Dissertations / Theses on the topic 'Audience practices'
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Cherry, Brigid S. G. "The female horror film audience : viewing pleasures and fan practices." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/2268.
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What is at stake for female fans and followers of horror cinema? This study explores the pleasures in horror film viewing for female members of the audience. The findings presented here confirm that female viewers of horror do not refuse to look but actively enjoy horror films and read such films in feminine ways. Part 1 of this thesis suggests that questions about the female viewer and her consumption of the horror film cannot be answered solely by a consideration of the text-reader relationship or by theoretical models of spectatorship and identification. A profile of female horror film fans and followers can therefore be developed only through an audience study. Part 2 presents a profile of female horror fans and followers. The participants in the study were largely drawn from the memberships of horror fan groups and from the readerships of a cross-section of professional and fan horror magazines. Qualitative data were collected through focus groups, interviews, open-ended questions included in the questionnaire and through the communication of opinions and experiences in letters and other written material. Part 3 sheds light on the modes of interpretation and attempts to position the female viewers as active consumers of horror films. This study concludes with a model of the female horror film viewer which points towards areas of female horror film spectatorship which require further analysis. The value of investigating the invisible experiences of women with popular culture is demonstrated by the very large proportion of respondents who expressed their delight and thanks in having an opportunity to speak about their experiences. This study of female horror film viewers allows the voice of an otherwise marginalised and invisible audience to be heard, their experiences recorded, the possibilities for resistance explored, and the potentially feminine pleasures of the horror film identified.
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Sturman, Treenen D. M. "Recommended practices for public gardens wishing to serve the teenage audience." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 1.31 Mb., 112 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435929.
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Lawrence, Mike. "Shakespeare's unwritten contract with his audience : a study of his professional practices." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296554.
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Shakespeare's Unwritten Contract With His Audience, A Study at His Professional Practices proposes that Shakespeare had a manifesto tor the theatre as rigorous as that of Ben Jonson whose writings leave lIS in doubt as to how he saw the function of drama and the dramatist. This thesis concentrates on the plays Shakespeare wrote after he became a member of the Lord Chamberlain's Men in 1594 - when he could exercise more control over his work than his unattached contemporaries. It argues that of equal importance to what Shakespeare wrote are the choices he had, but which he chose not to exercise. Alone of his contempories he wrote no authorial address to his audience or readers; his professional output was unlike any other Elizabethan or Jacobean playwright and so was his use, or avoidance, of common theatrical devices and conventions. This thesis undermines the conventional theory of a 'War of the Theatres' and proposes that there was a much longer and wider literary debate than has hitherto been recognised and that Shakespeare was actively involved in that debate. Further, it argues that Hamlet was his main contribution to this debate and that Hamlet is essentially a play which expresses Shakespeare's manifesto for the theatre. Evidence for the argument is culled from Shakespeare's contemporary rivals, from pre-Elizabethan drama, from my knowledge of stage magic and from such details as the number of neologisms which appeared in the language during the period 1596-1602, when Shakespeare was the sole survivor of the first generation of identifiable London playwrights and was therefore the man against whom new writers, such as Jonson and Marston, had to measure themselves.
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Spaulding, Eric. "Transmedia Storytelling: Principles, practices, and prototypes for designing narrative experiences with the audience." Research Showcase @ CMU, 2012. http://repository.cmu.edu/theses/31.
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“The Artwork of the future...transplants the player into a dramatic space, by all means of his visual and oral faculties; making her forget the confines of reality; to live and breathe in the drama which seems to the player as life itself, and in the work where seems the wide expanse of a whole world.” | Richard Wagner, The Artwork of the Future, 1849
The Internet has changed the way we experience stories, although like any new technology, it was used to curate long before it was used to create. As entertainment industries collapse, producers both castigate the Internet as the culprit and embrace it as a panacea. For narrative designers, the Internet is a global stage where the house lights are on 24/7. It is a mediated performance that self documents and offers an endless supply of props for audiences eager to become participants in immersive experiences. Most importantly, it outlines the future for a new form of narrative art called transmedia storytelling.
For producer Turo Drakvik, “This form of storytelling is native to the Internet in the same way that the novel is native to print.” Transmedia narrative content unfolds in non-linear arcs across multiple platforms that are best situated to evidence the storyworld, and it blends media arts with performance-based arts and game systems. The role of the audience has been fundamentally changed. Rather than spectators, they are now encouraged to be invested co-creators of the experience.
My thesis focused on experiments that examine how storytellers might use the Internet and digital media platforms to create participatory storyworlds. To explore this emerging medium, I created the first transmedia comedy—a 4 week immersion called Love and Luck(y)—and documented roles, artifacts, and principles for future storytellers.
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Ressler, Mary Beth. "Adolescent Identity Performances Within Literacy Practices." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1293078037.
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Ross, Jennifer. "Unmasking online reflective practices in higher education." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/6321.
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Online reflective practices that are high-stakes – summatively assessed, or used as evidence for progression or membership in a professional body – are increasingly prevalent in higher education, especially in professional and vocational programmes. A combination of factors is influencing their emergence: an e-learning agenda that promises efficiency and ubiquity; a proliferation of employability, transferable skills and personal development planning policies; a culture of surveillance which prizes visibility and transparency; and teacher preference for what are seen as empowering pedagogies. This thesis analyses qualitative interview data to explore how students and teachers negotiate issues of audience, performance and authenticity in their high-stakes online reflective practices. Using mask metaphors, and taking a post-structuralist and specifically Foucauldian perspective, the work examines themes of performance, trace, disguise, protection, discipline and transformation. The central argument is that the effects of both compulsory reflection, and writing online, destabilise and ultimately challenge the humanist ideals on which reflective practices are based: those of a ‘true self’ which can be revealed, understood, recorded, improved or liberated through the process of writing about thoughts and experiences. Rather than revealing and developing the ‘true self’, reflecting online and for assessment produces fragmented, performing, cautious, strategic selves. As a result, it offers an opportunity to work critically with an awareness of audience, genres of writing and shifting subjectivity. This is rarely, if ever, explicitly the goal of such practices. Instead, online reflective practices are imported wholesale from their offline counterparts without acknowledgement of the difference that being online makes, and issues of power in high-stakes reflection are disguised or ignored. Discourses of authentic self-knowledge, personal and professional development, and transformative learning are not appropriate to the nature of high-stakes online reflection. The combination creates passivity, anxiety and calculation, it normalises surveillance, and it produces rituals of confession and compliance. More critical approaches to high-stakes online reflection, which take into account addressivity, experimentation and digitality, are proposed.
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Bizub, Christopher M. "Best Marketing Practices for Building a Strong Audience-Base for Rubber City Shakespeare Company." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1492091807857684.
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Dilokkunanant, Komsun. "Strategies for classical music audiences: an exploration of existing practices used by western European art music organizations." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6937.
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Music has been part of human culture since the beginning of civilization. All musical types, styles, and genres are products of different cultures at different times. What we refer to today as Classical Music are the musical compositions written for standard Western European orchestral instruments ranging from solo to chamber music to symphony orchestra. Towards the end of the nineteenth-century classical music gradually came to be seen as "serious" music that required deeper knowledge in order to truly appreciate it. With the rise of the popular music category, classical music itself has become less relevant and less a part of today’s society.
Classical music institutions have thus been trying to find different strategies to reconnect classical music with audiences. Examples include attractive subscription schemes, varied concert formats, and community and educational projects. It is also notable that non-musical aspects connected with concerts also contribute to an audience’s overall decision making. The quality of the performance is not the only factor anymore that needs to be considered to ensure success. This dissertation explores different strategies used by some prominent Western European art music organizations, mainly orchestras, to creatively engage their audiences. These strategies are examples of successful audience engagement that can serve as a resource for other organizations in their quest to engage their own audiences.
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Walsh, Kelly. "COMMUNICATION CONSULTANTS AND PUBLIC PARTICIPATION PRACTICES: AN INTERNSHIP WITH ENVIRONMENTAL QUALITY MANAGEMENT, INC." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1399887095.
