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Wie Entsteht Eine Reality-TV-Show? Produktionsbedingungen, Redaktionssystem Und Stilmittel

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Wie Entsteht Eine Reality-TV-Show? Produktionsbedingungen, Redaktionssystem Und Stilmittel Modul 2 Modul 2 Wie entsteht eine Reality-TV-Show? Produktionsbedingungen, Redaktionssystem und Stilmittel Medienanstalt Hamburg / Schleswig-Holstein (MA HSH) Rathausallee 72 - 76 22846 Norderstedt Telefon 040 / 36 90 05-0 Telefax 040 / 36 90 05-55 E-Mail [email protected] Internet www.ma-hsh.de WWieie eentstehtntsteht eineeine Reality-TV-Show?Reality-TV-Show? Produktionsbedingungen, Redaktionssystem und Stilmittel Thematischer Implus Modul 2 Das duale Rundfunksystem Deutschlands basiert günstiger als das aufwändige Verlegen von auf den zwei Säulen gebühren- und werbefi nan- Kamera-Schienen und ein personalintensiver zierter öffentlich-rechtlicher Fernsehsender Einsatz der Abteilung Kamerabühne. und ausschließlich durch Werbung fi nanzierter privater Fernsehsender. Hier hat ein Ereignis Unter dem hohen Marktdruck entwickeln Sen- maßgeblich zum Boom der Reality-Formate bei- der immer neue Formate, wandeln erfolgreiche getragen: In den Jahren nach 2001 erlebte das Shows ab oder adaptieren ausländische Sen- private Fernsehen eine Werbekrise, in der die dungen. Produktionsunternehmen liefern den Einnahmen durch den Verkauf von Werbezeit Sendern die Shows. Sie bieten ihre Formate in massiv zurückgingen. Das größtenteils durch Ge- Vorproduktionen oder als Treatment (Entwurf) bühren fi nanzierte öffentlich-rechtliche Fern- an oder werden gezielt zur Entwicklung einer sehen war von den Werberückgängen weniger Sendung aufgefordert. Die Zeit für die Neuent- betroffen als private Sender, die in der Folge wicklung einer Sendung ist auf ein Minimum die Produktion von kostenintensiven fi ktionalen beschränkt, knappe Finanzbudgets müssen oft Serien und Spielfi lmen stark zurückfuhren und durch minimale Produktionskosten eingehalten stattdessen auf kostengünstig zu produzieren- werden. de Reality-TV-Formate setzten: Eine bewegte Handkameraaufnahme wird vom Zuschauer als authentisch gewertet und ist außerdem viel 2 Schein & Sein Modul 2 Reality-TV-Shows werden in arbeitsteiligen Hinzu kommt ein technischer Stab, oftmals Frei- Produktionsabläufen, dem sogenannten Redak- berufl er, der bei Bedarf engagiert wird. Große tionssystem, hergestellt. Innerhalb dieses Sys- Produktionsunternehmen halten ein ganzes Pro- tems übernimmt jeder Mitarbeiter eine spezi- duktionssystem inklusive eigener Studios und elle Funktion: Sende-/Aufzeichnungstechnik sowie Redaktion und Technik-Crew bereit. Bei anderen Formaten Produzent - Profi l des Formats und Zielgrup- wie etwa den Gerichtsshows ist das Casting von penansprache, Finanzierung und Vermark- Laiendarstellern ein wichtiger Aspekt. Diese Lai- tung, endarsteller, die oftmals bei Castingagenturen registriert sind (und daher manchmal bei meh- Chefredakteur - Themensuche, Koordination reren Produktionen in unterschiedlichen Rollen der Redaktionsarbeit, auftreten), werden typgerecht ausgesucht und präzise auf ihre Rolle vorbereitet. Sie können Themenredakteure - inhaltliche Recherche, auf Knopfdruck die erwarteten Reaktionen Protagonisten, Auswahl der