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  • 04
    DEC

    Annette Hill: Reality Entertainers: the hidden work of warm up acts for reality television

    Higher seminar with Annette Hill from Lund University, arranged by Media and Communication Studies at the School of Culture and Education, Södertörn University

    Reality entertainment is a phenomenon that is best understood not in isolation, but part of wider socio-cultural practices, including production, communicative modes, and audiences. Typical to reality entertainment is the live show, a spectacular with hosts, contestants and professional performers entertaining a large studio audience and live public who watch, talk about, vote and interact with the main screen and related social media. What is missing from this picture is the warm up acts; the entertainers who routinely perform before and during breaks in the televised show. Warm up acts are an absent presence (Mayer 2011); they offer a craft of live audience management that is hard won through years of creative and precarious labour practices (in theatre, cabaret, television, and leisure industries), and yet they are invisible in television production and academic research. Why are warm up acts given such low cultural value?

    This research builds on production and audience studies, using a qualitative and cultural approach to explore the hidden work of warm up acts as performers in the co-creation of reality entertainment. The empirical research is used to think through the paradox of the high recognition of warm up acts by crowds at live events and at the same time their hidden work in the production industry and on screen. The data suggests a cruel optimism (Berlant 2011) at the heart of the reality entertainment world; this cruel optimism rotates between desire for recognition by warm up acts and audiences for their creativity and performance, in the form of an ambition for being professional performers or the stars of the show, and at the same time a recurring series of obstacles to that optimism, in the form of precarious labour practices, gender and class barriers in the creative industries, and the sheer luck needed to break through into celebrity stardom.

    The affective structures of reality talent competitions are carefully managed to produce a sense of creative ambition, both in relation to warm up performers (who may hope to host their own show) and in relation to live audiences, including families and young children (who hope to make a difference to the outcome of the show through their interaction and voting, and in some cases desire to be future performers themselves). This marshalling of optimism for creative success, as a host, dancer or singer for example, and the channelling of desires for celebrity stardom, drives the market in emotions for reality talent formats. And yet recognition of creative value is fleeting at best; the actual value of the warm up performer and their relationships with live audiences is lost in industry obsession with ratings and social media buzz. But the warm up performer is someone who creates a meaningful connection with audiences and understands the value of cultural experience in entertainment television. The warm up act shines a light on the cruel optimism of recognition and stardom in the creative industries.

    Tid och plats

    När: tisdag 4 december kl. 13:00-14:30

    Vad: högre seminarium

    Var: PC249, Primus building, Södertörn University, Campus Flemingsberg

    Arrangeras av: Media and Communication Studies

    Evenemangsspråk: engelska