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Big Brother winner Ryan triumphs over rival Skye as he reveals he shared . The lucky few:The entire cast reunited for the grand final Mail Australia on Thursday and hinted that there could be more than meets the eye. .. Jessie J hits back at trolls after they criticize her for singing her head off while her. News and Updates Jeff Schroeder and Jordan Lloyd from Big Brother 11 and 13 Jeff & Jordan traveled to Sydney, Australia in November courtesy of the Ellen Show. . #18 Jeff evicts Jessie with the Coupe d'eat and the girls Mourn. . Jeff will be hosting a meet and greet at the Event Marketing Summit in Chicago. All the secrets on Big Brother are out and the first Housemate has been evicted! Charne Meet the Big Brother Australia Housemates — And Find Out Their Secrets Is The Innocent Man TV Show a Book? TV. If You've.
At the pre-production stage the present paper explores the use of audition-related terminology emphasised in the majority of Reality TV programmes, and consider the selection of contestants, which more accurately reflects a casting process.
At the peri- and post-production stages, performance and narrative play a significant part in the audience engagement of these programmes, but are not always engineered by spontaneous performance.
A range of industry techniques are adopted to influence the perceptions of the viewer and to enhance the sense of reality and conflict.
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The contribution of this paper is the joint consideration and synthesis of performativity and Reality TV production techniques. As far as the authors are aware, this nexus has not been addressed before. As such, the present paper aims to provide theoretical as well as practical insights in to the area. To cite this paper Gater, Bruce, and Jasmine B. Introduction Performativity can be part of a real or fictional world, experienced by live audiences theatre or a performance replayed at a later date.
Paradoxically, Reality TV is an illusion of performance. It is structured reality or edited reality where performers cannot perform in the traditional sense. According to Corner,p. Reality TV has achieved broad popularity in Australia and worldwide with its ability to permeate a range of social spheres, most notably the domestic sphere. This will be elaborated upon in section 1. The Allure of Reality TV. Reality TV has normalised their real world thinking. Quoting from the New York Times Hill,p.
Record ratings have been confirmed globally, changing the face of advertising and creating unprecedented demand for reality content which lead to a proliferation of reality style productions Hill,p. The demand for advertising time during episodes of Reality TV programmes is greater than for traditional TV formats because of the broader demographics of potential viewers and the extended capacity for product placement.
Production costs are less than producing dramas, prompting programmers to broadcast more hours of Reality TV than episodic dramas. For example The Block, My Kitchen Rules, Big Brother, and Survivor provide significant incomes for independent producers and increased advertising revenue streams for the broadcasters Hill,p.
This success of independent producers was in stark contrast to the traditional in-house development of programming concepts by broadcasters, and widened access to the television industry significantly whilst simultaneously boosting employment in the creative industries.
For example, The Voice employs crewmembers each week for the duration of the series. This is far greater than the approximate 40 crewmembers likely to be involved in the production of a typical drama or metropolitan news programme in a given week. Obviously there is something alluring about Reality TV not only to viewers but also to possible participants in shows.
- Are Actors Really Real in Reality TV? The changing face of performativity in Reality Television
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Reality TV makes expert use of conflict and resolution, themes central to other popular forms of entertainment such as film and theatre. Characters are presented, some likeable, others not so. In Australia in particular there is often a focus on the underdog culture, and the flip side of this in Reality TV narratives often involves the unlikeable characters getting caught out and being served their just deserts.
Reality TV has voyeuristic elements in that it allows low risk exposure to people, environments, and social issues, as well as the emotional and behavioural impacts for real people. Another broadly appealing element is the perceived capacity for an ordinary person to become a celebrity or be discovered for a talent they have no other means to express and receive success for.
However, some limits to this are discussed in Section 2. Streaming Twitter comments has become popular during live Reality TV. This interaction promotes a sense of belonging that audiences enjoy. Handing over the voting to the audience, allowing them to exhibit approval or disapproval, is apportioning responsibility and trust with the viewers as participants Kjusp. Section 2 provides a discussion of the theoretical underpinnings and implications of analysing Reality TV through a performativity lens and introduces pertinent theoretical concepts that inform the readers understanding of Section 3.
