Metro Australia — January 2018

(WallPaper) #1
http://www.metromagazine.com.au | © ATOM | Metro Magazine 195• 59

DQ\ VWUDWHJLF WKUXVW 7KLV ZDV D VLJQLĺFDQW PDWWHU RI FRQFHUQ LQ
PDQ\ UHYLHZV RI WKH UHERRW LQ ZKLFK oWKH VWXII WKDW PDNHV >f@
2TQUHUNQJUHDW t VHFUHWV DQG OLHV t >KDG@ SOD\HG VHFRQG ĺGGOH
to grand speeches about mateship, casual sexism and long
VKRWV RI PHQ FDWFKLQJ ĺVKp^24 In fact, after the merge, the only
tribal council where gameplay came into effect involved the
HOLPLQDWLRQ RI -RZHWW E\ WKHQ D PHPEHU RI WKH FRUH DOOLDQFH
WKLV VWUDWHJ\ ZDV RUFKHVWUDWHG E\ (JJLQWRQ DQG ZDV SURPRWHG
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
WKH QDPH RI D WULEH IURP WKH $PHULFDQ VHULHVp ĺUVW VHDVRQ LW
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
WKH IRUHVKDGRZLQJ RI o6XHpV %LJ 0RYHp UHIHUULQJ WR D SRWHQWLDO
EOLQGVLGH RUFKHVWUDWHG E\ 6XH &ODUNH 7KH HSLVRGHV WKDW IRO
lowed revealed no such ‘move’ by Clarke, however, and she was
YRWHG RXW LQ D VWUDLJKWIRUZDUG PDQQHU &RQVHTXHQWO\ o6XHpV %LJ
0RYHp ZDV PRFNHG RQOLQH $V WKH 1HWZRUN 7HQ IRUPDW UHTXLUHV
advertising for events spanning multiple episodes, this case
H[HPSOLĺHV D IDLOHGDWWHPSWWREXLOGQDUUDWLYHFRPSOH[LW\


Conclusion


,QWHUQDWLRQDO FRYHQWXUHV DUH LQGLFDWLYH RI WUHQGV LQ WKH JOREDO
televisual landscape, with TRSQ@KH@M 2TQUHUNQembodying a
FRQVLGHUDEOH FKDOOHQJH IRU $XVWUDOLDpV PHGLD HFRORJ\ 1HWZRUN
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
FKDUDFWHU GHYHORSPHQW DV GHPRQVWUDWHG E\ WKH VXFFHVVHV RI
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
DEVHQFH RI D VLJQLĺFDQW SURSRUWLRQ RI WKH $PHULFDQ YHUVLRQpV
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
WKHIUDQFKLVHWKHRULJLQDOpVQDUUDWLYHFRPSOH[LW\ZDVVDFULĺFHG


3GHR@QSHBKDG@RADDMQDEDQDDC


2ST@QS 1HBG@QCR SD@BGDR @S 1,(3 4MHUDQRHSX @MC SGD 4MHUDQRHSX NE
,DKANTQMD
'HR kQRS LNMNFQ@OG The Queer Film Festival: Popcorn
and Politics HR OTAKHRGDC VHSG /@KFQ@UD ,@BLHKK@M
'D G@R OQDUH-
NTRKX VNQJDC VHSG ANSG SGD ,DKANTQMD 0TDDQ %HKL %DRSHU@K @MC
SGD %Q@LDKHMD 2@M %Q@MBHRBN (MSDQM@SHNM@K +&!30 %HKL%DRSHU@K
'DŭHRBTQQDMSKXRDBQDS@QX ENQSenses of Cinema. m