Laiendarsteller, zeigen. Aufgrund ihrer eigenen Seherfahrungen fügen sie sich perfekt in das Format ein, geben Autoren - Storyverlauf, Falldramaturgie, Dia- passende Statements ab und agieren betont loge (zum Beispiel bei Gerichtssendungen), theatralisch und melodramatisch. Diese Fähig- keit bezeichnet die Medienwissenschaft mittler- Inhaltliche Berater - Juristen, Mediziner, Psy- weile als „Inszenierungskompetenz”. Sie erklärt chologen (als freie Mitarbeiter). auch das stereotype Verhalten von Gästen in Schein & Sein 3 Modul 2 nachmittäglichen Talkshows, die genau wissen, Die unterschiedlichen Formate innerhalb des welche Ansichten sie vertreten müssen, um dem Genres Reality-TV nutzen verschiedene Stilmit- Publikum Reaktionen zu entlocken. Für aufwän- tel. Verwackelte Aufnahmen aus versteckten digere Formate gibt die Redaktion den Akteuren Kameras, Schwarzweißbilder oder die Beobach- umfassendere Charakterbriefi ngs und/oder im tung der Akteure sogar in der Studiogarderobe, Drehalltag gezielte Anweisungen. Manche Lai- also backstage, sollen dem Zuschauer eine un- enprofi s, wie zum Beispiel die durch unzählige mittelbare Beteiligung, einen exklusiven Ein- Formate bekannt gewordene Familie Birkhahn, blick in das tatsächliche Geschehen vermitteln. lassen sich auf die Formate bewusst ein, andere Das Strickmuster der Produktionen geht dabei erwarten tatsächlich Hilfe oder eine Problemlö- von festen Grundrastern aus, die je nach Inhalt sung durch den Besuch der Fernsehteams. Hier leicht modifi ziert werden. Ob ein Koch ein Re- kann die Nachbetreuung im schnellen Alltag staurant auf Touren bringt, ob der Alltag in einer einer Produktionsfi rma jedoch keine tieferge- Feuerwache, einer Ballettschule oder in einem henden Probleme behandeln: Die Hilfe bleibt Friseursalon dargestellt wird: Immer gibt es Nah- oberfl ächlich. aufnahmen von Gesichtern der Protagonisten, resümierende Einzelinterviews nach besonderen Konfl ikten und weitwinklige Raumübersichten. Das Redaktionssystem Bei Erziehungshilfe- oder Heimwerkersendungen werden Krisensituationen und Konfl ikte, Zeit- inszeniert die „Realität“ perfekt! druck und die helfende Kompetenz des exter- nen Personals durch Wortwahl, strenge Mimik, 4 Schein & Sein Modul 2 Körpermikrofone oder weitwinklige Kameraaus- Das Erkennen einer dramatisierenden Hinter- schnitte in den Vordergrund gerückt. Um echtes grundmusik oder einer stereotypen Bekleidung Geschehen und inszenierte Realität auseinan- und die Auswertung der erzielten Effekte führen derhalten zu können, muss der Zuschauer auf zu einer bewussten Rezeption mit Distanz zur eine Vielzahl von Faktoren achten. Handlung und zu einer bewussten Trennung zwi- schen an den Alltag angelehnter Fernsehfi ktion und dem tatsächlichen Geschehen im Alltag von Freunden und Familie oder Gesellschaft. Eine detaillierte Übersicht der verschiedenen Stil- mittel und der durch sie erzielten Effekte beim Zuschauer ist als Arbeitsblatt beigefügt. Die Kenntnis von Stilmitteln und Erzählformen hilft bei der Analyse der Formate und der Einordnung des Gesehenen. Schein & Sein 5 FFazitazit Modul 2 Reality-TV-Shows haben sich, da relativ kostengünstig zu produzieren, als Sendeformat hauptsächlich bei privaten Fernsehsendern etabliert. Die Sendungen verfolgen hin- sichtlich Erzählformen und Stilmitteln in der Regel charakteristische Grundmuster, die in Abhängigkeit vom Inhalt nur geringfügig variieren. Diese Muster zu erkennen ermög- licht eine distanziertere Sehweise und begrenzt die unkritische Adaption von Verhal- tensweisen und Problemlösungen. 