We've started this research after considering that in Italy, until now, you've really few accademic materials about this program. On the other hand, after 3 years the program is keeping a large audience. We're pointing our attention on a content analysis of the third Italian edition. In particular, we've divided 3 different phases: 1. What you can see. In this case, we're focusing our attention on the interactions inside the house, looking at the guys inside the house using the digital pay-tv channel where you can watch them 24 hours on 24. 2. What the media show you. We are analysing the daily hi-lights and the weekly program about 'The Big Brother' broadcasted by Canale 5. 3. What you can remember. We're focusing the attention on a weekly satirical program about 'The Big Brother', broadcasted by Italia 1. By the first point, we think we're able to build a model about how the guys live the frame of the house, so that we can use it also for the following points. In other words: after understanding what the guys are showing in the frame, we can understand ho the media resume it. To approach this text, we're using the interactionist model by E. Goffman and since that moment, we've found some points we think are quite original and interesting:  The guys live in the house in different ways during the day.  In the morning they're very ritual and the interact following what the Big Brother 'suggests' them.  In the afternoon they start a strategic, cooperative interaction, to prepare the weekly test. In this phase, they recognise as 'authority' the guy whose abilities are closer to the weekly test  In the evening, they are strategic again, but in this case they change totally their mask; they 'open' themselves, starting a show based on sexuality, jokes, fun, etc.. We think that they are able to perceive the audience (larger during the evening, the night and the weekly program) so that they're ready to change the frame contents in the different parts of the day.  The final award is loosing its importance. In the first edition, the final award was the main target. The guys were really focused on the weekly vote. Now, it's loosing its importance. First of all, the guys are able to spend part of the award inside the house, so that at the end it'll be strongly decreased. On the other hand, they act - in our opinion - waiting for another kind of award: to be accepted in the star system, after the transmission ending.  The sexuality as a main point. We're observing that both the guys and the broadcaster are focusing their attention on the theme of sexuality. As an evidence, you can see that in the Italian edition you have a 'luxury room', where a guy is able to go - after Big Brother selecting him as the best of the weekly test - after choosing his companion within the other one in the house. In the 'luxury room' they spend all the night, eating fine food, drinking wine, entertained by romantic singers or sexy dancers and using a large Jacuzzi: since this moment, all the guys inside the luxury room have had sex or have acted with clear sexual allusions.  The couple. In this edition, the Big Brother selected two engaged guys (copying the American format of 'Temptation Island'). We have noticed two main consequences:  All the other guys are interacting try to create other couple themselves and since the first week you have a lot of love stories in the house (more than in the other editions)  During the daily hi-lights, a large part is focused about the engaged guys and about their discussions. During the day, they often have argues and this argues are a main point in the mediated representation. We're using two main research methods. 1. As we said, we are analysing the interaction inside the house using the Goffman's theory. 2. On the other hand, we are dividing the representation made by the media in 'units of meaning', to find the guidelines used in the broadcasting process.

Grande Fratello. Interactions between Tension and Obscenity in Big Brother Italy

CENTORRINO, Marco
2004

Abstract

We've started this research after considering that in Italy, until now, you've really few accademic materials about this program. On the other hand, after 3 years the program is keeping a large audience. We're pointing our attention on a content analysis of the third Italian edition. In particular, we've divided 3 different phases: 1. What you can see. In this case, we're focusing our attention on the interactions inside the house, looking at the guys inside the house using the digital pay-tv channel where you can watch them 24 hours on 24. 2. What the media show you. We are analysing the daily hi-lights and the weekly program about 'The Big Brother' broadcasted by Canale 5. 3. What you can remember. We're focusing the attention on a weekly satirical program about 'The Big Brother', broadcasted by Italia 1. By the first point, we think we're able to build a model about how the guys live the frame of the house, so that we can use it also for the following points. In other words: after understanding what the guys are showing in the frame, we can understand ho the media resume it. To approach this text, we're using the interactionist model by E. Goffman and since that moment, we've found some points we think are quite original and interesting:  The guys live in the house in different ways during the day.  In the morning they're very ritual and the interact following what the Big Brother 'suggests' them.  In the afternoon they start a strategic, cooperative interaction, to prepare the weekly test. In this phase, they recognise as 'authority' the guy whose abilities are closer to the weekly test  In the evening, they are strategic again, but in this case they change totally their mask; they 'open' themselves, starting a show based on sexuality, jokes, fun, etc.. We think that they are able to perceive the audience (larger during the evening, the night and the weekly program) so that they're ready to change the frame contents in the different parts of the day.  The final award is loosing its importance. In the first edition, the final award was the main target. The guys were really focused on the weekly vote. Now, it's loosing its importance. First of all, the guys are able to spend part of the award inside the house, so that at the end it'll be strongly decreased. On the other hand, they act - in our opinion - waiting for another kind of award: to be accepted in the star system, after the transmission ending.  The sexuality as a main point. We're observing that both the guys and the broadcaster are focusing their attention on the theme of sexuality. As an evidence, you can see that in the Italian edition you have a 'luxury room', where a guy is able to go - after Big Brother selecting him as the best of the weekly test - after choosing his companion within the other one in the house. In the 'luxury room' they spend all the night, eating fine food, drinking wine, entertained by romantic singers or sexy dancers and using a large Jacuzzi: since this moment, all the guys inside the luxury room have had sex or have acted with clear sexual allusions.  The couple. In this edition, the Big Brother selected two engaged guys (copying the American format of 'Temptation Island'). We have noticed two main consequences:  All the other guys are interacting try to create other couple themselves and since the first week you have a lot of love stories in the house (more than in the other editions)  During the daily hi-lights, a large part is focused about the engaged guys and about their discussions. During the day, they often have argues and this argues are a main point in the mediated representation. We're using two main research methods. 1. As we said, we are analysing the interaction inside the house using the Goffman's theory. 2. On the other hand, we are dividing the representation made by the media in 'units of meaning', to find the guidelines used in the broadcasting process.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11570/1584077
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