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Books on the topic 'Audience practices'

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Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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1

Purcell, Stephen. Shakespeare and Audience in Practice. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-37525-4.

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2

Videogame audiences: Local practices, global cultures. New York: P. Lang, 2009.

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3

Fong, Siao Yuong. Performing Fear in Television Production. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724579.

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What goes into the ideological sustenance of an illiberal capitalist democracy? While much of the critical discussion of the media in authoritarian contexts focus on state power, the emphasis on strong states tend to perpetuate misnomers about the media as mere tools of the state and sustain myths about their absolute power. Turning to the lived everyday of media producers in Singapore, I pose a series of questions that explore what it takes to perpetuate authoritarian resilience in the mass media. How, in what terms and through what means, does a politically stable illiberal Asian state like Singapore formulate its dominant imaginary of social order? What are the television production practices that perform and instantiate the social imaginary, and who are the audiences that are conjured and performed in the process? What are the roles played by imagined audiences in sustaining authoritarian resilience in the media? If, as I will argue in the book, audiences function as the central problematic that engenders anxieties and self-policing amongst producers, can the audience become a surrogate for the authoritarian state?
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4

Judicial, Bolivia Poder. El proceso por audiencia. Sucre, Bolivia: Poder Judicial de Bolivia, 2000.

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5

Charlie, Keil, and Stamp Shelley 1963-, eds. American cinema's transitional era: Audiences, institutions, practices. Berkeley: University of California Press, 2004.

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6

Castro, Manuel González. Audiencia de vista de causa. Córdoba: Advocatus, 2001.

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7

Audience-citizens: The media, public knowledge and interpretive practice. Thousand Oaks: SAGE Publications, 2009.

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8

Webster, James G. Ratings analysis: The theory and practice of audience research. 3rd ed. Mahwah, NJ: Lawrence Erlbaum Associates, 2005.

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9

F, Phalen Patricia, and Lichty Lawrence Wilson, eds. Ratings analysis: The theory and practice of audience research. 3rd ed. Mahwah, N.J: L. Erlbaum Associates, 2006.

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10

Imagining the audience: Viewing positions in curatorial and artistic practice. Stockholm]: Swedish Exhibition Agency, 2012.

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11

Wilson, Tony. Understanding media users: From theory to practice. Malden, MA: Blackwell, 2009.

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12

The practical Ruskin: Economics and audience in the late work. Baltimore: Johns Hopkins University Press, 1991.

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13

Playing the audience: The practical actor's guide to live performance. New York: Applause Theatre & Cinema Books, 2002.

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14

The most common of practices on mass media use in late modernity. Stockholm, Sweden: Almqvist & Wiksell, 1994.

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15

Zolten, J. Jerome. Speaking to an audience: A practical method of preparing and performing. Needham Heights, MA: Simon & Schuster Custom Pub., 1994.

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16

M, Phillips Gerald, ed. Speaking to an audience: A practical method of preparing and performing. Indianapolis: Bobbs-Merrill, 1985.

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17

AMS Planning & Research Corp., ed. A Practical guide to arts participation research. Washington, DC: National Endowment for the Arts, 1995.

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18

Perverse spectators: The practices of film reception. New York: New York University Press, 2000.

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19

Manzur, Hildemaro González. Primera audiencia oral en el sistema acusatorio venezolano. Valencia, Caracas, Venezuela: Vadell Hermanos Editores, 2008.

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20

Draper, Nora A., and Joseph Turow. Audience Constructions, Reputations, and Emerging Media Technologies. Edited by Roger Brownsword, Eloise Scotford, and Karen Yeung. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199680832.013.68.

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This chapter traces how changes in media and surveillance technologies have influenced the strategies producers have for constructing audiences. The largely unregulated practices of information gathering that inform the measurement and evaluation of audiences have consequences for how individuals are viewed by media producers and, consequently, for how they view themselves. Recent technological advances have increased the specificity with which advertisers target audiences—moving from the classification of audience groups based on shared characteristics to the personalization of commercial media content for individuals. To assist in the personalization of content, media producers and advertisers use interactive technologies to enlist individuals in the construction of their own consumer reputations. Industry discourse frames the resulting personalization as empowering for individuals who are given a hand in crafting their media universe; however, these strategies are more likely to create further disparity among those who media institutions do and do not view as valuable.
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21

Small, Ruth V. Designing Digital Literacy Programs With Im-Pact: Information Motivation, Purpose, Audience, Content, and Technique (Best Practices for School Library Media Professionals). Neal-Schuman Publishers, 2004.

