t
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6LPXODWLRQ &RPPRGLWL]DWLRQ DQGSurvivor’,The Journal of
American Culture YRO  QR  -XQH  SS t
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Inside Survivor  -XQH  KWWSLQVLGHVXUYLYRUFRP
VXUYLYRUZRPHQWUHDWPHQWRIWKHRYHUV>, accessed
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Survivor  0D\  KWWSLQVLGHVXUYLYRUFRPVXUYLYRU
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(^10) , ZRXOG DOVR DGG VSRUW WR WKLV PL[RIHVWDEOLVKHGJHQUHVVHH
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(^11) Richard Kilborn,Staging the Real: Factual TV Programming in
WKH $JH RI%LJ %URWKHU 0DQFKHVWHU8QLYHUVLW\3UHVV0DQFKHVWHU
1HZ <RUN 
(^12) 6X +ROPHV oq5HDOLW\ RHV 3RSr 5HDOLW\ 79 3RSXODU 0XVLF
DQG 1DUUDWLYHV RI 6WDUGRP LQPop Idol’, Television & New Media,
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6H\PRXU &KDWPDQStory and Discourse: Narrative Structure
in Fiction and Film &RUQHOO8QLYHUVLW\3UHVV1HZ<RUN

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(^18) 1LFN ,DGDQ]D LQ 5RE &HVWHUQLQR oAustralian Survivor)LQDOH _
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(^23) Tiffany Dunk, ‘Survivorq0HDQ LUOVr (O %URRNH DQG )OLFN 'HIHQG
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