'Su Holmes is a Lecturer in Media with Cultural Studies at Southampton Institute. She has published widely on the early relations between British television and film culture in journals such as Screen, Historical Journal of Film, Radio and Television and Journal of Popular British Cinema. She is currently writing on a book on the early cinema programme on British television, and is working more widely on the subject of Reality TV'.Deborah Jermyn is a Senior Lecturer in Film Studies at University of Surrey, Roehampton. She has published widely on crime and the media, and women and popular culture, including articles in Screen, Feminist Media Studies and The International Journal of Cultural Studies. She is also the co-editor of The Reader in Audience Studies (Routledge, 2002) and The Cinema of Kathryn Bigelow: Hollywood Transgressor(Wallflower Press, 2003)

• Introduction: understanding Reality TV 1 Candid Camera and the origins of Reality TV: contextualising a historical precedent 2 From Ozzie Nelson to Ozzy Osbourne: the genesis and development of the Reality (star) sitcom 3 'This is about real people!': video technologies, actuality and affect in the television crime appeal 4 Reality Tv, troublesome pictures and panics: reappraising the public controversy around Reality TV in Europe 5 'All you've got to worry about is the task, having a cup of tea, and doing a bit of sunbathing': approaching celebrity in Big Brother 6 Temporalities of the real: conceptualising time in Reality TV 7 In search of community on Reality TV: America's Most Wanted and Survivor 'The New You': class and transformation in lifestyle television 9 Socially soothing stories? Gender, race and class in TLC's A Weddin9 Story and A Baby Story 10 The household, the basement and The Real World: gay identity in the constructed reality environment 11 'It isn't always Shakespeare, but it's genuine': cinema's commentary on documentary hybrids 12 Big Brother: reconfiguring the 'active' audience of cultural studies? 13 'Jump in the pool': the competitive culture of Survivor fan networks 14 Afterword: framing the new, Index

'Su Holmes is a Lecturer in Media with Cultural Studies at Southampton Institute. She has published widely on the early relations between British television and film culture in journals such as Screen, Historical Journal of Film, Radio and Television and Journal of Popular British Cinema. She is currently writing on a book on the early cinema programme on British television, and is working more widely on the subject of Reality TV'.Deborah Jermyn is a Senior Lecturer in Film Studies at University of Surrey, Roehampton. She has published widely on crime and the media, and women and popular culture, including articles in Screen, Feminist Media Studies and The International Journal of Cultural Studies. She is also the co-editor of The Reader in Audience Studies (Routledge, 2002) and The Cinema of Kathryn Bigelow: Hollywood Transgressor(Wallflower Press, 2003)

• Introduction: understanding Reality TV 1 Candid Camera and the origins of Reality TV: contextualising a historical precedent 2 From Ozzie Nelson to Ozzy Osbourne: the genesis and development of the Reality (star) sitcom 3 'This is about real people!': video technologies, actuality and affect in the television crime appeal 4 Reality Tv, troublesome pictures and panics: reappraising the public controversy around Reality TV in Europe 5 'All you've got to worry about is the task, having a cup of tea, and doing a bit of sunbathing': approaching celebrity in Big Brother 6 Temporalities of the real: conceptualising time in Reality TV 7 In search of community on Reality TV: America's Most Wanted and Survivor 'The New You': class and transformation in lifestyle television 9 Socially soothing stories? Gender, race and class in TLC's A Weddin9 Story and A Baby Story 10 The household, the basement and The Real World: gay identity in the constructed reality environment 11 'It isn't always Shakespeare, but it's genuine': cinema's commentary on documentary hybrids 12 Big Brother: reconfiguring the 'active' audience of cultural studies? 13 'Jump in the pool': the competitive culture of Survivor fan networks 14 Afterword: framing the new, Index

'Su Holmes is a Lecturer in Media with Cultural Studies at Southampton Institute. She has published widely on the early relations between British television and film culture in journals such as Screen, Historical Journal of Film, Radio and Television and Journal of Popular British Cinema. She is currently writing on a book on the early cinema programme on British television, and is working more widely on the subject of Reality TV'.Deborah Jermyn is a Senior Lecturer in Film Studies at University of Surrey, Roehampton. She has published widely on crime and the media, and women and popular culture, including articles in Screen, Feminist Media Studies and The International Journal of Cultural Studies. She is also the co-editor of The Reader in Audience Studies (Routledge, 2002) and The Cinema of Kathryn Bigelow: Hollywood Transgressor(Wallflower Press, 2003)

• Introduction: understanding Reality TV 1 Candid Camera and the origins of Reality TV: contextualising a historical precedent 2 From Ozzie Nelson to Ozzy Osbourne: the genesis and development of the Reality (star) sitcom 3 'This is about real people!': video technologies, actuality and affect in the television crime appeal 4 Reality Tv, troublesome pictures and panics: reappraising the public controversy around Reality TV in Europe 5 'All you've got to worry about is the task, having a cup of tea, and doing a bit of sunbathing': approaching celebrity in Big Brother 6 Temporalities of the real: conceptualising time in Reality TV 7 In search of community on Reality TV: America's Most Wanted and Survivor 'The New You': class and transformation in lifestyle television 9 Socially soothing stories? Gender, race and class in TLC's A Weddin9 Story and A Baby Story 10 The household, the basement and The Real World: gay identity in the constructed reality environment 11 'It isn't always Shakespeare, but it's genuine': cinema's commentary on documentary hybrids 12 Big Brother: reconfiguring the 'active' audience of cultural studies? 13 'Jump in the pool': the competitive culture of Survivor fan networks 14 Afterword: framing the new, Index