Section 3 serves as a reflection on practice at various stages of producing Reality TV programmes. Performativity, Dramaturgy, and Ethics In this section a range of theoretical concepts are introduced, including the two key philosophies of production: Both theories are concerned with the ways in which identity is performed in the social world and how such performances relate to a sense of reality through the means of social constructs.
Such a discussion inevitably raises questions around the ethical aptitude of Reality TV and those who produce it. Philosophies of Production in Reality TV: Realism and Expressionism In the s, Andre Bazin realist and Sergei Eisenstein expressionist posited opposing theories concerning film form.
The opposing concepts of interest are the use of long shots vs. Bazin and Eisenstein were not to know the important role their theories would play as the foundation of visual literacy a century later. The application of expressionist as compared to realist techniques within Reality TV will be in Section 3. Both philosophies are used in various ways to increase the sense of authenticity and reality within Reality TV; however, both are methods of visual manipulation of viewers.
In line with the tradition of expressionism, Eisenstein adopted a dialectic approach and was a key proponent of the use of editing and montage in order to enhance the ability for manipulative connotation. Therefore, the aim within realist cinematography is to show events as they occur, as opposed to attempting to influence the perception of the viewer through expressionistic techniques.
Jessie Godderz and his Journey to Superstardom
The long shot is key to portraying a pure piece of narrative, it is seamless and storytelling happens in real time without the attempt to alter perceptions of time or space Fabe, In realist cinematography, the shots are not only long but also static, editing may occur but is likely to be utilised in subtle ways to create a seamless narrative, and visual contrast is avoided Fabe, Reality is socially constructed and a key means of the construction of reality and our own identities is through the language we use or through speech acts.
The words we use in our day-to-day lives to perform our identities and roles within society are means of maintaining ideological conventions. Our identities and the components that comprise them such as gender, sexuality, and religion, not only maintain ideology but are also products of ideology Butler, Males and females, heterosexual and LGBTI for example have been differently valued in mainstream society and the language adopted across social institutions and the invisibility of diverse groups serves to perpetuate the marginalisation of some social groups.
The main method adopted within Reality TV to silence the speech of participants is editing. Such an approach to Reality TV production maintains ideological conventions and promotes antisocial behaviour amongst participants in programmes by televising the most shocking and therefore entertaining content.
The widespread appeal and franchising of Reality TV concepts, such as World Idol, also raises potential concerns regarding the representativeness of those cast and the risk of globalised social norms that perpetuate marginalisation. In the discussion of mainstream discourses it is worthwhile mentioning that the use of casting agencies in the initial phases of contact with potential participants and related terminology provides an immediate cue to perform when compared to audition related terminology.
Although the distinction may be subtle in other genres of television, the notion of auditioning based on a related skill or being cast is unambiguous, and brings to mind a distinct discourse that will influence the performativity of those going through the casting process. Reality TV and Dramaturgy Goffman argued from a symbolic interactionist perspective that individuals actively perform their identity, much like actors in the theatre, for an audience in their day-to-day lives.
On the front stage the individual is concerned with actively managing the impressions that other people have of them through feedback cues they receive during all social interactions Goffman,p. Thus, when an individual appears in the presence of others, there will usually be some reason for [them] to mobilize his activity so that it will convey an impression to others, which it is in [their] interest to convey.
In the backstage the individual prepares him or herself to perform appropriately in the public front stage. A key function of these front and back stage processes is to save face, to perform in a way that will be considered socially appropriate and congruent with the way the individual wishes to be perceived. Impression Management in the Absence of Feedback Cues Because performing and maintaining impressions of the self are interaction-based processes, in the case of Reality TV the nature of performing the self becomes augmented.
The individual is aware that they are being observed at three levels. They are observed directly by other contestants in the show, directly and indirectly by production crew and producers of the show, and indirectly by the audience.
Dramaturgy suggests that each of these three levels of observation will influence the performance of the individual. Individuals can work to manage the impressions they are having on other contestants and to some extent the production crew whilst off camerahowever, they are unable to gauge the reactions of the viewer at home and therefore their broader image in the social sphere.
Often times, this is exacerbated by the fact that Reality TV participants are sometimes intentionally kept together away and from the outside world and are often unable to access media outlets such as newspapers. This inability to gauge audience reactions and the broader perceptions of themselves places the power in the hands of the producers and means that they have the final impression management role.