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Thornton, Karen D. "Discourses of Power and Representation in British Broadcasting Corporation Documentary Practices: 1999-2013." Thesis, University of Bradford, 2018. http://hdl.handle.net/10454/18364.
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This dissertation re-evaluates the ways in which contemporary
television documentary practices engage their audience. Bringing
together historical frameworks, and using them to analyse a range of
examples not considered together within this context previously, the
main finding is that the use of spectacle to engage the audience into
a visceral response cuts across all of the examples analysed,
regardless of the subject matter being explored.
Drawing on a media archaeological approach, the dissertation draws
parallels with the way in which pre-cinema engaged an audience
where the primary point of engagement came from the image itself,
rather than a narrative. Within a documentary context, which is
generally understood as a genre which is there to educate or inform
an audience, the primacy of spectacle calls for a re-evaluation of the
form and function of documentary itself. Are twenty-first century
documentary practices manufacturing an emotional connection to
engage the audience over attempting to persuade with reasoning
and logic? The answer contained within this dissertation is that they
are.
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Kosetzi, Konstantia. "Representations of women in terms of gender roles and sexual practices in Σχεδόν Ποτέ (ΣΙΙ) ('Almost Never') : the text and the audience." Thesis, Lancaster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497757.
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The research project undertaken in this thesis is an attempt to cast light on the multisemiotic dimension of the sociocultural issue of changing gender roles and relations in Greek society, as it is represented in the Greek TV series, Σχεδόν Ποτέ (ΣΙΙ) ('Almost Never') a series explicitly revolving round gender roles, relationships, and sexual practices, and in their recontextualisations by young female viewers, based on the premise that there is a dialectical relationship between society and media.
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McCormack, Bernadette. "Blockbustering Australian style: Evolution of the blockbuster exhibition in Australian museums." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/200164/1/Bernadette_McCormack_Thesis.pdf.
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This research critically evaluates the development of the blockbuster exhibition within an Australian museum context. Drawing on semi-structured interviews, reflective practice, and critical historiography, this research argues that current iterations of the blockbuster genre have given rise to a new ecology of 'attractor' exhibitions that are fundamental to visitor engagement strategies in the 21st century Australian museum. These findings are then operationalised in a practical field guide for the implementation of blockbuster exhibitions, providing new knowledge for the Australian museum practitioner to employ in contemporary industry practice.
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Beucher, Rebecca L. "Negotiating Black masculinity and audience across high school contexts| A feminist poststructural analysis of three non-dominant students' multiliteracy composition practices during digital storytelling." Thesis, University of Colorado at Boulder, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3721775.
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Autobiographical digital storytelling (DST) is a burgeoning multiliteracy practice in in- and out-of-school spaces. Recently, education researchers have explored DST's potential as a robust critical literacy tool for non-dominant youth to tell agentic counter narratives. A less explored area of youth DST practices relates to how authors account for audience (local and macro discourse) when composing digital autobiographies. Using feminist poststructural theory as a heuristic and analytical tool, I investigated the varying discourses youth authors engaged throughout their processes and products related to autobiographical DST.
The ethnographic data for this dissertation were collected in an English Language Arts high school classroom, African American Literature, over the course of four months across fall semester 2012. The three case study findings chapters illustrate three non-dominant students' approaches to negotiating their subjectivity within the school context across multiple school spaces. The findings from this study complicate notions of agency; namely the case studies demonstrate how diverse youth of color negotiated multiple and competing discourses when narrating stories of the self in relation to a perceived peer audience. More specifically, each case provides a detailed analysis of how Darius, Malcolm, and Gabriel, negotiated local and macro discourses related to Black masculinity, salient intersecting subjectivities for each.
This study holds theoretical implications in establishing the importance of using poststructural feminist theories in combination with Critical Discourse Analysis of student processes and produced related to autobiographical storytelling by way of detecting the complex power relations youth navigate within the school context. Moreover, this study reports important implications regarding the utility of digital storytelling as a culturally responsive, multimodal, critical literacy practice that affords youth opportunities to draw on personally and culturally meaningful discourses (e.g., hip-hip music) as they compose digital representations in relation to local and macro discourse. Additionally, implications for English Language Arts practice encourage future examination of how youth author's attentiveness to peer audience discourse demonstrate students' facilities in composing narratives in relation to audience.
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Montana, Nino Silvia Ximena. "The metrification of legacy news: An analysis of the attitudes and practices at three Australian outlets." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/202918/1/Silvia%20Ximena_Montana%20Nino_Thesis.pdf.
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This thesis examines the impact of web and social media analytics on news content production in three Australian legacy outlets (ABC News, The Sydney Morning Herald and The Australian). It proposes the idea of 'identity news' under an evolving quantification ethos in newsrooms shaped by the institutionalisation of news metrification practices. Identity news refers to the process of selection, design, crafting and news distribution according to the multiple demographics and inferred identities revealed by two basic measurement approaches in the field (the platform engagement regime on social media and the retention regime in websites).
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Dickson, Lesley-Ann. "Film festival and cinema audiences : a study of exhibition practice and audience reception at Glasgow Film Festival." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5693/.
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This thesis takes the view that film festivals are ‘social constructions’ and therefore need social subjects (people/audiences) to function. Nevertheless, Film Festival Studies, with its preoccupation with global economics and/or the political nature of these events, has arguably omitted the ‘audience voice’ meaning much of the empirical work on offer derives from market research by festivals themselves. As such, there is little conceptual contribution on what makes festivals culturally important to audiences or the ways in which festival practice differs from, or synergises with, broader cinematic practice. This thesis investigates exhibition practice and audience reception at Glasgow Film Festival (GFF) over three years (2011-13). The originality of the work is found in its contribution to the burgeoning field of Film Festival Studies and its methodological intervention as one of the earliest studies on film festival audiences. Using qualitative audience research methods, elite interviews and ethnography, it approaches film festival analysis through a nuanced lens. Furthermore, the positioning of the research within the interdisciplinary landscape of Film Festival Studies, Film Studies and Cultural Studies offers a broad context for understanding the appeal of ‘audience film festivals’ and the exhibition practices that exist within this often neglected type of film festival. The thesis argues that Glasgow Film Festival continuously negotiates its position as an event that is both populist and distinct, and local and international. Through its diverse programme (mainstream and experimental films, conventional and unconventional venues) and its discursive positioning of programmed films, it manages its position as both a local and inclusive event and a prestigious festival with aspirations of international recognition. More broadly, the thesis argues that festival exhibition is a multi-layered operation that strives to create a ‘total experience’ for audiences and in this respect it differs greatly from standard cinematic exhibition. Furthermore, I propose that – despite the fact that the raison d'être of film festivals is to present films – audiences privilege the contextual conditions of the event in their experiential accounts, articulating festival experiences (pleasures and displeasures) in spatial and corporeal terms. As such, the thesis serves to problematise Film Studies’ conventions of immersion and disembodiment by proposing that film festivals are predominantly sites of heightened participation, active spectatorship, and spatial and embodied pleasure.
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Kralli, Anell Niki. "PRINTMAKING IN TRANSITION : Curating relations with printmaking as a tool for action." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-152098.
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This thesis investigates how the contemporary museum for printmaking Grafikens Hus motivates printmaking in socially engaged art projects based outside of the conventional gallery. It explores how printmaking is practiced as a tool to achieve artistic and curatorial goals, and investigates what Grafikens Hus strives to achieve by making space for meeting places. The analysis is based on in-depth readings of three case studies and two interviews with the director of Grafikens Hus Nina Beckmann and the curator Ulrika Flink. The theoretical perspective strives from concepts relating to audiences, relations and site-specificity outlined by curators engaged in socially engaged practices. The theoretical framework has also been informed by the curator José Roca’s approach to printmaking used as a device to achieve specific conceptual goals. The thesis is structured in three chapters: the first presents Grafikens Hus’s objectives and strivings, the second explores how Grafikens Hus use printmaking to stimulate confluence, the third examines Grafikens Hus’s ambition to curate meeting places. This thesis shows that printmaking is practiced as method for participation, used as tool for collaboration, seeking to create active subjects and co-producers. Furthermore, it demonstrates how Grafikens Hus use participation to form relations with places and thus generate a third room: places recharged with value by a dialogue oriented mind-set.
