By Donald Richie
Yasujiro Ozu, the fellow whom his kinsmen give some thought to the main jap for all movie administrators, had yet one significant topic, the japanese kinfolk, and yet one significant subject matter, its dissolution. the japanese kinfolk in dissolution figures in each of his fifty-three motion pictures. In his later photos, the total global exists in a single family members, the characters are relations instead of contributors of a society, and the ends of the earth look not more far away than the surface of the home.
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Needless to say, the more I reflected on these and other appropriate suggestions, the more I realized that they were all relevant and worthy of discussion. Unfortunately, a likely consequence of including them in this book would be that a third of it would consist of nothing but descriptions of reality television subcategories. Ultimately, given that the reality TV programming subcategories are always growing and changing in response to industry trends, production innovations, and audience preferences, there can truly be no definitive catalogue of all things reality television.
But unlike Fear, which politely showcased a weekly cast of characters who knowingly signed up for the program, Scare Tactics was mostly a hidden-camera show made possible by the thoughtful coordination of “friends” of an unsuspecting victim. Regarded for its outlandish stunts punctuated by cinema-quality special effects and monstermovie makeup, Scare Tactics also lasted only a few short seasons. Luckily for the growing fan base longing for fear-centric programming, network and cable television networks soon launched a horde of new series that followed the accepted pattern of placing everyday people in frightening situations.
Simplifying the production process was the development and relative affordability of RCA’s TK-76 camera (not to mention the Ikegami HL-77 and HL-79), which made remotes, or portable video shoots, easier than ever. Those behind Westinghouse Broadcasting’s syndicated newsmagazine, PM Magazine, were among the first to capitalize on this new technology and paved the way for others to do the same. Within only a few years, Sony’s revolutionary Betacam further elevated the ease and quality of on-location production, as evidenced by the subsequent groundswell of reality-based programs that followed: Unsolved Mysteries (1987), America’s Most Wanted (1988), Cops (1989), Rescue 911 (1989), and more.
Ozu: His Life and Films by Donald Richie