Journal articles on the topic 'Audience practices'
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1
Cavalcante, Andre. "Affect, emotion, and media audiences: the case of resilient reception." Media, Culture & Society 40, no. 8 (June 12, 2018): 1186–201. http://dx.doi.org/10.1177/0163443718781991.
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In this article, I place qualitative audience research in conversation with theories of affect. Informed by participant data from two qualitative audience studies I have conducted with lesbian, gay, bisexual, transgender, and queer (LGBTQ) audiences in the United States, I illustrate how cultural representations can make significant demands on one’s emotional and affective life, requiring practices of rest, rebuilding, and reclamation. I call this process resilient reception, or the strategies audiences employ to manage the affectively turbulent power of media and communications technologies. I examine two examples of resilient reception that the participants in my studies practiced: orientation devices (how audiences oriented toward and away from media) and practices of immersion (how audiences immersed themselves in empowering interpersonal communities and media fare). Ultimately, I argue that theories of affect can complement ideological understandings of media audiences by offering a more embodied and dynamic optic.
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Staniškytė, Jurgita. "Spectatorship, Politics and the Rules of Participation." Nordic Theatre Studies 30, no. 2 (March 13, 2019): 99–114. http://dx.doi.org/10.7146/nts.v30i2.112954.
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Contemporary theatre performances offer many examples of audience engagement - its forms range from physical interventions into public space to mental emancipation of the audience’s imagination. These practices put into question the effectiveness of the existing tools of audience research because, in some instances, theatre serves as a manipulation machine, “tricking” the public to perform specific social actions, while in other cases, it becomes a tool for the deconstruction of manipulation mechanisms at the same time serving as a platform for engaging entertainment. Audience research paradigms, based on dichotomies such as passive/active, inclusion/exclusion or incorporation/resistance are no longer able to address the complex concepts of spectatorship as performance, co-creation, or audience participation. Therefore, new practices of audience participation, conspicuously emerging in contemporary Lithuanian theatre, can only be adequately addressed by combining methodologies from different disciplines and critically evaluating historical and theoretical implications of these practices. In my article, I will focus on the historical implications of the term “audience participation” as a form of public engagement and issues of its application as experienced by theatre artists and audiences in Lithuania. The article will also examine the theoretical implications of the notion of participatory turn and its effect on theatre productions at the same time challenging the conceptual equations of “active spectatorship” in the aesthetic sphere to the emergence of “active participant” in the public sphere.
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Carter, Marcus, and Ben Egliston. "The work of watching Twitch: Audience labour in livestreaming and esports." Journal of Gaming & Virtual Worlds 13, no. 1 (March 1, 2021): 3–20. http://dx.doi.org/10.1386/jgvw_00025_1.
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This article focuses on the interactivity afforded to audiences by the video game livestreaming platform twitch.tv. Drawing on theories of audience labour, we explore what audience interactivity on Twitch might mean within the context of the contemporary digital economy. Specifically, and inspired by a range of existing work in media and cultural studies research on audiences, we argue that interactive audience practices on Twitch can be read as a site of ‘audience work’. Our contention is that the various kinds of interactive, audience practices on Twitch generate considerable economic value for the platform and its broadcasters. In the context of growing academic interest in livestreaming platforms like Twitch, this article contributes a new perspective towards the role that the interactivity of Twitch plays in creating commodified and commercially desirable experiences via the labour of audience activity.
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Carter, Marcus, and Ben Egliston. "The work of watching Twitch: Audience labour in livestreaming and esports." Journal of Gaming & Virtual Worlds 13, no. 1 (March 1, 2021): 3–20. http://dx.doi.org/10.1386/jgvw_00025_1.
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This article focuses on the interactivity afforded to audiences by the video game livestreaming platform twitch.tv. Drawing on theories of audience labour, we explore what audience interactivity on Twitch might mean within the context of the contemporary digital economy. Specifically, and inspired by a range of existing work in media and cultural studies research on audiences, we argue that interactive audience practices on Twitch can be read as a site of ‘audience work’. Our contention is that the various kinds of interactive, audience practices on Twitch generate considerable economic value for the platform and its broadcasters. In the context of growing academic interest in livestreaming platforms like Twitch, this article contributes a new perspective towards the role that the interactivity of Twitch plays in creating commodified and commercially desirable experiences via the labour of audience activity.