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Powell, Anna Catherine. "Chance encounters : the relationship between artwork, curatorial practice and audience." Thesis, University of Leeds, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.579535.
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This thesis investigates the relationship between exhibited artworks and their audiences and the ways in which curatorial decisions affect this relationship. It takes two exhibited artworks for which concealment is a major conceptual aim and which appear to subvert the methods of display that are common to most forms of exhibited art. It offers a detailed analysis of the artworks and an insight into the numerous contradictions they seem to employ. Through in-depth discussions with the artists, and by reading the artworks through a series of theoretical frameworks, I aim to highlight some of the problematic issues that face contemporary artists endeavouring to align artistic concepts with the practicalities of showing art. The artworks I use are Richard Higlett's Prop (2004AD) (2004) and Elaine Tribley's Hidden Memories (2005). Both are concealed as a result of the manner in which they are displayed, becoming hidden at the very moment they are exhibited. The thesis addresses the contradictions that are evident in the artworks' simultaneous concealment and display, and asks how they are able to function within an exhibition if they remain concealed; how they 'work' if they cannot be viewed by visitors to the exhibition. It considers their paradoxical alignment with an institution whose 'fundamental role' is 'to exhibit art and allow for its consideration'. Taking Michael Baxandall's essay 'Exhibiting Intention: Some Preconditions of the Visual Display of Culturally Purposeful Objects' (1991) as a starting point it asks whether all three of the elements which Baxendall maintains are crucial in an exhibition - the artist, the artwork and the audience - need to be present. It then uses Alfred Gell's Art and Agency: An Anthropological Theory (1998) to question the possibility that the artworks can function in the absence of an audience, by having their own 'agency'. The thesis addresses the problematic nature of the artworks' presentation, circulation and reception in 'the Western art-culture system', and examines the artworks' ability to function as 'components in [the] networks of social relations' that are integral to that system. Exploring and challenging the artists' assertions that their work is concealed, it proposes that the audience encounter is central to, and crucial to the way that the artworks function. Employing a Marxist theoretical approach and looking in particular at Marx's Capital: A Critique of the Political Economy (first published 1887), it considers the fetishistic appeal of concealed objects and the effect on the viewer of having to work - or play - to uncover an artwork. The thesis considers the impact of the site, the document and the media upon their ability to function both conceptually and practically, and Bruno Latour's Reassembling the Social, An Introduction to Actor-Network Theory (2005) is used to discuss the ways in which social networks are set up for the artworks. It proposes that the artworks' placement within their exhibitions acknowledges their artistic merit and allows for their dissemination while also maintaining their concealed nature. It questions the role that they play within their exhibitions and the role of the exhibition itself as a vehicle for communicating and interpreting artworks.
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Ramos, Jorge. "(Re-) Constructing the actor-audience relationship in immersive theatre practice." Thesis, University of East London, 2015. http://roar.uel.ac.uk/4987/.
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the United Kingdom (UK). This includes audience expectations shaped by theatre conventions, the ways in which actors perform as well as the strategies employed by event producers to encourage audience participation. This research aims to contribute to the field of immersive practice by proposing a new approach to immersive dramaturgy that enhances the experience of individual audiences in immersive, interactive and participatory theatre. This study maps the development of a new approach to actor training, audience interviews and the making of an immersive theatre production trilogy (Hotel Medea). The development process and production of the Hotel Medea trilogy comprise a key practice-based outcome of this research, and it was performed in full in London (2009, 2010 and 2012), Edinburgh (2011) Rio de Janeiro (2010), and in part in the city of Brasilia (2012). A second key outcome of the research is a new methodology of immersive practice—‘dramaturgy of participation’—that includes approaches to theatrical dramaturgy in which each audience member is offered opportunities to proactively participate as an individual, and which will be a useful resource for emerging theatre makers in the field of immersive practice. The overnight theatre production Hotel Medea is a major and central part of this submission. The written material provides context, detailed exegesis and expands upon relevant topics. Readers can access video recordings of Hotel Medea (LIFT, 2010) in full on the following address: http://www.vimeo.com/hotelmedea. I will use the Hotel Medea trilogy as the case study for this research utilizing its durational overnight structure to lead my argument for immersive theatre events to meaningfully consider the experience of each (and every) audience member individually throughout the duration of performance. An experience not based on competitive participation or chance journeys but instead on a carefully designed dramaturgy that allows individuals to build a temporary community with fellow audiences. My argument suggests that there is a need for immersive theatre practitioners to devise adequate tools for its audiences prior to participation being offered, in order to aid a fuller participation in the event. Hotel Medea is a durational interactive theatrical event that takes place in real time from 00.00 a.m. to 06.00 a.m., in three parts. It retells the Greek myth of Medea through three types of participation design: participatory rituals, immersive environments and interactive game-play. Hotel Medea is concerned with the experience of the individual audience members as ticket-paying public, as participants and as players. At every step of the event, expectations are re-negotiated to allow individuals to engage with the event—at times proactively, at others passively. I have focused on the perspective of the author as opposed to solely drawing upon audience questionnaires, feedback and testimonies of collaborators. My choice of critical approach is based on the accumulated experience gathered, especially as a performer in Hotel Medea, allowing me to explore the complex and nuanced responses from individual audience members over the course of six years. During the early stages of my research, audience and collaborator interviews played an important part in evaluating the basic structure of the performance event. However, it soon became clear that the production would need to devise its own tools for capturing relevant data. Therefore the role of the Captain – the first host the audiences meet as they arrive in Hotel Medea - became itself one of the most valuable tools for articulating this research. The Captain, as well as other approaches used, are described in detail through the course of the first chapters. The key focus of this research project is the proposition of a dramaturgy of participation through the notion of the ‘micro-event’. Micro-events are determined by three interrelated design elements, each of which nuances a larger area of practice, namely participatory rituals, immersive environments, and interactive game-play. The significance of this enquiry is the unique new practice in relation to audience behaviour in immersive experiences in a time when the term ‘immersive’ is widely explored both within and beyond the arts. The production output of this research—Hotel Medea—has itself been widely recognized by specialized press and cultural programmers as a leader in the field, creating a direct impact on the wider understanding of processes and methods of audience immersion across the UK and internationally. This recognition can be observed through awards and nominations, public statements of influential figures in the cultural sector, references in academic publications (Boenisch, 2012; White, 2013), in newspaper articles placing Hotel Medea as part of ‘the original cadre of British participatory ensembles’ (Armstrong, 2011) and in other UK publications such as The Herald, Scotsman, Metro (2011), Time Out, and Telegraph (2012).
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Danielsson, Martin. "Digitala distinktioner : klass och kontinuitet i unga mäns vardagliga mediepraktiker." Doctoral thesis, Högskolan i Halmstad, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-24372.
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This dissertation explores how social class matters in young men’s everyday relationship to digital media. The aim is to contribute to the existing knowledge about how young people incorporate digital media in their everyday lives by focusing on the structural premises of this process. It also presents an empirically grounded critique of popular ideas about young people as a “digital generation”, about the internet as a socially transformative force, and about class as an increasingly redundant category. The empirical material consists of qualitative interviews with 34 young men (16-19 years) from different class backgrounds, upper secondary schools and study programmes. Drawing on the conceptual tools of Pierre Bourdieu, three classes are constructed: the “cultural capital rich”, the “upwardly mobile”, and the “cultural capital poor”. The analysis shows that class, through the workings of habitus, structures the young men’s relationship to school and future aspirations. This also engenders class-distinctive ways of conceiving leisure and digital media use. Through their class habitus and taste, the young men tend to orient themselves and navigate in different ways in what they perceive as a space of digital goods and practices, endowed with different symbolic value in school and society. The “cultural capital rich” are drawn to-wards practices capable of yielding symbolic profit in the field of education and beyond, whereas the other classes gravitate towards the “illegitimate” digital culture but deal with this different ways. These findings indicate that there are social and cultural continuities at play within recent technological changes. They also expose the structural differences hidden by sweeping statements about young people as a “digital generation”. Finally, they show that class, contrary to popular beliefs about “the death of class”, still represents a pertinent analytical category.
