The reality gaze: how the physicality of reality TV production methods alienates producers and crew from contributors

This paper examines the way in which reality TV production, predominantly ‘fixed-rig’, alienates producers and crew from the contributors being filmed and how this can impact ethical decision-making during production.

Exploring the working conditions on the set of Big Brother, one of the most influential TV shows on UK screens follows other studies into TV Labour practices (Christa van Raalte, Richard Wallis & Dawid Pekalski (2023), (Swords et al., 2022) for example, but how did this play out on one of the longest running reality shows and how did practices effect ethical decision making?

Using never discussed before primary research interviews with camera operators, directors and producers currently working in reality TV (currently being undertaken for the authors PhD: The Ethics of Reality Television: Understanding UK Production Cultures using Big Brother (U.K. 2000-2018) as a Case Study), this paper looks at how the separation of crew from contributor leads to a changed emotional response from the crew and their relationship with the people they are filming. Reality TV production has a lack of face-to-face relationships and the ethical responsibility to the Other (Emmanuel Levinas, 1961), and whilst ethical procedures may be in place the position of producers as spectators can be seen as a ‘gaze’ that mixes audience perspective and story architect (Spectatorship: The Power of Looking On, Michelle Aaron, 2007).

Physical interaction (or lack thereof) can be seen to have an impact on the productions regard for contributors. An original Big Brother rule for contestants was ‘no outside contact’. This was limited with production and crew as well, being spoken to via the Big Brother ‘Voice Of God’, or in the Diary Room, which didn’t have just an effect on how the contributors felt but also how production crew came to view them. The physical separation, via screen or one-way mirror, risked contributors being de-humanised and producers seeing themselves as ‘Puppet Masters’.