The peri- and post-production techniques outlined in Section 3 are used as narrative tools to influence the perceptions the public have towards the participants and increase interest in the show by making some individuals appear to be likeable with hero qualities, and others to be the character audiences love to hate. The formal rules of the show, as well as the informal rules that develop as an inevitable function of social interaction, constitute a new set of ritual states and versions of sacred and stigmatised selves that are unique to the region of the show.
These will never be totally unique however, in that they will be based on a foundation of mainstream ideology and have already been influenced before the cast meet one another because of the contrived manner in which casts and narratives are developed. The Presence of Cameras: Sensitisation It is likely that the filming approach and associated techniques adopted by the production crew will influence the performance given by participants. In fixed rig contexts such as Big Brother, cameras are often located behind mirrors or other set pieces and do not move.
In such a setting it is likely that participants in the show will become habituated to the setting. Their consciousness of the fact that they are not only performing to each other but for a wider viewership will peak upon entry to the house but will decrease over time and this will alter their performance. The camera moves with them and is always in close proximity in order to achieve the expressionistic close-up. In this context, performance requirements are omnipresent and participants are sensitised to them.
Nothing has ever been given to me. It made me take the right course of action to try to become a wrestler for whichever company. Being the owner of Impact Wrestling, she was looking for a guy who could give her wrestling organization a boost in star power. They gave me a chance. To get a foot in the door and get a chance, or get that meeting or be in front of the right eyes to tell your story. After receiving his contract for Impact Wrestling, Godderz found himself in many interesting situations in front of the cameras.
Keep in mind, we won two tag team titles as BroMans and then I had that stint as the modern day Adonis. I continued to stay as a heel and we had that long stretch with our tag team imploding for a while.
He became a good guy.
Elvis Presley Biography | A Comprehensive history of Elvis Presley's dynamic life
Bubba Ray Dudley called it when I was training with him. He said that he enjoys making his fans smile. I love being able to go out there and hear the cheers. Some of my fondest memories include me being a heel for five years. I love the fans. I love the kids. When you are out there, having fun and being able to showcase your abilities and perform in front of a live crowd is completely different. When you get that connection with the fans, there is nothing like it.
When you feel that and that rush sweeps over you, there is just nothing like it. Godderz also loves being able to showcase his acting chops to a large audience. He is currently delighting fans with a standout role on the new soap opera, Tainted Dreams. It is a collaboration because they follow the director Sonia Blangiardo, who is a friend of mine.
She was the one who brought me on to work on Tainted Dreams. They all took a keen liking to me. It has been amazing. It is one of my proudest achievements. Amazon TV is blowing up. Godderz approaches his role on Tainted Dreams with the same focus he gives to professional wrestling. All of the actors and actresses that I have worked with had nothing but praise for my performance.
When you are in a scene with somebody—they bring it to their level. They are never going to come down to yours. He is going to take you and have you wrestle Kurt Angle to whatever capacity that you are able to do that.
Keep in mind, she is an Emmy Award winning daytime director. Again, I was given an opportunity and they took a chance on me.
I needed to knock it out of the park. All the feedback I have gotten has been positive. Captain Arlie Metheny, the information officer, was unprepared for the media attention drawn by the singer's arrival. Hundreds of people descended on Elvis as he stepped from the bus; photographers then accompanied him into the base.
Elvis announced that he was looking forward to his military stint, saying he did not want to be treated any differently from anyone else: Later, at Fort Hood, Texas, Lieutenant Colonel Marjorie Schulten gave the media carte blanche for one day, after which she declared Elvis off-limits to the press. Soon after Elvis had commenced basic training at Fort Hood, he received a visit from Eddie Fadal, a businessman he had met when on tour in Texas.
Fadal reported that Elvis had become convinced his career was finished - 'He firmly believed that'. During a two-week leave in early June, Elvis cut five sides in Nashville. He returned to training, but in early August his mother was diagnosed with hepatitis and her condition worsened. Elvis was granted emergency leave to visit her, arriving in Memphis on August Two days later, Gladys died of heart failure, aged Elvis was devastated; their relationship had remained extremely close - even into his adulthood, they would use baby talk with each other and Elvis would address her with pet names.
