Ilustracja 2: - Kultura - Media - Teologia
Ilustracja 2: - Kultura - Media - Teologia Ilustracja 2: - Kultura - Media - Teologia
OBLICZA MEDIÓWry, her role as the company's chief was being presented as untrustworthy, incompetentand sometimes even naive. Contestants lacked authority, what was especially noticeablein competitions. Also, the interiors and exteriors were below expectations of The Apprenticeformat. The corporate headquarters was located in Bratislava, capital of Slovakia.Since the company has just started, the interiors were new, created for the showwith intention to look similar to those known from Donald Trump´s show.From the marketing point of view, the show was a flop. After a couple of episodes,it was moved to late-prime time, both in Slovakia and Czech Republic. Moreover,due to the lack of audience, the show was terminated prematurely.Global patterns and national celebreality starsDespite declining public interest, Mojsejs have been a phenomenon in the Slovak mediafor several years. Their success was proven by market share of some of the shows inwhich they participated that reached staggering proportions. The basic question in thecontext of this study is: does the media presentation of Mojsejs in the whole spectrum ofreality TV genre broadcasted in Slovakia provide specific characteristic of Slovak mediaculture, or is it a kind of reflection of global trend of television evelution? This questionis notably interesting in terms of professional, but also laic criticism of the current mediaculture in Slovakia, as there is often a tendency to blame reality TV and namely Mojsejsfor its current status, which is undoubtly unflattering. The dominant discourse oftelevision culture status focuses on unprecedented development in this area, pointing toa specific domestic situation, out of the global context of media culture status (Pavelka,2006; Spálová & Fichnová, 2008).The arrival of reality TV in Slovakia has been very specific, and in many ways different,from those of other countries. In a broader context, we can find several commonaspects between Slovak and foreign development, regarding the framework responseto global stimuli. Broadcasters and producers in Slovakia rarely understood realityTV as a new documentary mode of mediating reality, even though there are somegood examples from public brodcasters – especially from Great Britain, Scandinavia andU.S. Instead, Slovak broadcasters understood the challenge of a new genre under the distinctinfluece of entertaining imperative of light, but also in many aspects, qualitativelypoor entertainment.Response to the questions above is based on comparative analysis of Americanand Slovak reality TV stars (Osbournes and Mojsejs). We are aware that due to the wideinterpretative boundaries of the problem selected method could only provide us withpartial answers. There are suprisingly many similarities between Mojsejs and Osbournes.Both families seem to enter into the world of television entertainment by accident,by hosting a single episode of the reality TV programme (VILOmeniny and Cribs). Bothof them effectively used such a little media space to attract exceptional audience interestand stimulate producers to create their own, original formats. These formats (Mojsejovciand The Osbournes) brought them high popularity, which they have subsequently failed112 Kultura – Media – Teologia 10/2012
P. Mikuláš, Global Patterns for National Stars?...to retain in other formats. Moreover, in both cases we can talk about determination ofsuccess by a chosen genre. Once the family occured in other genre than reality TV (Čo nato Mojsejovci? and Osbournes: Reloaded; both mutated talk shows), it had a very sub--standard audience share, and were prematurely withdrawn from broadcast.Similarities can be also found at the level of individual family members. Similarlyto Ozzy Osbourne, Braňo Mojsej is a music performer. However, Ozzy is a music legend,but Braňo is probably still waiting for his carreer turnover to come. Both men arefinancially guided by their wives, who are portrayed as more responsible and circumspect.With the high family budgets, both wifes ostentatiously displayed their affiliationto a higher social class via expensive purchases, aimed at the top class fashion.It is important to say that there are also many differences between the two families.Probably the biggest one lies in the fact that the Osbournes have children, whileMojsejs are childless. A presence of children in reality TV is certainly interesting interlocutorfactor that can lead to interesting and attractive situations. From the narratologicalpoint of view, a complete family retells the story of a deep variety of interpersonal relationships.In this context, Osbournes have a significant advantage because of theirthree children, although just two of them featured in the show. From this viewpoint,Mojsejs had to portray other topics than