Book contents
- Frontmatter
- Table of Contents
- Acknowledgements
- Introduction
- 1 Fear and the Fragility of Myths
- 2 Playing Games with Heritage
- 3 Drama Writing and Audiences as Affective Superaddressee
- 4 Producing Art, Producing Difference
- 5 Making Reality TV: The Pleasures of Disciplining in a Control Society
- Reflections
- References
- Index
- Frontmatter
- Table of Contents
- Acknowledgements
- Introduction
- 1 Fear and the Fragility of Myths
- 2 Playing Games with Heritage
- 3 Drama Writing and Audiences as Affective Superaddressee
- 4 Producing Art, Producing Difference
- 5 Making Reality TV: The Pleasures of Disciplining in a Control Society
- Reflections
- References
- Index
Summary
Abstract
This chapter presents the theoretical and empirical puzzle of the book and argues for the Singapore case as instructive to understanding authoritarian resilience. Situated on the mercurial edge between state illiberalism and capitalist forces, the group of independent television producers I study embody the multiple subjectivities that navigate illiberal capitalist democracies. The book explores the work involved in ideologically sustaining such a social order through their lived experiences and practices. I provide a theoretical mapping of the book to elaborate on how the two senses of ‘performing fear’ – first the performative practices that instantiate fear as relational lens through which Singapore is to be understood; and second the affective meaning-making practices of producers that conjure and sustain audiences as anxiety-inducing – serve to perpetuate the existing social order.
Keywords: Illiberal democracy; Performativity; Fear; Affect; Television production; Singapore
It was one of those uneventful afternoons on the set of the ‘live’ Reality TV show I was interning for. Everyone went about their usual business. Stationed next to the Camera Director in the front-end of the panel room, I sat quietly staring at the dozens of monitors that observed the Reality TV show contestants around the clock in Big Brother style. Five metres behind me, the censor on duty watched the ‘live’ broadcast conscientiously on a separate monitor for anything that needed immediate censoring. A woman in her early twenties, she was one of the dozens of part-timers who were hired on an hourly rate to act as censors for the ‘live’ programme. The instructions given to her when she was hired were simple: blur or mute what you deem problematic; and record what you censored in a logbook. Outside the panel room, the Production Manager monitored our work by watching what the audiences would see – the post-censored ‘live’ broadcast on television.
The mood in the panel room was relaxed, almost sleepy. This was one of those afternoons when the contestants had no designated activities and were free to rest. With nothing in particular to focus our attention on, the Camera Director switched around the different cameras to capture what the different contestants were doing.
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- Information
- Performing Fear in Television ProductionPractices of an Illiberal Democracy, pp. 9 - 32Publisher: Amsterdam University PressPrint publication year: 2022