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Dunn, Anne, and n/a. "Manufacturing audiences?: policy and practice in ABC radio news 1983-1993." University of Canberra. Professional Communicaton, 2005. http://erl.canberra.edu.au./public/adt-AUC20051123.132051.
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This thesis sheds light on the ways in which audiences are made through the relationships between organisational policy and news production practice. It explores the relationships between news practitioners� perceptions and definitions of audiences, production, and organisational policies, using the radio news service of the Australian national public broadcaster, the Australian Broadcasting Corporation (ABC). In so doing, the thesis demonstrates that production, in its institutional context, is a crucial site for the creation of audiences in the study of news journalism. In the process, it illuminates the role of public service broadcasting, in a world of digital media The conceptual framework utilises a new approach to framing analysis. Framing has been used to examine the news "agenda" and to identify the salient aspects of news events. This thesis demonstrates ways in which framing can be used to research important processes in news production at different levels, from policy level to that of professional culture, and generate insights to the relationship between them. The accumulated evidence of the bulletin analysis - using structural and rhetorical frames of news - field observation and interviews, shows that a specific and coherent audience can be constructed as a result of newsroom work practices in combination with organisational policies. The thesis has increased knowledge and understanding both of how news workers create images of their audiences and what the institutional factors are that influence the manufacture of audiences as they appear in the text of news bulletins.
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Bell, Henry. "'The audience enjoyed the audience' : a practice-as-research based investigation into space, proxemics, embodiment and illocution in relation to young people's reception of Shakespeare." Thesis, University of Hull, 2015. http://hydra.hull.ac.uk/resources/hull:16292.
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This dissertation is the written component of a practice-as-research based investigation into the reception of Shakespeare’s writing by young people via performance-based methods. Participants in the research took part in a twofold process, firstly attending preparatory workshops utilising active storytelling and active Shakespeare approaches, before attending an abridged performance, which was performed in one of a number of in-the-round theatre spaces. The study explores the responses and behaviours of primary school aged children who attended Julius Caesar performed at the Orange Tree Theatre in Richmond, London and secondary school aged pupils who attended Romeo and Juliet at various locations in schools and a specifically constructed in-the-round auditorium in Hull and Scarborough in North Yorkshire, England. Firstly, this dissertation uses ideas stemming from Maurice Merleau Ponty’s existential phenomenology to describe the skills development of the participants in the preparatory workshops, before providing a wider phenomenological theoretical framework to justify and explain the practical deployment of aesthetic and architectural design choices in the research conducted. The spatial investigation is continued by applying Henri Lefebvre’s theories of space to explore how considerations of space can realign the position of Shakespeare’s writing within the hegemonies of the various youth cultures of which primary and secondary school age groups are a part. This framework is then used theoretically to analyse the theatre spaces in which research took place; the spatial dynamics of the audience and performance spaces found within theatre in-the-round are analysed using existing, contemporary audience reception theories alongside original research conducted with practitioners of this theatrical configuration. Finally, the treatment of illocutionary acts, both in the performances conducted as part of this dissertation, and in UK classrooms, by young people, are investigated via the concepts of J.L. Austin and John C. Searle’s Speech Act Theory, in order to provide a methodology appropriate for analysis of the linguistic behaviour of Shakespeare’s writing in performance.
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Shirley, Melissa Lynn. "A Model of Formative Assessment Practice in Secondary Science Classrooms using an Audience Response System." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245689546.
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Lüneburg, Barbara. "A holistic view of the creative potential of performance practice in contemporary music." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7512.
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The creative potential and work of the performer in new music extends from the moment of conceptualising a concert to the moment of presenting it on stage and comprises many areas between and around those two points. In this thesis I explore the nature of this activity, from the act of playing itself to the commissioning and creating of new pieces, curatorial and collaborative tasks, and the actual concert presentation. I deliberately include interrelations between performer and music promoters, composers and the audience. This leads me to further areas of investigation, namely the question of the performer’s leadership, the charismatic bond with the audience and the creation of what I call “concert aura”. I do not strive to offer all-purpose formulae for the “perfect concert” or for the ideal collaboration. I investigate performance practice not as an absolute art but rather as something embedded in and shaped by social relations and society. Accordingly I understand this thesis as an empirically based study of the questions performers could ask, as well as processes in which they might want to engage, to find meaningful solutions for each new situation. Not all of the questions I raise will be new to each performer, but in their collaborative and concert practice many performers rely on a random, unsystematic, empirical understanding that has been gained by chance. In contrast, I attempt to draw a theoretical basis for my investigation from the fields of psychology, philosophy, media science and sociology, together with the evaluation of my own and other artists’ performance practice. In this way I hope to develop an academic foundation and a comprehensive, systematic approach that can be applied to different collaboration and concert situations. Part 1 of my thesis is concerned with theories and concepts relating to creativity, collaboration and presentation (concert aura and charisma) and aims to establish a firm theoretical basis for application in practice. Part 2 presents, discusses and analyses a selection of case studies from my own practice, considered in relation to the theories discussed in the first part. I conclude by offering guidelines to collaboration and giving a model example of how one might plan a future performance, aiming to create a Gesamtkunstwerk through the totality of the preparation and presentation, its social and psychological connotations. The thesis includes two DVDs with Quicktime Movies and two CDs with recordings of the compositions, commissioned as part of this research and discussed throughout the thesis. The Appendix contains three sample-CDs with an accompanying commentary which give an introduction to contemporary playing techniques for the acoustic and electronic violin and acoustic viola. This CD is intended as a guide for composers to get acquainted with the instruments and was given to each composer involved in this research.
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Theodoridou, Natalia. "After theatre : a critical analysis of performance practices in Bali, and the problem of audiences." Thesis, SOAS, University of London, 2015. http://eprints.soas.ac.uk/20356/.
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This thesis examines representations, academic, popular and local, of Balinese performance, live and recorded, and of its audiences. It aims to bring Cultural and Media Studies' approaches to bear on the study of 'Balinese theatre,' refusing to treat theatre as an art form insulated from broader cultural processes, electronic recording and mass mediation. It considers the relationship between practices of studying Balinese performance and recording it for television and ethnographic film or documentary, and indigenous practices of mediation and self-representation. It questions the adequacy of existing approaches by interrogating the conditions under which and the purposes for which Balinese practices and Bali as a whole have been represented as theatre. Part One of the thesis investigates the summative notions that have been used in the study of Bali in order to encapsulate a complex and unknown entity. It considers the problems of imposing foreign frameworks and notions on the study of Bali and the consequent silencing of Balinese accounts of their own practices. Part Two shifts from this critical mode of enquiry to case studies of performance practices and their mediation in contemporary Bali, and tries to offer an alternative approach, by asking what is involved in examining these practices once one has moved past the academic compulsion to study them as theatre. It focuses on different modes and contexts of performance in Bali, and considers the ways in which Balinese institutions promote 'theatre' as a hallmark of 'Balinese culture' or 'Balineseness' as a whole. It focuses on the antagonisms between the various roles Balinese assume in representing their practices by juxtaposing commentaries by different groups of people (actors, academics, media professionals, enthusiasts). It therefore attempts not to represent Balinese performance as an object, but to examine a potentially conflicting and incoherent congeries of varied and situated practices of performance.
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Adams, Johanna Reed. "A study of leadership program models and audiences and their relationship to perceived leadership practices /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9962498.
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Miller, Kristina K. "Practicing a New Hospitality: The Interdependence of Partnership and Play in Theatrical Meaning-Making." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1563489789729287.
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Rhee, Nakyung. "An Exploration of New Seniors in Arts Participation literature and practice." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386775161.
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Lee, Woo Je. "A critical evaluation of the audience-oriented preaching theories of Fred Craddock and Eugene Lowry." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/49742.