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22

Bexell, Magdalena, and Kristina Jönsson. Audiences of (De)Legitimation in Global Governance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198826873.003.0007.

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This chapter identifies types of audiences at which legitimation and delegitimation practices are directed in global governance. The concept of “audience” steers attention to processes of communication between those who seek to shape legitimacy perceptions and those whose perceptions would be shaped. (De)legitimation practices may have different implications for different audiences, and the chapter suggests that audiences play an active part in the performance of (de)legitimation in global governance. Two distinctions are introduced for classifying relationships between global governance institutions and the multitude of actors that may hold legitimacy beliefs about them, namely between constituencies and observers and between targeted and self-appointed audiences. Such categories can be used for the purpose of studying patterns and variation in legitimacy beliefs across actors.
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23

Desmond, Jane. Tracking the Political Economy of Dance. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.52.

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This chapter analyzes the processes of transporting community-based dance practices to the stage, and argues that previously dominant formulations of “appropriation” are not complex enough to theorize this “political economy” of dance practices, practitioners, and audiences as dance forms move across cultural communities and onto the stage. Taking three disparate case studies as a way of thinking through these issues, this chapter investigates works by Twyla Tharp on Broadway, by Chuck Davis and his African American Dance Ensemble on stages in New York or Durham, NC, and Hawaiian hula performances in tourist venues and local halaus, or studios, to suggest that a more complex goal and sharper theoretical practice would be to literally track the political economy of dance practices, the accrual of monetary and cultural capital, and the ways that meanings change for performers and audience when dances move across cultural and commercial/non-commercial boundaries.
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24

Shakespeare And Audience In Practice. Palgrave Macmillan, 2013.

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25

Shakespeare And Audience In Practice. Palgrave Macmillan, 2013.

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26

Mazer, Cary M. Documenting the Demotic. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.24.

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Actor blogs—online eyewitness accounts of the rehearsal process—provide a potentially rich resource for documenting contemporary mainstream anglophone Shakespeare performances, revealing the assumptions about character, action, and meaning shared by artists and audiences, and confirming the standard practices by which a production is created. It may be significant, then, that very few blogs actually fulfil this promise. Many theatre companies use actor blogs instead to generate the impression that the audience is being allowed a privileged access to the rehearsal process without genuinely sharing the realities of that process, hoping thereby to enfranchise the audience as ‘stakeholders’ and to shape how their finished productions will be received. The chapter ends by focusing on one blog that accurately shares an actor’s rehearsal process in real time (he’s playing Petruchio in Taming of the Shrew) and, in so doing, reveals the limitations of contemporary American emotional-realism-based approaches to acting and character.
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27

Performance and Participation: Practices, Audiences, Politics. Macmillan Education UK, 2016.

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28

Nicholson, Helen, and Anna Harpin. Performance and Participation: Practices, Audiences, Politics. Macmillan Education UK, 2016.

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29

Christin, Angele. Metrics at Work. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691175232.001.0001.

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When the news moved online, journalists suddenly learned what their audiences actually liked, through algorithmic technologies that scrutinize web traffic and activity. Has this advent of audience metrics changed journalists' work practices and professional identities? This book documents the ways that journalists grapple with audience data in the form of clicks, and analyzes how new forms of clickbait journalism travel across national borders. Drawing on four years of fieldwork in web newsrooms in the United States and France, including more than one hundred interviews with journalists, the book reveals many similarities among the media groups examined—their editorial goals, technological tools, and even office furniture. Yet the book uncovers crucial and paradoxical differences in how American and French journalists understand audience analytics and how these affect the news produced in each country. American journalists routinely disregard traffic numbers and primarily rely on the opinion of their peers to define journalistic quality. Meanwhile, French journalists fixate on internet traffic and view these numbers as a sign of their resonance in the public sphere. The book offers cultural and historical explanations for these disparities, arguing that distinct journalistic traditions structure how journalists make sense of digital measurements in the two countries. Contrary to the popular belief that analytics and algorithms are globally homogenizing forces, the book shows that computational technologies can have surprisingly divergent ramifications for work and organizations worldwide.
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30