Endnotes

(^1) Doris Baltruschat,Global Media Ecologies: Networked Production
in Film and Television 5RXWOHGJH 1HZ<RUN /RQGRQ
(^2) LELG S  HPSKDVLV LQ RULJLQDO
(^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
 &KULVWRSKHU - :ULJKW o:HOFRPH WR WKH -XQJOH RI WKH 5HDO
6LPXODWLRQ &RPPRGLWL]DWLRQ DQGSurvivor’,The Journal of
American Culture YRO  QR  -XQH  SS t
(^8) -RVK )RUZDUG oSurvivor:RPHQ 7UHDWPHQW RI WKH 2YHU Vp
Inside Survivor  -XQH  KWWSLQVLGHVXUYLYRUFRP
VXUYLYRUZRPHQWUHDWPHQWRIWKHRYHUV>, accessed
 1RYHPEHU 
 0DUWLQ +ROPHV oSurvivor+LVWRU\ 2ULJLQ RI WKH RDWpInside
Survivor  0D\  KWWSLQVLGHVXUYLYRUFRPVXUYLYRU
KLVWRU\RULJLQRIWKHJRDW! DFFHVVHG  1RYHPEHU 
(^10) , ZRXOG DOVR DGG VSRUW WR WKLV PL[RIHVWDEOLVKHGJHQUHVVHH
%DOWUXVFKDW RS FLW S 
(^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,
YRO  QR  0D\  S 
(^13) %DOWUXVFKDW RS FLW S 
(^14) 0LWWHOO RS FLW S  HPSKDVLV LQ RULJLQDO
6H\PRXU &KDWPDQStory and Discourse: Narrative Structure
in Fiction and Film &RUQHOO8QLYHUVLW\3UHVV1HZ<RUN



@ SS t
(^16) 0LWWHOO RS FLW S 
6HH 0DUWLQ +ROPHV oSurvivor(GJLF t DQ ,QWURGXFWLRQpInside
Survivor  6HSWHPEHU  KWWSLQVLGHVXUYLYRUFRPVXUYLYRU
HGJLFDQLQWURGXFWLRQ! DFFHVVHG  1RYHPEHU 
(^18) 1LFN ,DGDQ]D LQ 5RE &HVWHUQLQR oAustralian Survivor)LQDOH _
1LFN ,DGDQ]Dp5RE +DV D 3RGFDVW  2FWREHU  http://
UREKDVDZHEVLWHFRPDXVWUDOLDQVXUYLYRUŷQDOHQLFNLDGDQ]D>,
DFFHVVHG  1RYHPEHU 
9ODGLPLU 3URSS FLWHG LQ %DOWUXVFKDWRSFLWS}
(^20) %DOWUXVFKDW LELG S 
(^21) 6HUJLR 6SOHQGRUH o0HGLD /RJLF 3URGXFWLRQ +RZ 0HGLD
3UDFWLWLRQHUV LQ ,WDOLDQ 5HDOLW\ 7HOHYLVLRQ /RFDOL]H 79 )RUPDWV
DQG 6HOHFW q(QWHUWDLQPHQW 9DOXHVrpJournal of Popular Television,
YRO  QR  2FWREHU  SS}t
(^22) %DOWUXVFKDW RS FLW S 
(^23) Tiffany Dunk, ‘Survivorq0HDQ LUOVr (O %URRNH DQG )OLFN 'HIHQG
7KHPVHOYHV $JDLQVW $QJU\ 9LHZHUVp+HUDOG 6XQ  2FWREHU
 KWWSZZZKHUDOGVXQFRPDXHQWHUWDLQPHQWWHOHYLVLRQ
VXUYLYRUPHDQJLUOVHOEURRNHDQGŸLFNGHIHQGWKHPVHOYHV
DJDLQVWDWDQJU\YLHZHUVQHZVVWRU\IIDDFI
FHHI! DFFHVVHG  1RYHPEHU 
(^24) 0DHYH 0DUVGHQ o0HDQ
LUOV DQG 0DWHVKLS :K\ ,VSurvivorSo
8QFRPIRUWDEOH ZLWK )HPDOH $OOLDQFHV"pJunkee  2FWREHU 
KWWSMXQNHHFRPPHDQJLUOVPDWHVKLSVXUYLYRUXQFRPIRUWDEOH
IHPDOHDOOLDQFHV!DFFHVVHG}1RYHPEHU


Free download pdf