6 Schein & Sein Ablaufskizze Kompetenzen Im Modul 2 werden Aufbau und Gestaltung ver- Wie entsteht eine Reality-TV-Sendung? Sind Be- schiedener Reality-TV-Formate erarbeitet: richte aus TV, Printpresse etc. bekannt? Welche Fernsehsender kennen die Schüler? Welche sind Im DVD-Einspieler 3 schildern TV-Profi s den privat, welche sind öffentlich-rechtlich? Was un- Produktionsalltag von Dokusoaps. terscheidet beide Formen voneinander? Woran erkennt man, ob ein Sender öffentlich-rechtlich Im DVD-Einspieler 4a werden Gestaltungs- oder privat ist? merkmale in der Sendung Die Super Nanny gezeigt. Die Schüler lernen den Aufbau und die Ar- Modul 2 beitsteilung einer Reality-TV-Redaktion ken- Eine Mitarbeiterin eines familienpsycholo- nen. gischen Dienstes schildert im DVD-Einspieler 4b den tatsächlichen Alltag von Familienhel- Die Schüler erkennen den Einsatz spezifi scher fern. Stilmittel in bestimmten Formaten. Im Abschlussgespräch werden diese Alltags- Die Schüler lernen Gestaltungsmerkmale un- schilderung und die Darstellung in der Sen- terschiedlicher Formate kennen. dung gegenübergestellt. In DVD-Einspieler 5 schildert Professor Bernd Schorb die Faszination und möglichen Wir- kungen von Reality-TV. Schein & Sein 7 Materialien Modul 2 Arbeitsblätter DVD Arbeitsblatt 2 und 3: DVD-Einspieler 3: Die Genre-Tabelle sowie die Stilmittel-Matrix Einblicke in den Produktionsalltag von Doku- dienen der Lehrkraft als Übersicht, können aber Soaps (08:11 min) auch an die Schüler verteilt und mit ihnen be- Boris Quarg, Producer, und Ingo Weinard, sprochen werden. Mögliche Fragen sind: Welche Herstellungsleiter SpinTV weiteren Sendungen können den Genres des Re- Planung und Ablauf bei der Produktion einer Do- ality-TV zugeordnet werden? Welche weiteren kusoap: Akquise, Vor-Ort-Recherche, Senderab- Untergruppen sind denkbar? Welche Stilmittel sprachen und die Aufgabenverteilung beim Dreh. sind charakteristisch für welche Sendungen? Mit welchen Stilmitteln wird welche Wirkung er- DVD-Einspieler 4a: zielt? Die Super Nanny: Ausschnitte aus der Sen- dung (06:07 min) Ein Genre aus dem Reality-TV-Bereich sind Be- Alle Arbeitsblätter stehen auch auf der DVD als ratungsformate, sogenannte Taskforce-Sen- pdf-Datei zur Verfügung. dungen: Professionelle Berater stehen beispiels- weise Familien in Krisensituationen bei. 8 Schein & Sein Modul 2 DVD-Einspieler 4b: Eine echte „Supernanny“ erzählt (08:36 min) Britta Hapke, Familienpsychologin Eine Familienpsychologin schildert ihren Alltag in der Arbeit mit Familien. Sie beschreibt die Abläufe, Grundsätze der Arbeit und Erfahrungen mit den Familien. DVD-Einspieler 5: Faszination und Wirkung von Reality-TV (05:49 min) Prof. Dr. Bernd Schorb, Professor für Medien- pädagogik und Weiterbildung an der Universität Leipzig Schorb spricht über die Sehmotivation, den Auf- bau und die Wirkung von Reality-TV und skiz- ziert mögliche Formate der Zukunft und ihre In- tegration in den Fernsehalltag von Kindern und Jugendlichen. Schein & Sein 9 Arbeitsblatt 2 Genre-Tabelle Die
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