Dzakiria, Hisham, Rozhan Mohd Idrus, and Hanafi Atan, eds. The role of learning interaction in Open & Distance Learning (ODL): Issues, experiences and practices. UUM Press, 2008. http://dx.doi.org/10.32890/9789833827701.

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This book of readings is about one specific but vital aspect of Open Distance Learning (ODL): The Role of Learning Interaction in Open & Distance Learning: Issues, Experiences and Practices.In many ways, interaction and interactivity have not received the attention warranted. The learning conditions are quite different for distance learners as compared with the conventional type of learning where face to face (f2f) meeting between students and instructors are common.This may affect learning outcomes significantly in ODL.There needs to be a strong emphasis on the provision of learning interactions as a means of support, which is designed to facilitate learning between the learners and the teachers with the course content. Interaction is a very important component of ODL.Evidently, it has been proven by various research that learning without sufficient interaction possibly could lead the learners to delay their completion of a programme or drop out altogether.In short, ODL without sufficient learning interactions within the primary stakeholders (namely the students and the teachers), will not succeed.The target audience of this book is a wide range of staff either currently on ODL schemes, or about to start.They may be distance teachers, tutors, ODL policy makers, advisers, counselors working directly with distance learners or administrators and managers organising learning support in ODL.
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31

(Editor), Charles Keil, and Shelley Stamp (Editor), eds. American Cinema's Transitional Era: Audiences, Institutions, Practices. University of California Press, 2004.

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32

Stamp, Shelley. American Cinema's Transitional Era: Audiences, Institutions, Practices. University of California Press, 2004.

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33

(Editor), Charles Keil, and Shelley Stamp (Editor), eds. American Cinema's Transitional Era: Audiences, Institutions, Practices. University of California Press, 2004.

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34

Hsu, Eddie. Traditional Music for the People. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0008.

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In this chapter I use Chinese music departments in the PRC and Taiwan as case studies, exploring how the process of institutionalization has reshaped traditional music in the region and how Chinese music programs have developed responses to growing concerns about their relevance to the surrounding community. More Chinese music programs now seek to develop curricula that incorporate the practices of oral/aural tradition from local musical communities. In an effort to make traditional music more accessible to a wider audience, some institutions attempt to increase their appeal through interdisciplinary collaborations and outreach events as well. I argue that collaborations between institutions and communities will become indispensable to Chinese music programs to help ensure an appropriate representation of local music genres and its relevance to local audiences.
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35

Juicio oral: La comunicación en audiencia. [Montevideo, Uruguay: s.n., 1993.

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36

van, José. News. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190889760.003.0004.

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This chapter examines how the advent of data-driven publishers, such as BuzzFeed and the Huffington Post, as well as the rise of the Big Five platforms, have shaken the news sector’s economic, technical, and social foundations. The proliferation of online audience metrics and algorithmic filtering, promoting the personalization of news and advertisements, has fundamentally transformed how news is produced, circulated, and monetized. The triangular content–audiences–advertising configuration that constituted the legacy news industry is unbundled and rebundled through online platforms. As a consequence, the professional practices and institutional standards once set by legacy news organizations are seriously challenged. Key public values, such as journalistic independence and the trustworthiness of news, have come under scrutiny as new online players in this sector reconfigure the conditions of production and distribution.
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37

Aveyard, Karina. “Our Place”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0018.

