Big Brother Semiotic Analysis
Big Brother Semiotic Analysis
Introduction:
This semiotic analysis will attempt to bring clarification to the persuasive symbols and messages used within the American version of the “Reality Television” game show “Big Brother”. The use of myth, metonymy, tokens, and connotation will be looked at, and will attempt to demonstrate how this communication event reflects and influences its receivers. In order to understand the terminology and examples used in such an analysis, a brief history and description of Big Brother is necessary. Originally conceived by a production company out of the Netherlands, the Big Brother game show has appeared in 70 different countries and was first introduced to viewers in Canada and the United States in 2000. Between its introduction and the writing of this analysis, eight seasons of the American Big Brother have aired, one is currently in progress, and another is in the works. Since its debut, the format of Big Brother has been altered slightly. Currently the game is played by up to 14 players over a three month period. These players are a mix of males and females who must live in a specially built house (permanently installed with 24/7 cameras) together, with no connection to the outside world. This means no newspapers, no internet, no telephone, and no television to watch themselves on. This is presumably because the presence of a television or computer would reduce the participants interactions with each other, which are the chief interests for viewers watching on their own televisions. The contestants’ incentive is a prize of $500,000, awarded to the “house guest” who survives the weekly process of elimination by their house mates. The program is unlike any that came before it as it offered the viewing public involvement in every moment of the contestant’s lives, and the opportunity to shape the events of the program through America’s Choice weekly votes. Cameras are placed everywhere in the house, including bedrooms and
Introduction:
This semiotic analysis will attempt to bring clarification to the persuasive symbols and messages used within the American version of the “Reality Television” game show “Big Brother”. The use of myth, metonymy, tokens, and connotation will be looked at, and will attempt to demonstrate how this communication event reflects and influences its receivers. In order to understand the terminology and examples used in such an analysis, a brief history and description of Big Brother is necessary. Originally conceived by a production company out of the Netherlands, the Big Brother game show has appeared in 70 different countries and was first introduced to viewers in Canada and the United States in 2000. Between its introduction and the writing of this analysis, eight seasons of the American Big Brother have aired, one is currently in progress, and another is in the works. Since its debut, the format of Big Brother has been altered slightly. Currently the game is played by up to 14 players over a three month period. These players are a mix of males and females who must live in a specially built house (permanently installed with 24/7 cameras) together, with no connection to the outside world. This means no newspapers, no internet, no telephone, and no television to watch themselves on. This is presumably because the presence of a television or computer would reduce the participants interactions with each other, which are the chief interests for viewers watching on their own televisions. The contestants’ incentive is a prize of $500,000, awarded to the “house guest” who survives the weekly process of elimination by their house mates. The program is unlike any that came before it as it offered the viewing public involvement in every moment of the contestant’s lives, and the opportunity to shape the events of the program through America’s Choice weekly votes. Cameras are placed everywhere in the house, including bedrooms and