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Reid, Rayne, and Johan Van Niekerk. "Decoding audience interpretations of awareness campaign messages." Information & Computer Security 24, no. 2 (June 13, 2016): 177–93. http://dx.doi.org/10.1108/ics-01-2016-0003.
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Purpose This research aims to determine whether the educational influence of the cybersecurity awareness campaign on the audience (their knowledge, behaviour and potential cybersecurity culture) matches the campaign’s educational objectives. The research focuses on the knowledge component of this metric by examining the awareness campaign audience’s interpretative role in processing the campaign content, through the lens of active audience theory (AAT). Design/methodology/approach Using reflective practices, this research examines a single longitudinal case study of a cybersecurity awareness and education campaign which aims to raise awareness amongst school learners. Artefacts from a single sample are examined. Findings Reflexive practices using theories such as active audience can assist in identifying deviations between the message a campaign intends to communicate and the message that the campaign audience receives. Research limitations/implications Using this research approach, measurements could only be obtained for campaign messages depicted in artefacts. Future interventions should be designed to facilitate a more rigorous analysis of the audiences’ interpretation of all campaign messages using ATT. Originality/value This paper applied principles of ATT to examine the audience’s interpretative role in processing an awareness campaign’s content based on artifacts they created after exposure to the campaign. Conducting such analyses as part of a reflective process between cyber awareness/education campaign cycles provides a way to identify areas or topics within the campaign that require corrective action.
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Escobar-Rodríguez, Tomás, and Rocío Bonsón-Fernández. "Facebook practices for business communication among fashion retailers." Journal of Fashion Marketing and Management: An International Journal 21, no. 1 (March 13, 2017): 33–50. http://dx.doi.org/10.1108/jfmm-11-2015-0087.
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Purpose The present study examines relationship building of major players in fashion retailing through social media. Using the theories of word-of-mouth marketing and brand community as theoretical frameworks, this paper analyses the impact of social media marketing in creating brand community. To that end, the use of the popular networking site Facebook was studied. The purpose of this paper is to analyze the extent and main purposes of the usage of this communication channel and to examine companies’ activity on their Facebook pages as well as to observe their audiences and the effect in their audiences’ engagement. Additionally, this paper analyses the main type of content and the most commonly used type of media. Design/methodology/approach Research was based on a content analysis performed on 2,326 Facebook posts; a sample of 46 international leading companies in the fashion industry was analyzed in the time period between March 1 and May 31, 2015. Findings Facebook audience is positively related to retailer’s size. However, audiences in this sector are not related to the level of activity of the retailers’ Facebook pages. Audience engagement and participation in fashion retailer’s Facebook sites is higher in small retailers. The main content of the Facebook pages of top fashion retailers is marketing, photo albums and videos being the most popular drivers of this means. Originality/value No previous research analyzed fashion retailers use of Facebook sites. This study examines the variables size and engagement of fashion retailers’ audience on Facebook according to retailers’ size and activity on their corporate profiles.
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Mikosza, Janine. "In Search of the ‘Mysterious’ Australian Male: Editorial Practices in Men's Lifestyle Magazines." Media International Australia 107, no. 1 (May 2003): 134–44. http://dx.doi.org/10.1177/1329878x0310700113.
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The men's lifestyle magazines FHM (For Him Magazine) and Ralph are a significant presence in the Australian market, and both target a specific readership of young, heterosexual men. My central research question concerns how desired audiences are constructed or imagined at the ‘front end’ of magazine production. One of the major tasks of the editors and publishers of these magazines is to access, and compete for, an audience. This paper aims to examine the contradictions apparent in the editorial practices of defining or envisioning an audience for Ralph and FHM. To understand the process of how they produce the magazines, I examine the editorial staffs' conceptions of the ‘audience’; the ways in which it is created and for what purposes, as well as the terms used to describe this integral part of the industry. How the audience is defined and constructed highlights how contradictions, creativity and constraint operate in defining the audience.
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Rieh, Soo Young, Grace YoungJoo Jeon, Ji Yeon Yang, and Clifford Lampe. "Audience-Aware Credibility: From Understanding Audience to Establishing Credible Blogs." Proceedings of the International AAAI Conference on Web and Social Media 8, no. 1 (May 16, 2014): 436–45. http://dx.doi.org/10.1609/icwsm.v8i1.14525.