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This chapter examines the role of film and cinema as a force in women's lives by focusing on women as cinema audiences. More specifically, it considers the experiences of a modern-day group of women who patronize and actively support the First Avenue Cinema, a 1950s single-screen film theater located in the coastal town of Sawtell in New South Wales, Australia. The chapter first provides a brief background on the geographic and economic contours of Sawtell before turning to First Avenue Cinema and its women audiences, paying attention to how it positions itself as a social space that local women want to inhabit. It also discusses the practices of a “social audience” and describes cinema-going as an act of sociocultural participation. The chapter concludes with a look at the efforts and activism of a particular group of local residents (almost all women) who rallied together in 2009 in an effort to help save the cinema from permanent closure—a response that offers important insights into into the everyday significance of filmgoing for rural women.
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38

Roberts, Charlie, and Graham Wakefield. Tensions and Techniques in Live Coding Performance. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.20.

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In live coding performance, performers create time-based works by programming them while these same works are being executed. The high cognitive load of this practice, along with differing ideas about how it should be addressed, results in a plurality of practices and a number of tensions at play. In this chapter we use a lens of five recurrent tensions to explore these practices, including the balance of stability and risk in performance; the legibility and immediacy of code for audience and performer; the benefits and limits of musical and computational abstractions; the maintenance of flow and pace during performance; and the diversity of conceptions of time, determinacy, and duration that pervade live coding. Addressing these tensions contributes to the unique appeal, challenge, and power of live coding, and provides spaces to develop highly individual and expressive practices.
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39

DeFrantz, Thomas F. Hip-Hop in Hollywood. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.001.

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In the early 1980s, Hollywood began to exploit hip-hop dance—especially breaking—to produce a limited series of movie musicals. These “breaksploitation” films set a standard of participation for young artists, and in particular, young artists of color, to enter the movie industry as laborers, and to enter the global imagination of film audiences as representative agents of change. This chapter explores the traditions of Hollywood musicals and dance artists of color just before the hip-hop film production era; the innovations of these early 1980s films in terms of their casting, creative approaches, and presentation of contemporary social dance; and the communities that these mediated projects both catered to and generated. Together, these films inspired a global audience for breakdancing, and are inextricably linked to the sweep and scale of young people’s interest in these corporeal practices.
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40

Simoni, Mary. The Audience Reception of Algorithmic Music. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.14.

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Contemporary music research and practice have leveraged advances in computing power by integrating computing devices into many aspects of music—from generative music to live coding. This efflorescence of musical practice, process, and product raises complex issues in audience reception. This chapter employs a comparative analysis in a longitudinal study designed to understand the psychological aspects of the audience reception of algorithmic music. It studies four compositions from the latter part of the twentieth century late, presented on fixed media to avoid variability in musical performance. Using a modified think-aloud protocol to collect data, this study shows that reception theory may be applied to the audience reception of algorithmic music using a cognitive-affective model to further understand the process of decoding of meaning. This study puts forth a robust methodology for future longitudinal and comparative research in the audience reception of music and makes recommendations for further research.
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41

Phalen, Patricia F. Ratings Analysis: The Theory and Practice of Audience Research. Taylor & Francis Group, 1991.

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42

Harindranath, Ramaswami. Audience-Citizens: The Media, Public Knowledge, and Interpretive Practice. SAGE Publications India Pvt, Ltd., 2009.

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43

Ratings Analysis: The Theory and Practice of Audience Research. Taylor & Francis Group, 2007.

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44

Phalen, Patricia F., Lawrence W. Lichty, and James G. Webster. Ratings Analysis: The Theory and Practice of Audience Research. Taylor & Francis Group, 2005.

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45

Duffett, Mark. Fan Identities and Practices in Context: Dedicated to Music. Taylor & Francis Group, 2017.

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46

Fan Identities and Practices in Context: Dedicated to Music. Taylor & Francis Group, 2015.

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47

Duffett, Mark. Fan Identities and Practices in Context: Dedicated to Music. Taylor & Francis Group, 2018.

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48

Duffett, Mark. Fan Identities and Practices in Context: Dedicated to Music. Taylor & Francis Group, 2017.

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49

Duffett, Mark. Fan Identities and Practices in Context: Dedicated to Music. Taylor & Francis Group, 2017.

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50

Duffett, Mark. Fan Identities and Practices in Context: Dedicated to Music. Taylor & Francis Group, 2017.

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