the stereotypical stories of family harmony inits broadest meaning. At least at the level of acting in the reality TV, there are quite a lotof similarities between the two families. On this basis, the media representation of Mojsejsshould be viewed as a response of domestic background to foreign inspirations.Pointing to a number of similarities between the Osbournes and Mojsejs doesn´tautomaticly mean that the Slovak protagonists intentionally and purposely copied theU.S. ones. A more appropriate answer to the question stated in the introduction wouldbe: despite a strong wave of criticism, Mojsejs as celebreality stars aren´t entirely originalSlovak reality TV phenomenon, at least at the level of co-creators and innovators ofreality TV formats. Acquired knowledge suggests that local media scenes of small countrieslike Slovakia have to be viewed in the broader context of global developmenttrends. A comparison of Osbournes as a global reality TV stars with Mojsejs as local onesappears to be a good example of specific type of glocalization in media sphere. This kindof implicit globalization is a specific manifestation of contemporary media culture.■BIBLIOGRAPHYAndrejevic, Mark (2003): Reality TV: The Work of Being Watched. Lanham : Rowman& Littlefield Publishers, Inc. ISBN-10: 0742527484.Bočák, Michal – Rusnák, Juraj (2008): Na ceste za poslucháčom a divákom:Poznámky o trendoch v programovaní v elektronických médiách. [On theway towards radio and television audience: Notes on trends in program-Kultura – Media – Teologia 10/2012 113
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OBLICZA MEDIÓWry, her role as the company's chief was being presented as untrustworthy, incompetentand sometimes even naive. Contestants lacked authority, what was especially noticeablein competitions. Also, the interiors and exteriors were below expectations of The Apprenticeformat. The corporate headquarters was located in Bratislava, capital of Slovakia.Since the company has just started, the interiors were new, created for the showwith intention to look similar to those known from Donald Trump´s show.From the marketing point of view, the show was a flop. After a couple of episodes,it was moved to late-prime time, both in Slovakia and Czech Republic. Moreover,due to the lack of audience, the show was terminated prematurely.Global patterns and national celebreality starsDespite declining public interest, Mojsejs have been a phenomenon in the Slovak mediafor several years. Their success was proven by market share of some of the shows inwhich they participated that reached staggering proportions. The basic question in thecontext of this study is: does the media presentation of Mojsejs in the whole spectrum ofreality TV genre broadcasted in Slovakia provide specific characteristic of Slovak mediaculture, or is it a kind of reflection of global trend of television evelution? This questionis notably interesting in terms of professional, but also laic criticism of the current mediaculture in Slovakia, as there is often a tendency to blame reality TV and namely Mojsejsfor its current status, which is undoubtly unflattering. The dominant discourse oftelevision culture status focuses on unprecedented development in this area, pointing toa specific domestic situation, out of the global context of media culture status (Pavelka,2006; Spálová & Fichnová, 2008).The arrival of reality TV in Slovakia has been very specific, and in many ways different,from those of other countries. In a broader context, we can find several commonaspects between Slovak and foreign development, regarding the framework responseto global stimuli. Broadcasters and producers in Slovakia rarely understood realityTV as a new documentary mode of mediating reality, even though there are somegood examples from public brodcasters – especially from Great Britain, Scandinavia andU.S. Instead, Slovak broadcasters understood the challenge of a new genre under the distinctinfluece of entertaining imperative of light, but also in many aspects, qualitativelypoor entertainment.Response to the questions above is based on comparative analysis of Americanand Slovak reality TV stars (Osbournes and Mojsejs). We are aware that due to the wideinterpretative boundaries of the problem selected method could only provide us withpartial answers. There are suprisingly many similarities between Mojsejs and Osbournes.Both families seem to enter into the world of television entertainment by accident,by hosting a single episode of the reality TV programme (VILOmeniny and Cribs). Bothof them effectively used such a little media space to attract exceptional audience interestand stimulate producers to create their own, original formats. These formats (Mojsejovciand The Osbournes) brought them high popularity, which they have subsequently failed112 <strong>Kultura</strong> – <strong>Media</strong> – <strong>Teologia</strong> 10/2012