The Army also introduced Elvis to karate, which he studied seriously, later including it in his live performances. Fellow soldiers have attested to Elvis' wish to be seen as an able, ordinary soldier, despite his fame, and to his generosity while in the service. He donated his Army pay to charity, purchased TV sets for the base, and bought an extra set of fatigues for everyone in his outfit.
While in Friedberg, Elvis met year-old Priscilla Beaulieu. They would eventually marry after a seven-and-a-half-year courtship. In her autobiography, Priscilla says that despite his worries that it would ruin his career, Parker convinced Elvis that to gain popular respect, he should serve his country as a regular soldier rather than in Special Services, where he would have been able to give some musical performances and remain in touch with the public.
Armed with a substantial amount of unreleased material, they kept up a regular stream of successful releases. RCA also managed to generate four albums compiling old material during this period, most successfully Elvis' Golden Recordswhich hit number three on the LP chart. Elvis Presley In The U. Army Focus on movies Elvis Is Back Elvis returned to the United States on March 2,and was honorably discharged with the rank of sergeant on March 5.
The train that carried him from New Jersey to Tennessee was mobbed all the way, and Elvis was called upon to appear at scheduled stops to please his fans.
Back in Memphis, he wasted no time in returning to the studio. The album features several songs described by Greil Marcus as full of Chicago blues 'menace, driven by Elvis' own super-miked acoustic guitar, brilliant playing by Scotty Moore, and demonic sax work from Boots Randolph.
Elvis' singing wasn't sexy, it was pornographic'. As a whole, the record 'conjured up the vision of a performer who could be all things', in the words of music historian John Robertson: Released only days after recording was complete, it reached number two on the album chart. Elvis returned to television on May 12 as a guest on The Frank Sinatra Timex Special - ironic for both stars, given Sinatra's not-so-distant excoriation of rock and roll.
Also known as Welcome Home Elvis, the show had been taped in late March, the only time all year Elvis performed in front of an audience. The broadcast drew an enormous viewership. It is important to note that at the time Elvis came to prominence it was the normal thing for a big star in the music field to cross over to movies. They did not have the technology nor music videos, MTV etc. So Hollywood it was, and it was Elvis' dream to be a good actor, he held out hope for years that he would be given a good script and succeed in the movie business, eventually accepting this was not to be Ann-Margret talks about Elvis.
Elvis Presley starred in 31 feature films as an actor and two theatrically released concert documentary filmsall of which enjoyed financial success. For a number of years he was one of Hollywood's top box office draws and one of its highest-paid actors. His two most critically acclaimed films, Jailhouse Rock and King Creole have become classics of their era. His movies and concert films enjoy a healthy life today in television syndication and home video sales and rentals.
Some of his top-selling music came from his movies. Eleven of his movie soundtrack albums went to the top ten, and of those, four went to number one.
The soundtrack for G. Blueswas number one on the Billboard Top album chart for 10 weeks and remained on the chart for weeks. The album from Blue Hawaii was number one for 20 weeks and was on the chart for 79 weeks G. Bluesthe soundtrack to Elvis' first film since his return, was a number one album in October. It reached number 13 on the U. In FebruaryElvis performed two shows for a benefit event in Memphis, on behalf of 24 local charities.
During a luncheon preceding the event, RCA presented him with a plaque certifying worldwide sales of over 75 million records. A hour Nashville session in mid-March yielded nearly all of Elvis' next studio album, Something for Everybody. As described by John Robertson, it exemplifies the Nashville sound, the restrained, cosmopolitan style that would define country music in the s.
Presaging much of what was to come from Elvis himself over the next half-decade, the album is largely 'a pleasant, unthreatening pastiche of the music that had once been Elvis' birthright'.
It would be his sixth number one LP. Another benefit concert, raising money for a Pearl Harbor memorial, was staged on March 25, in Hawaii. It was to be Elvis' last public performance for seven years.
On location for the picture 'Follow That Dream'. Lost in Hollywood Parker had by now pushed Elvis into a heavy movie making schedule, focused on formulaic, modestly budgeted musical-comedies.
Elvis at first insisted on pursuing more serious roles, but when two films in a more dramatic vein - Flaming Star and Wild in the Country - were less commercially successful, he reverted to the formula. For the remainder of the decade, during which he made 27 movies, there were few further exceptions.
