Even though this emphasis on interaction and participation has an emancipatory aspect concerning the practical positioning of TV audiences, it also has an ilusional character imposing a new kind of consumerism and interdependence which nourished by audiences' multi-identities. The post-television adopt media convergence opportunities in order to activate the so-called passive audiences by enabling efficiently the use of internet by combining the television watching practice with the opportunities such as interaction and participation that internet incorporate. In shifting emphasis from history to historicity, I demonstrate how gamedocs must continuously update and reinvent its microcelebrities in order to sustain their own histories in a fast-paced convergent mediascape. These techniques expand our understanding of microcelebrity through their affective production of fame, a fame that does not necessarily exist but is instead simulated through the rem(a)inders of a series' archive. Reality television uses microcelebrity as a vehicle to reroute history into collective memory, and chart two techniques (all-star seasons and the re-circulation of microcelebrities across a reality franchise) that gamedocs use to this effect. I turn to historicity-the affective perception of history-to describe the spectator's investment in reality TV's historical authenticity. The creation of a programme's history legitimises it as commodity, with the 'history' of a reality television series further extending the brand of a gamedoc. This article examines this historicity and the production of microcelebrity within game-docs. Nearly two decades after the explosion of primetime reality programming, many reality series claim a stylised historicity: an intentional and constant citational practice that stages the seasons, contestants, and events from a programme's past as a way of reminding its audience about the programme's impact on popular culture.

Henry jenkins textual poachers