Эволюция кулинарного реалити-шоу: от обучения к развлечению и новым медиа.

Food reality television is a genre of reality television programming that considers the production, consumption and/or sociocultural impact of food. Reality food television emerged as a recognisable sub genre in the 1940s. Historically, food reality television sought to educate viewers on matters of food. Early programmes such as Elsie Presents, The Diane Lucas Show and Cook's Night Out imparted 'specific, practical skills' on the viewer, and provided ad lib commentary on matters of homemaking, home entertaining and motherhood. As the genre evolved, and the Food Network channel launched, food reality television sought also to entertain. Programmes such as Great Chefs, Boiling Point and A Cook's Tour combined the factual information of their ancestors with the personal and confessional nature of unscripted television. 'Delia's "how to cook" gave way to Nigella and Jamie's "how to live" This 'factual entertainment' function has persisted and unifies food reality television's contemporary subgenres. and removing barriers to healthy eating. Food reality television has been criticised for its inescapability,

Food related entertainment, like other lifestyle consumer goods, is susceptible to changes in taste and consumer demand. Since its inception in the post war period, food reality television has evolved from the occasional instructional programme to an abundant and wide ranging genre.

Food reality television evolved from cooking segments heard on the radio and homemaking advice offered in women's magazines. Early programmes were considered ‘educational’ in the sense that they prepared the predominately female viewership for their domestic and homemaking duties.

Following the 1960s, food reality television saw an increasing number of hosts with the intimacy and familiarity of their predecessors, but with newfound celebrity status and expertise. Instead, they offered viewers more elaborate and time consuming recipes. The ‘reality’ nature of programming was heightened by the introduction of popular music tracks, handheld cameras, and observational and voyeuristic style framing. The post network era has altered the way in which food reality television is produced and promoted and, the manner in which viewers engage with content. A rise in on demand services and mobile device viewing have provided viewers with greater access to international food programming. In the post network era, audiences are smaller and homogenous, programming is nicher and content is available to view at the audience's convenience. Short form content has proliferated in the post network era, with platforms such as Youtube and TikTok catering to viewer demand for snackable and shareable entertainment. Views for food related content, such as recipes, food diaries and cooking demonstrations, have increased 170% year over year on Youtube. Videos with the hashtag #TikTokFood have conjointly accumulated 25.2 billion views on TikTok.

Food reality television is a diverse genre that encompasses a variety of different entertainment programmes. Leaning on their expertise, the television host transmits cultural and health knowledge to the participants and viewing public. Documentary style programmes often emphasise the personal transformation and subsequent success of the documentary participant. The host 'strays away from the normal culinary path' in search of the most exotic food experiences possible. The natural landscape, local accents, local produce and community feasts are often accentuated. Examples of adventure travel programmes include A Cook’s Tour, Bizarre Foods, Diners, Drive Ins and Dives, Elizabeth Chong’s tiny delights, Gourmet and Man v. Food''''.

Food reality television's game show subgenre is characterised by its competition format. Participants, amateur or professional, compete in culinary challenges with a rigid set of guidelines and a time limit. The participants are often focussed on defeating the other participants and obtaining the cash prize. Charley Packham states that game show programmes borrow heavily from the sporting genre. At the end of the episode, the ratings are totalled, and the winner is announced. Cooking as lifestyle programmes often end on a communal meal, on themes of family, friendship and connectedness. They are frequently captured laughing, cracking jokes and enjoying the fruits of their culinary labour. Broadcast television offers viewers a minimum of 12 hours of designated food programming each week.

Food reality television has been associated with a decline in culinary practice. Lizzy Pope states that a decreasing number of Americans are cooking in their homes. Michael Pollan states that cooking has shifted from an obligation to a spectator sport. The act of cooking appears to have been replaced by the act of viewing. Contemporary food programming separates the viewer from the realities of cooking. Food writer, Matthew Fort, states that viewers turn on their televisions, tune out and defrost their frozen pizzas. According to Kate Frost, audiences are happy watching celebrity chefs create ‘elaborate dishes from fresh, exotic ingredients, while their own plastic packaged supermarket ready meals circle sweatily for three minutes in the microwave’. Viewers devour televisual offerings in place of the sustenance of real food.

Food reality television has been attributed to the development of culinary taste. According to Isabelle de Solier, food programming 'educates in aesthetics' and imparts 'pragmatic culinary knowledge' on the viewer.

Food reality television is criticised for its promotion of overconsumption. Amy R. Eisner Levine states that viewer entertainment is derived from watching people fit giant sandwiches in their mouths, rejoice over a mouthful of rich pasta and scoff six pound burritos in no time at all. Lizzy Pope states that watching TV hosts prepare and consume indulgent and enormous dishes might set cultural norms. Food reality television is criticised for its inescapability. The plethora of food programming is unavoidable. According to Joan C. Henderson, the proliferation of food programming could leave the viewer disenchanted and bored. Annette Hill holds viewers liable for the explosion of food reality television, stating that viewers create demand for food programming and, justify its existence.