'BIG BROTHER' - The 'Reality Show' as a Globalized 'Post- Documentary' Form

In this book I am attempting to scrutinise the Big §Brother show (Endemol, 1999) - the archetype of §the reality show genre (Cummings, D, 2002, xii) §as a cultural product of our post-modern-late §capitalism era (Jameson, F, 1993, xii). In §specific, I am focusing on its function as a pop-§culture globalised post-documentary form that, on §the one hand, reflects our era s post-modern §dimension, and through the space-time processes §decontextualises space (geography) and time §(history), and thus, distorts our sense of §the real and transcends the cultural borders; §while on the other hand, reflects our era s late-§capitalism dimension, and thus, the western §capitalistic spaces, (pop-) cultural symbols and §social dynamics. Therefore, Big Brother, enhances §the globalisation process in the form of §westernisation. In this book I am attempting to scrutinise the Big §Brother show (Endemol, 1999) - the archetype of §the reality show genre (Cummings, D, 2002, xii) §as a cultural product of our post-modern-late §capitalism era (Jameson, F, 1993, xii). In §specific, I am focusing on its function as a pop-§culture globalised post-documentary form that, on §the one hand, reflects our era s post-modern §dimension, and through the space-time processes §decontextualises space (geography) and time §(history), and thus, distorts our sense of §the real and transcends the cultural borders; §while on the other hand, reflects our era s late-§capitalism dimension, and thus, the western §capitalistic spaces, (pop-) cultural symbols and §social dynamics. Therefore, Big Brother, enhances §the globalisation process in the form of §westernisation.