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Thesis (DTh)--Stellenbosch University, 2003ENGLISH ABSTRACT: This dissertation aims to evaluate the Audience Oriented Preaching (AOP) methods of Fred Craddock and Eugene Lowry. Though no one can deny that AOP provides a new and creative method for participation of the audience in the whole sermon process, in my view, it has many theological and homiletic problems. But before asking how we can use their method skillfully in our preaching ministry, it is necessary to scrutinize their theories with theological reflection. Chapter 2 explores the relation between the text and the listener (context) in the light of contextualization and rhetoric, in which we can find the present place of AOP, as developed by Craddock and Lowry. This chapter functions as a guide map for the direction and argument of subsequent chapters. In Chapter 3 we review the inductive preaching theories of Craddock, and the narrative preaching theories of Lowry. Here our concern is first to find the theological, historical and cultural background of AOP. Following this, we examine AOP theories themselves, which propose preaching methods that differ radically from the more traditional ones. In Chapters 4 and 5 this dissertation considers and evaluates both positive and negative aspects of AOP. AOP provides several benefits that have so far been ignored in traditional preaching methods. Primarily, it is closely related to active participation of the audience in the sermonic process. A less favourable view of AOP is that it fails to proclaim the identity of Jesus Christ and as a result of this, to build up the community of Jesus in the church. Campbell's Christological-ecclesiological approach, based on post-liberal theology, has been one of the most important theological critiques of AOP theories and their roots in western individualism. Although Campbell argues persuasively in his criticism of AOP, his arguments are not wholly adequate in addressing the issue of congregation-oriented preaching. Chapter 6 is mainly focused on an alternative congregation oriented preaching method. I argue that this can be accomplished in a vision of collaborative preaching, which incorporates the guidance of the Holy Spirit. This dissertation suggests Bohren's pneumatological-ecclesiological approach as the most effective method for congregation oriented preaching beyond the individualistic trend of AOP. Where Campbell's critique, though articulate, overlooks the pneumatological perspective, Bohren's is significantly more comprehensive than Campbell's. Therefore, the approach that I develop in this thesis acknowledges the contributions of both Campbell and Bohren in shaping a truly congregation-oriented preaching. If we are to overcome the limitation of AOP, my argumentation is that AOP must be interrogated and complemented by both the Christological-ecclesiological approach of Campbell and the pneumatological-ecclesiological approach of Bohren.
AFRIKAANSE OPSOMMING: Hierdie proefskrif het ten doel die evaluering van die gehoor georienteerde prediking (GGP) metodes van Fred Craddock en Eugene Lowry. Hoewel dit nie betwyfel kan word dat GGP 'n nuwe en kreatiewe metode vir die deelname van die gehoor in die hele preekproses bied nie, het dit myns insiens heelwat teologiese en homiletiese probleme. In hierdie opsig is dit noodsaaklik dat hulle metodes d.m.v. teologiese refleksie ondersoek word, voordat daar gevra word na hoe hulle metodes op 'n gepaste wyse binne die bediening van prediking aangewend kan word. Hoofstuk 2 ondersoek die verhouding tussen die teks en die hoorder (konteks) in die lig van kontekstualisering en retoriek, waarbinne ons die huidige plek kan vind van GGP - soos ontwikkel deur Craddock en Lowry - binne die hele teologiese en homiletiese vloei. Hierdie hoofstuk dien as 'n gids vir die rigting en argument van hieropvolgende hoofstukke. In hoofstuk 3 word die induktiewe preekteoriee van Craddock, sowel as die narratiewe preekteoriee van Lowry van nader beskou. In hierdie hoofstuk is die primere fokus om die teologiese, historiese en kulturele agtergrond van GGP te vind. Daarna word die GGP teoriee self - wat metodes van prediking voorstel wat radikaal verskil van meer tradisionele metodes - ondersoek. In hoofstukke 4 en 5 word beide die positiewe en negatiewe aspekte van GGP oorweeg en geevalueer, GGP bied veskeie voordele wat tot dusver geignoreer is deur tradisionele metodes van prediking. Van primere belang is dat GGP nou verbind is tot die aktiewe deelname van die gehoor in die preekproses. 'n Minder gunstige beskouing van GGP is dat dit nie daarin slaag om die identiteit van Jesus Christus genoegsaam te verkondig nie en as 'n resultaat, ook nie om die gemeenskap van Christus binne die kerk op te bou nie. Campbell se christologies-ekklesiologiese benadering, gebasseer op post-liberale teologie, bied een van die belangrikste vorme van teologiese kritiek op GGP teoriee, sowel as die gewortelheid daarvan in westerse individualisme. Hoewel Campbell oortuigend argumenteer in sy kritiek op GGP, is sy argumente nie in aIle opsigte voldoende in die aanspreek van gemeente georienteerde prediking nie. Hoofstuk 6 se primere fokus is op 'n altematiewe gemeente georienteerde metode van prediking. Ek argumenteer dat dit bereik kan word binne die visie van samewerkende prediking, onder leiding van die Heilige Gees. Hierdie proefskrif stel voor Bohren se pneumatologies-ekklesiologiese benadering as die mees effektiewe metode vir gemeente georienteerde prediking, wat strek verby die individualistiese neiging van die GGP. Waar Campbell se kritiek, hoewel geartikuleerd, die pneumatologiese perspektief ignoreer, is Bohren se benadering aansienlik meer omvattend as die van Campbell. Die benadering wat ek in hierdie proefskrif ontwikkel gee erkenning aan beide Campbell en Bohren in die vorrning van 'n ware gemeente-georienteerde prediking. My argument is dus dat, indien die beperkinge van die GGP oorkom wil word, GGP ondersoek moet word deur beide die christologies-ekklesiologiese benadering van Campbell, sowel as die pneumatologies-ekklesiologiese benadering van Bohren.
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Brake, David R. "'As if nobody's reading'? : the imagined audience and socio-technical biases in personal blogging practice in the UK." Thesis, London School of Economics and Political Science (University of London), 2009. http://etheses.lse.ac.uk/4/.
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This thesis examines the understandings and meanings of personal blogging from the perspective of blog authors. The theoretical framework draws on a symbolic interactionist perspective, focusing on how meaning is constructed through blogging practices, supplemented by theories of mediation and critical technology studies. The principal evidence in this study is derived from an analysis of in-depth interviews with bloggers selected to maximise their diversity based on the results of an initial survey. This is supplemented by an analysis of personal blogging’s technical contexts and of various societal influences that appear to influence blogging practices. Bloggers were found to have limited interest in gathering information about their readers, appearing to rely instead on an assumption that readers are sympathetic. Although personal blogging practices have been framed as being a form of radically free expression, they were also shown to be subject to potential biases including social norms and the technical characteristics of blogging services. Blogs provide a persistent record of a blogger’s practice, but the bloggers in this study did not generally read their archives or expect others to do so, nor did they retrospectively edit their archives to maintain a consistent self-presentation. The empirical results provide a basis for developing a theoretical perspective to account for blogging practices. This emphasises firstly that a blogger’s construction of the meaning of their practice can be based as much on an imagined and desired social context as it is on an informed and reflexive understanding of the communicative situation. Secondly, blogging practices include a variety of envisaged audience relationships, and some blogging practices appear to be primarily self-directed with potential audiences playing a marginal role. Blogging’s technical characteristics and the social norms surrounding blogging practices appear to enable and reinforce this unanticipated lack of engagement with audiences. This perspective contrasts with studies of computer mediated communication that suggest bloggers would monitor their audiences and present themselves strategically to ensure interactions are successful in their terms. The study also points the way towards several avenues for further research including a more in-depth consideration of the neglected structural factors (both social and technical) which potentially influence blogging practices, and an examination of social network site use practices using a similar analytical approach.
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McCoy, Allen. "TYA Methodology Twentieth-Century Philosophy, and Twenty-First Century Practice: An Examination of Acting, Directing, and Dramatic Literature." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3943.