His films were almost universally panned; one critic dismissed them as a 'pantheon of bad taste'. Nonetheless, they were virtually all profitable. Hal Walliswho produced nine of them, declared, 'An Elvis picture is the only sure thing in Hollywood'. Of Elvis' films in the s, 15 were accompanied by soundtrack albums and another 5 by soundtrack EPs.
The movies' rapid production and release schedules - he frequently starred in three a year - affected his music. According to Jerry Leiberthe soundtrack formula was already evident before Elvis left for the Army: As the decade wore on, the quality of the soundtrack songs grew 'progressively worse'.
Julie Parrish, who appeared in Paradise, Hawaiian Stylesays that he hated many of the songs chosen for his films. The Jordanaires ' Gordon Stoker describes how Elvis would retreat from the studio microphone: Most of the movie albums featured a song or two from respected writers such as the team of Doc Pomus and Mort Shuman. But by and large, according to biographer Jerry Hopkins, the numbers seemed to be 'written on order by men who never really understood Elvis or rock and roll'.
Regardless of the songs' quality, it has been argued that Elvis generally sang them well, with commitment.
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Critic Dave Marsh heard the opposite: In the first half of the decade, three of Elvis' soundtrack albums hit number one on the pop charts, and a few of his most popular songs came from his films, such as Can't Help Falling in Love and Return to Sender Viva Las Vegas, the title track to the film, was a minor hit as a B-side, and became truly popular only later.
But, as with artistic merit, the commercial returns steadily diminished. During a five-year span - through - Elvis had only one top ten hit: Crying in the Chapela gospel number recorded back in As for non-movie albums, between the June release of Pot Luck and the November release of the soundtrack to the television special that signaled his comeback, only one LP of new material by Elvis was issued: Elvis Presley with his wife Priscilla. Shortly before Christmasmore than seven years since they first met, Elvis proposed to Priscilla Beaulieu.
They were married on May 1,in a brief ceremony in their suite at the Aladdin Hotel in Las Vegas. The flow of formulaic movies and assembly-line soundtracks rolled on. It was not until Octoberwhen the Clambake soundtrack LP registered record low sales for a new Elvis album, that RCA executives recognized a problem.
Lisa Marie growing up, Graceland. Of the eight Elvis singles released between January and Mayonly two charted in the top 40, and none higher than number His forthcoming soundtrack album, Speedway, would die at number 82 on the Billboard chart. Parker had already shifted his plans to television, where Elvis had not appeared since the Sinatra Timex show in He maneuvered a deal with NBC that committed the network to both finance a theatrical feature and broadcast a Christmas special.
Recorded in late June, the special, called simply 'Elvis', aired on December 3, Later known as the '68 Comeback Specialthe show featured lavishly staged studio productions as well as songs performed with a band in front of a small audience - Elvis' first live performances since The live segments saw Elvis clad in tight black leather, singing and playing guitar in an uninhibited style reminiscent of his early rock and roll days. Director and co producer Steve Binder had worked hard to reassure the nervous singer and to produce a show that was far from the hour of Christmas songs Parker had originally planned.
The show, NBC's highest rated that season, captured 42 percent of the total viewing audience. Jon Landau of Eye magazine remarked, 'There is something magical about watching a man who has lost himself find his way back home. He sang with the kind of power people no longer expect of rock 'n' roll singers.
He moved his body with a lack of pretension and effort that must have made Jim Morrison green with envy'. Released in Juneit was his first secular, non-soundtrack album from a dedicated period in the studio in eight years. As described by Dave Marsh, it is 'a masterpiece in which Elvis immediately catches up with pop music trends that had seemed to pass him by during the movie years.
He sings country songs, soul songs and rockers with real conviction, a stunning achievement'. The album featured the hit single In the Ghetto, issued in April, which reached number three on the pop chart - Elvis' first non-gospel top ten hit since Bossa Nova Baby in Further hit singles were culled from the American Sound sessions: Elvis was keen to resume regular live performing.
Following the success of the Comeback Special, offers came in from around the world. He responded, 'That's fine for me, now how much can you get for Elvis?
He was scheduled to perform 57 shows over four weeks beginning July