Why must Roma minorities be always seen on the stage and never in the audience? Children’s opinions of reality Roma TV

Annabel Tremlett*

*Corresponding author for this work

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

The rise of the Roma2 media star across Europe is said to be a “love to hate” phenomenon, particularly in Central and Eastern Europe where the traditional Roma musical entertainer has been transformed into an “admired, albeit ambiguous, celebrity” (Imre 2011, 2). The Eurovision Song Contest (broadcast across Europe and beyond), along with local versions of Pop Idol and Big Brother, have turned Roma musicians into nationwide celebrities. Furthermore, shows such as Hungary’s Győzike (2005-10, RTL Klub) and Romania’s Aventurile familiei Vijelie (The Adventures of the Vijelie Family, 2005-present, Prima TV) have linked “Gypsy” with “reality” formats to grab large audience shares in some of the most successful shows for these channels in recent times. Whilst this trend is publicly debated and beginning to analyzed and theorized, there is still one gaping hole in the discourses: who is actually watching these shows? What do the Roma audiences think of such “reality” stars? Whereas we are prepared to discuss and critique the Roma-as-performer, there has been a dearth of literature on Roma as media consumers.
Original languageEnglish
Title of host publicationPopular Television in Eastern Europe During and since Socialism
EditorsTimothy Havens, Aniko Imre, Katalin Lustyik
Place of PublicationNew York
PublisherRoutledge
Chapter13
Pages241-258
Number of pages18
ISBN (Electronic)9780203110201
DOIs
Publication statusPublished - 2012

Fingerprint

Dive into the research topics of 'Why must Roma minorities be always seen on the stage and never in the audience? Children’s opinions of reality Roma TV'. Together they form a unique fingerprint.

Cite this