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Throughout the twentieth century, theatre for young audiences (TYA), or children's theatre, has been situated as something "other" or different than adult theatre, a kind of theatre--but not really theatre, a construct which opened the door to numerous "how to" philosophies geared specifically toward the theatre for young audiences practitioner. As a twenty-first century theatre practitioner, I am interested in how these philosophies are situated within or against current professional practices in the TYA field. This interest led me to the main question of this study: What are the predominant twentieth-century philosophies on acting, directing, and dramatic literature in the TYA field; and how do they compare to what is currently practiced on the professional American TYA stage? In order to explore current practice, I focused on three theatres, two of which are nationally recognized for their "quality" TYA work, the Seattle Children's Theatre and the Children's Theatre Company in Minneapolis. The third company, the Orlando-UCF Shakespeare Festival, is one of the largest Shakespearean festivals in the country, and has a growing theatre for young audiences program. Between June and October of 2006, I conducted numerous interviews with professional managers, directors, and actors from these organizations. I also attended productions of Pippi Longstocking (Children's Theatre Company), Honus and Me (Seattle Children's Theatre), and Peter Rabbit (Orlando-UCF Shakespeare Festival). It was through these interviews and observations of these productions that I was able to gain data--methodology, techniques, and philosophy--on twenty-first century TYA acting, directing, and dramatic literature. My study has uncovered that although there are numerous twentieth-century "how to" philosophies, many current TYA practitioners are unfamiliar with them. Most of the twenty-first century TYA practice that I studied follows the trends of the adult theatre. This thesis serves as the culmination of my Master of Fine Arts in theatre for young audiences at the University of Central Florida. However, it is not a culmination of my study on the theatre for young audiences field. Past philosophies paired with current methodology, while providing models of quality, also open the door to numerous ideas for further study. This thesis challenges me in examining my own notions of quality acting, directing, and dramatic literature in the TYA field; and it is my hope that this challenge makes me a more informed, deliberate, and responsible theatre practitioner.M.F.A.
Department of Theatre
Arts and Humanities
Theatre
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Horseman, Samantha Marie. "Dynamic relationships between the sonic artist, the sonic artwork and its audience : an investigation through theoretically informed creative practice." Thesis, University of Huddersfield, 2012. http://eprints.hud.ac.uk/id/eprint/18077/.
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The following portfolio of sonic artworks and accompanying commentary comprises creative and theoretical research undertaken between 2008 and 2012. Alongside a portfolio and commentary of sonic artworks, it will also feature an exposition of the theoretical concepts that have propelled and informed their creation. At the centre of the research is the development of an integrated theoretical and creative practice in sonic art. I will discuss the context that has led me, as a creative practitioner, to question the nature of the dynamic relationships that potentially operate between both sonic and physical media and the perceptive occupant that inhabits the artwork. The concept of a tri-polar dynamic forms the theoretical crux of this project. It outlines the potential for the perceptive occupant to play a completing role within the portfolio of sonic artworks: a kinetic activation of dormant syncretic potential held within the artistic materials. Influenced by the philosophical models of Nattiez, Kramer, Merleau-Ponty, Delueze and Guattari, the works also explore satellite topics of temporality, the internal monologue and phenomenology. The commentary outlines the creative processes involved in the development of the artworks focussing in particular on how they embody and activate aspects of the tri-polar dynamic. The overarching aim of the research is the development of an integrated approach of both a theoretical and creative exploration of a selfreferential theme: the dynamic relationships between myself as the sonic artist, the creative media with which I work and the perceptive occupant.
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Graham, C. E. Beryl. "A study of audience relationships with interactive computer-based visual artworks in gallery settings, through observation, art practice, and curation." Thesis, University of Sunderland, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362218.
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Contemporary interactive computer-based artworks are examined, with particular reference to the problems and opportunities presented by their relationship to their audience in conventional gallery settings. From an anecdotal starting point, the research uses a series of observational case studies of exhibited works, the production of an interactive artwork, and the curation of an exhibition of interactive artworks, to explore pragmatic questions of the artwork/audience relationship in real-world situations. A range of existing taxonomies for kinds and levels of interactivity within art 'are examined, and a `common-language' taxonomy based on the metaphor of `conversation' is developed and applied. -The case studies reveal patterns of use of interactive artworks including the relation of use-time to gender, aspects of intimidation, and social interaction. In particular, a high frequency of collective use of artworks, even when the artworks are designed to be used by one person, is discovered. This aspect of collective versus individual use, and interaction between audience members is further explored by several strands of research: The development of an interactive artwork specifically intended to be enhanced by collective usage and interaction between users; the application of a metaphor of 'conversation/host' to the making of the artwork; further, more specific, case studies of such artworks; and the further development of the taxonomy into a graphic form to illustrate differences in artwork-audience, and audience-audience relationships. The strands of research work together to uncover data which would be of use to artists and curators working with computer-basedin teractive artworks, and explores and develops tools which may be useful for the analysis of a wide range of artworks and art production
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Vader, Lyndsey R. "Spaces of Encounter, Repertoires of Engagement: The Politics of Participation in 21st Century Contemporary Performance." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1593524572991808.
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Urbé, Lisa. "An Analysis of Media Use and Media Practice Among Young People Aged Between 20 and 26 Years." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23722.
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The study investigated how young people, aged between 20 and 26 years, use the media which is available to them, and how much time they spend on it on a weekday and on a weekend day. In addition to this, it identified which factors the people look for when they are about to choose which media is worth their time, and I found out which media or news user types the young people belong to. I believe that this target group includes the users of tomorrow which I find interesting. Hence, I decided to focus on their media habits in particular.The data was collected through the means of the media diary method since I strive to highlight the personal experiences of the participants. Five more in-depth interview questions followed the diary. Through the lens of the theory on worthwhileness, the data was analysed. From various dimensions of worthwhileness (Schrøder, 2010; Schrøder&Larsen, 2010), I tried to see which ones my participants could relate to, and which of the seven user types (Schrøder, 2010) they are part of.Results showed that not all the informants consume news in their everyday life but when they do so, it is mostly done through Facebook and Instagram or in a few cases, a newspaper’s website. Social media activities are given great importance by the young people, and from the various devices, they seem to prefer smartphone.Expanding on these findings, results also illustrated that accessibility, practical features offered by the technology, and that the media is easy to use are key for the young people. Participation is regarded as important: producing and sharing, commenting, or maybe discussing is a way for the people to express themselves. From seven user types, I identified four and my informants appreciate that they can get hold of the news and information very quickly and that the process is cheap.
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Donovan, N. "Display, interpellation and interpretation : on the development of an artistic gossip practice, in the context of audience interactivity with Nottingham's lace heritage." Thesis, Nottingham Trent University, 2013. http://irep.ntu.ac.uk/id/eprint/331/.
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This thesis raises concerns about current heritage practice regarding notions of inclusivity, the agency of audiences and the authority of heritage institutions, such as museums. Experts including Tony Bennet (1998), Graham Black (2005), and Eileen Hooper-Greenhill (1994) claim that recent developments in heritage practice have directed museums towards offering experiences that invite active, participatory viewing, rather than that which is passive, or merely receptive. Similarly, in the field of contemporary art practice Grant Kester and Claire Bishop argue the importance of audiences’ participation, inclusivity and agency to current approaches. Evidently, certain standpoints within the literature concerned with each of these fields, state an attitude of sensitivity to imbalances of power between audiences and either artistic or heritage practices. However, this thesis recognizes and demonstrates that authoritative, or hierarchical approaches to audiences exist within each field, and guided by poststructurally informed theoretical perspectives, it confronts these approaches. Moreover, this thesis claims to establish a unique, interactive and practical autoethnographic approach to artistic research, which supported by its theoretical perspectives, generates non-authoritative and democratic methods. In particular, this thesis establishes that, dialogical engagement prompted by audiences’ responses to artistic situations and aesthetic objects, results in non-authoritative, or democratic encounters with heritage and contemporary art. Consequently, the contributions to knowledge that this thesis makes foreground a new dialogical art practice identified as ‘gossip practice’, whereby interactive co-authorship of new oral artifacts is generated through informal and empathic relating. Additionally, through the thesis’ theoretical framing of this study’s newly identified ‘gossip practice’ within the concepts of performativity and everyday social acting, it makes a new contribution to the established literature on ‘heritage performance’ (see Jackson & Kidd 2011) and ‘intangible heritage’ (see Smith 2006, 2008). This thesis also contributes a new model for approaches to Nottingham’s lace heritage, whereby audiences’ encounters with combined material objects and sensory experience facilitate open ended, participant directed interactivity. As well, the thesis contributes a new model for exhibition preview events that, through consultation with diverse communities, offers a democratic and inclusive approach to audiences. Finally, with regard to Nottingham lace in particular, this thesis contributes new models for the public display of heritage artifacts, and in doing so presents alternatives to conventional, authoritative approaches that, conceptually and physically separate audiences from artifacts.
