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Watch this show, buy this product, you can be a whole new you! Makeover television shows repeatedly promise self-renewal and the opportunity for reinvention, but what do we know about the people who watch them? As it turns out, surprisingly little.The Makeover is the first book to consider the rapid rise of makeover shows from the perspectives of their viewers. Katherine Sender argues that this genre of reality television continues a long history of self-improvement, shaped through contemporary media, technological, and economic contexts. Most people think that reality television viewers are ideological dupes and obliging consumers. Sender, however, finds that they have a much more nuanced and reflexive approach to the shows they watch. They are critical of the instruction, the consumer plugs, and the manipulative editing in the shows. At the same time, they buy into the shows’ imperative to construct a reflexive self: an inner self that can be seen as if from the outside, and must be explored and expressed to others. The Makeover intervenes in debates about both reality television and audience research, offering the concept of the reflexive self to move these debates forward.

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With a wedding impending, the Taiwanese bride-to-be turns to bridal photographers, makeup artists, and hair stylists to transform her image beyond recognition. They give her fairer skin, eyes like a Western baby doll, and gowns inspired by sources from Victorian England to MTV.An absorbing consideration of contemporary bridal practices in Taiwan, Framing the Bride shows how the lavish photographs represent more than mere conspicuous consumption. They are artifacts infused with cultural meaning and emotional significance, products of the gender- and generation-based conflicts in Taiwan's hybrid system of modern matrimony. From the bridal photographs, the book opens out into broader issues such as courtship, marriage, kinship, globalization, and the meaning of the "West" and "Western" cultural images of beauty.Bonnie Adrian argues that in compiling enormous bridal albums full of photographs of brides and grooms in varieties of finery, posed in different places, and exuding romance, Taiwanese brides engage in a new rite of passage-one that challenges the terms of marriage set out in conventional wedding rites. In Framing the Bride, we see how this practice is also a creative response to U.S. domination of transnational visual imagery-how bridal photographers and their subjects take the project of globalization into their own hands, defining its terms for their lives even as they expose the emptiness of its images.

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