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Tarrant, Patrick Anthony. "Documentary practice in a participatory culture." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/26975/1/Patrick_Tarrant_Thesis.pdf.
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Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself.
This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice.
A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too.
It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself.
One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer.
Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers.
It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.
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Tarrant, Patrick Anthony. "Documentary practice in a participatory culture." Queensland University of Technology, 2008. http://eprints.qut.edu.au/26975/.
Full textAbstract:
Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself.
This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice.
A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too.
It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself.
One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer.
Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers.
It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.
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Reid, Robert. "Acts of Dissension : how political theatre has been presented in the past and what strategies the playwright can employ to make issues of radical or alternative politics more accessible to a mainstream theatre audience." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16581/1/Robert_Reid_-_Pornography%2C_The_True_Confessions_of_Mandy_Lightspeed.pdf.
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The key focus of this research project is the marginalisation of radical and alternative politics in modern democratic societies, how they have been presented in a mainstream theatrical context and what strategies a political playwright can employ to present the issues of those politics while overcoming such marginalisation. Referencing cultural theorists including Noam Chomsky, Naomi Klein and Howard Zinn, this study argues that contemporary cultures operate within the boundaries of an internalised conservative value set propagated through systems of coercion utilised by the media, governments and corporations. With a specific interest in contemporary theatre, this study proposes that this internalisation functions as an efficient and nearly invisible censor, rendering more complex the task of the political playwright in communicating with a wider and more inclusive audience and that by examining the methods used in the manufacture of consent and then returning to the strategies utilized by political playwrights in the past and at present, we can better identify how to bypass that internal censor and do something more than " preach to the converted." This project comprises two interrelated components; one is an original full length play script, Pornography: The True Confessions of Mandy Lightspeed; the other is an exegesis which compliments and augments the play. The play script represents %60 and the exegesis the remaining %40 of the examinable output of this project, although both are considered integral (and integrate) parts of the whole. Central to both these texts is the question; " How has political theatre been presented in the past and what strategies can the playwright employ to make issues of radical or alternative politics more accessible to a mainstream theatre audience?"
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Reid, Robert. "Acts of Dissension : how political theatre has been presented in the past and what strategies the playwright can employ to make issues of radical or alternative politics more accessible to a mainstream theatre audience." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16581/.
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The key focus of this research project is the marginalisation of radical and alternative politics in modern democratic societies, how they have been presented in a mainstream theatrical context and what strategies a political playwright can employ to present the issues of those politics while overcoming such marginalisation. Referencing cultural theorists including Noam Chomsky, Naomi Klein and Howard Zinn, this study argues that contemporary cultures operate within the boundaries of an internalised conservative value set propagated through systems of coercion utilised by the media, governments and corporations. With a specific interest in contemporary theatre, this study proposes that this internalisation functions as an efficient and nearly invisible censor, rendering more complex the task of the political playwright in communicating with a wider and more inclusive audience and that by examining the methods used in the manufacture of consent and then returning to the strategies utilized by political playwrights in the past and at present, we can better identify how to bypass that internal censor and do something more than " preach to the converted." This project comprises two interrelated components; one is an original full length play script, Pornography: The True Confessions of Mandy Lightspeed; the other is an exegesis which compliments and augments the play. The play script represents %60 and the exegesis the remaining %40 of the examinable output of this project, although both are considered integral (and integrate) parts of the whole. Central to both these texts is the question; " How has political theatre been presented in the past and what strategies can the playwright employ to make issues of radical or alternative politics more accessible to a mainstream theatre audience?"
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Guldberg, Ravn Clara. "Music and Meaning : What is meaningfulness in practice and in performance?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2509.
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Zerbib, Olivier. "Je(ux) en ligne : pour une approche socio-communicationnelle des technologies numériques et des formes de réflexivités culturelles." Phd thesis, Université d'Avignon, 2011. http://tel.archives-ouvertes.fr/tel-00674659.
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Comment rendre compte des transformations opérées dans le champ culturel par les technologies numériques ? Au-delà des grands récits technicistes, quelle entrée choisir pour observer les mutations induites par le numérique dans les rapports qu'entretiennent les publics avec les objets culturels ? Sur quels terrains se placer pour tenter de saisir les transformations issues de l'émergence d'une technologie hybride et protéiforme, sans pour autant faire de l'informatique une pratique culturelle " comme les autres " ou verser dans le déterminisme médiatique ?En pointant les doutes et les hésitations ayant marqué ce travail de thèse, en les examinant et en les contextualisant diachroniquement, il s'est agi de contribuer à l'analyse de la réception et des dynamiques culturelles en lien avec les technologies numériques. Cette réflexion, construite sur une longue durée, s'est attachée à l'exploration d'usages du numérique qui, en leur temps, semblaient devoir s'imposer comme radicalement " modernes ". Ainsi, en trois temps et trois focales nous avons choisi d'étudier des objets apparemment hétéroclites mais qui devaient témoigner des profonds changements culturels engagés par l'émergence des technologies de l'information et de la communication. Ce cheminement nous a conduit à étudier des pratiques aux statuts sociaux et scientifiques divers, depuis les lectures en bibliothèques jusqu'aux jeux vidéo en passant par les écritures intimes sur les sites de rencontres ou les blogs. Cette méthodologie nous a finalement conduit à isoler un élément transversal aux objets étudiés, et dont le déploiement est favorisé par les technologies numériques : l'essor des capacités réflexives des publics de la culture.
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Hales, Christopher. "Rethinking the interactive movie : a practical investigation demonstrating original and engaging ways of creating and combining 'live action' video segments under audience and/or computer control." Thesis, University of East London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532628.
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Swift, Elizabeth. "The hypertextual experience : digital narratives, spectator, performance." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16025.
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This thesis demonstrates how the dynamics of hypertext fiction can inform an understanding of spectatorial practices provoked by contemporary performance and installation work. It develops the notion of the ‘hypertextual experience’ to encapsulate the particular qualities of active user engagement instigated by the unstable aesthetic environments common to digital and non-digital artworks. The significance and application of this term will be refined through an examination of different works in each of the study’s six chapters. Those discussed are as follows: Performances: Susurrus, by David Leddy; Love Letters Straight from the Heart and Make Better Please, by Uninvited Guests; The Waves, by Katie Mitchell; House/ Lights and Route 1 & 9, by the Wooster Group; Two Undiscovered Amerindians Discover the West, by Coco Fusco and Guillermo Gómez-Peña. Digital works: Afternoon (1987) by Michael Joyce; Victory Garden (1992) by Stuart Moulthrop; TOC by Steve Tomasula; The Princess Murderer by Deena Larsen. Installations: H.G. and Mozart’s House, by Robert Wilson; Listening Post, by Mark Hanson and Ben Rubin. In developing and discussing the hypertextual experience the thesis uses a number of conceptual frameworks and draws on philosophical perspectives and digital theory. A central part of the study employs an adaptation of possible worlds theory that has been recently developed by digital theorists for examining hypertext fiction. I extend this application to installation and performance and explore the implications of framing a spectator’s experience in terms of a hypertextual structure which foregrounds its performative operations and its engagement with machinic processes.
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Thomas, Patricia Adele. "Print to pixel: how can the cultural implications of mediated images and text be examined using creative practice?" Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/569.
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Information in the twenty-first century is at our fingertips in an instant. Through the technology of the mobile phone, computer, and television, we are alerted to information of international, national, local, and personal significance. The aim of this research is to establish that creative practice can provide a cogent forum with which to interrogate the cultural implications of mediated images and text in the twenty first Century. This exegesis Print to pixel explores the interrelationship between the political and cultural values as identified in the various codes within western mainstream news media. The cultural implications of the shift from print to digital technology leading to the immediacy of access to information, is crucial to this research. I focus on the media coverage of September 11 2001 as an example of the use of codes, framing and repetition in western mainstream news media. The coverage of the reaction to September 11 2001 exemplified the potency of images to communicate a particular political and social agenda. The creative component of my research consists of associated extracted images and text from western mainstream news media. The act of extracting and freezing images from the seemingly continuous flow of digital information is key to this research, allowing art gallery visitors to focus and re-engage with too readily dismissed information on screen. I examine the future of print by including digital and traditional print techniques, on paper, on screens and in books, in an investigation of the links between the different technologies used to report the events and consequences of September 11 2001. The combination of theory and practice in the form of reflexive praxis is the methodology I use to develop my findings. Reflexive praxis offers a method for arts practice, as a communicative act, to create a new balance by which the artist/researcher adopts processes acknowledging individual and social influences by applying theoretical rigour to draw new conclusions and propose new questions. Jurgen Habermas refers to the validity claims that are made in the communicative act and states that “The validity claims that we raise in conversation – that is, when we say something with conviction – transcend this specific conversational context, pointing to something beyond the spatiotemporal ambit of the occasion” (1990, p. 19). He refers to the conversation as an opportunity to make a statement that goes beyond the immediate interaction and leads to wider implications. I regard the exhibition of my artworks as providing that ‘conversational context’ in which I raise questions that may have unpredictable implications as the viewer brings to the work their own life influences and prejudices. Therefore, applying reflexive praxis by “reflecting upon, and reconstructing the constructed world,” I constantly analyse the propositions being made through my work and assume “a process of meaning making, and that meaning and its processes are contingent upon a cultural and social environment” (Crouch, 2007, p. 112). It is only through the manifestation of my research ideas in the form of exhibited artworks that an evaluation through reflexive praxis occurs: considering how works are interpreted according to the context in which they are shown, what relationships with other works reveal and whether the artworks successfully address the research aims.
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DiFranco, Maria K. "The Female Experience of Cancer, Seen Through Art." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461107465.
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Richards, Michael John. "Actors, gurus and devotees : participant manipulation and response in the theatre and in charismatic religious events." Thesis, Queensland University of Technology, 2000. https://eprints.qut.edu.au/35830/1/35830_Richards_2000.pdf.
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Sri Lanka is the theatre of a three decade-long armed ethnic conflict between the predominantly Sinhala
government and the Liberation Tigers of Tamil Eel am - the militant group fighting for a separate state for
the island's Tamil speaking people. This contemporary conflict is rooted in a perceived historical crisis
between Tamil and Sinhala ethnic groups which spans more than two millennia.
This study examines the perceived historical crisis between the two lingua ethnic nations from a postmodern
perspective, to better understand the contemporary interpretation which has led to a militant and at
times terrorist conflict. It also focuses on the fusion of contemporary and historical narratives used by the
L TTE to further their strategic goals.
The study defines the notion of terrorism as a politico-military strategy stripped of its populist pejorative
interpretations, to understand the strategy of terrorism as part of a communication process designed to
terrorise a target audience and demand its political compliance by harnessing terror as a psychological
weapon.
The study further discusses the role of traditional mainstream media in this communication process and the
result of state imposed media censorships set in place to prevent terrorist news voices from reaching the
media consumer.
This thesis argues media censorship creates a news media vacuum ideally suited to terrorist-backed
alternative cyber media, such as Tamilnet, which are resistant to state imposed media censorship. This
results in the alternative media being the only significant source of news from the conflict zone, creating a media monopoly which allows terrorist narratives and politically loaded reports to filter into mainstream media copy.
Based on an analysis of Tamilnet, this study outlines the role of terrorist-backed cyber media and its
relationship with traditional and contemporary sources of news in the current media landscape.
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Hart, Phoebe. "Orchids : intersex and identity in documentary." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/29712/25/Phoebe_Hart_Thesis_redacted.pdf.
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Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.
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Hart, Phoebe. "Orchids : intersex and identity in documentary." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29712/.
Full textAbstract:
Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.
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Vitrinel, Ece. "Le cinéma en salle face à la multiplication des écrans. Une analyse pluridisciplinaire de la situation en Turquie." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA046.
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Cette étude prend pour objet les salles de cinéma et la relation des spectateurs avec elles. Pour pouvoir embrasser toutes les facettes de la salle de cinéma à l’ère de la multiplication des écrans, le travail s’insère pleinement dans une perspective socio-économique qui articule méthodes quantitatives et qualitatives et s’organise en trois grandes parties. La première décrit les lignes générales de l’expérience cinématographique avec ses écrans et ses sites, la deuxième aborde directement le contexte du paysage cinématographique en Turquie, et la troisième partie s’attache à décrire la place des spectateurs dans ce contexte particulier. Il essaye de construire, à la manière d’un puzzle, le portrait du spectateur-type en Turquie, tout en espérant que ce portrait sera révélateur pour comprendre le spectateur actuel. Les observations par immersion faites dans le cadre de cette étude témoignent de l’existence d’une ligne commune qui traverse tous les types de salles, que ce soit des multiplexes, des salles de quartier ou des espaces de visionnement alternatifs, et de la continuation de l’expérience en salle à domicileThe object of this research is the movie theaters and the relationship of the audience with them. To embrace all aspects of the movie theaters in the era of proliferation of screens, the study which follows up a socio-economic perspective articulating quantitative and qualitative methods is organized into three parts. The first part describes the general lines of the cinematic experience with its screens and sites, the second directly addresses the context of the film industry in Turkey, and the third sets out to analyze the place of the movie spectators in this particular context. It thus tries to build up like a jigsaw puzzle, a portrait of the typical spectator in Turkey, hoping that this portrait would be relevant to understand today’s audience. The field observations made within the framework of this study demonstrate the existence of a common line cutting across all types of movie theaters, whether it be multiplexes, neighborhood cinemas or alternative screening areas, and illustrate the continuation of the theater experience at home
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Rice, Jeremy F. "My worst ever night at the best school ball ever : creating taboo theatre for teenagers." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/849.
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My Worst Ever Night at the Best School Ball Ever (School Ball) is a new play for teenage audiences. The action takes place on the night of a ball for final year students. A prank with a goat goes horribly wrong, a photo of a girl pissing in a pot plant is widely circulated, and everyone finds out about the boy in a sexual relationship with a teacher. At the heart of the play are teenagers, armed with mobile phones, trying to find their way in a contradictory and confusing world.
The creative development of School Ball centred on practice-based artistic research into the field of theatre for young audiences (TYA) through my practice as a director. The research question was: how to produce taboo theatre for teenagers?
School Ball was conceived as a production that would tour to schools. The school ball concept was popular with teachers, parents and theatre company board members but I encountered strong resistance to the story of a male student in a sexual relationship with a female teacher. Even though such relationships were being reported weekly in the media, the content was perceived to be taboo for young audiences. Developing School Ball investigated the complex relationships between TYA and the education system, as well as artistic and production strategies to navigate School Ball past school gatekeepers and reach its target audience.
Young people are at the centre of the research practice, participating in workshops, collaborating with artists, and responding to the work. Their involvement helped make School Ball accurately reflect adolescent experiences, such as the centrality of text messaging – another taboo in the school environment.
Australian TYA is considered to be at the forefront of international practice: innovative in creative process and theatrical form, imaginative and daring in content. But TYA practice is neither homogenous nor self-contained. In artistic practice, means of production and competition for audiences, TYA intersects with Theatre in Education (TIE), Young People’s Theatre (YPT), drama education, adult and commercial theatre. Part of the research aimed to understand the TYA landscape and the place of School Ball within it.