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This study examines how bloggers establish and enhance the credibility of their blogs through a series of blogging practices. Based on an analysis of interviews with 22 independent bloggers who blog on a range of topics, we present audience-aware credibility as a theoretical construct. Audience-aware credibility is defined as how bloggers signal their credibility based on who they think their audience is and how they provide value to that perceived audience. The analysis of bloggers’ credibility constructs, conceptualizations of audience, and perceived blog value identified four types of bloggers who constructed audience-aware credibility in distinctive ways: Community Builder, Expertise Provider, Topic Synthesizer, and Information Filterer. We then report on these bloggers’ blogging practices for establishing credibility and strategies for interacting with their audience to enhance credibility. The contributions of this study are to expand credibility constructs for social media research and to demonstrate the role of credibility perceptions in content contributors’ online activities. The findings reveal that a multi-dimensional construct of audience-aware credibility serves as a driving factor influencing and shaping blogging practices of all four types of bloggers. Copyright © 2014, Association for the Advancement of Artificial Intelligence (www.aaai.org). All rights reserved.
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Kaminskaia, Tatiana. "Crowdfunding for Media Projects: Communication Practices of Targeting." Theoretical and Practical Issues of Journalism 10, no. 3 (September 21, 2021): 487–99. http://dx.doi.org/10.17150/2308-6203.2021.10(3).487-499.
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The study examined the communicative crowdfunding practices of successful media projects in relation to financial and content participation of the target audience. The creation and support of media projects became possible in Russia through the active development of special Internet platforms and are the result of the increased status of the addressee in the media environment. The research identified factors and communication practices for creating successful media projects through crowdfunding. Crowdfunding as a collaboration of people to implement any ideas and projects is a relatively new practice for Russia, and it has not been systematically studied. There are hundreds of Internet platforms to raise funds for creating the most exotic projects (from cooking a giant salad to financing the murders of officials). At the same time, the study showed that the success of Russian crowdfunding is primarily associated with media projects. Crowdfunding is a serious resource for independent media and those who work with specific target audience and its interests. In this case, the media offer certain bonuses to the audience that supported them. The study employed participatory observation methods, content analysis, and expert interviews with the organizers and authors of successful media projects Planeta.ru (https://planeta.ru/), The power of the word, Crowdplatform for journalists (https://word-power.ru/). A total of 5 expert interviews were conducted. The study identified the following success factors: communicative features of addressing the target audience of the projects; rewards for participation that meet the audience's needs; сreative practices of attracting media personalities to promote projects.
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Banta, Emily. "Agonistic Audiences: Comic Play in the Early National Theater." American Literature 92, no. 3 (September 1, 2020): 429–55. http://dx.doi.org/10.1215/00029831-8616139.
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Abstract This essay considers how rowdy theater audiences contributed to a broader cultural understanding of democratic politics in the early United States, showing how raucous and occasionally riotous theater patrons enacted a form of popular rule that was predicated on the paying audience’s sovereign right to pleasure. Agonistic audiences thrived on the conflictual dynamics of disorder and dissidence, but their unruly practices only rarely devolved into mob violence, precisely because theatergoers largely understood themselves to be at play. I examine various accounts of theatrical disturbance, including Washington Irving’s famous depiction of a disorderly audience, to demonstrate how patrons cultivated a comic mode of sociality, one that foregrounded and maintained the essential playfulness of social contest. Such comic play acknowledged a horizon of popular enjoyment that stood in excess of rational-critical public discourse. The comic mode has long been undertheorized in literary and cultural studies of the early United States, yet it holds key insight into the practices of both early national theater and early national politics. By way of example, I offer a comic reading of Royall Tyler’s The Contrast (1787) that reveals the imprint of the agonistic audience on the repertoire of the period, shedding new light on nineteenth-century genealogies of performance.
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Te Walvaart, Marleen. "Translating PSM Policy into Production Practices." Public Service Broadcasting in the Digital Age 8, no. 16 (December 19, 2019): 88. http://dx.doi.org/10.18146/2213-0969.2019.jethc177.
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PSM policy documents aim at interactive audience engagement, but production practices show many limitations to achieve this. This article studies how PSM policy is translated into practice, by analysing the newsroom management strategies about audience engagement. In-depth interviews were conducted with managers at different levels of the Flemish public service company VRT. Results show that managers primarily aim at immersive engagement through newsroom convergence and VRT brands. They value interactive engagement as well, but those experiments remain vulnerable. Newsroom management strategies are closely based on practices and audience behaviour, while there is a much larger distance with broader VRT policy.
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Peruško, Zrinjka, and Dina Vozab. "Mediatized participation in European media systems." Central European Journal of Communication 11, no. 2 (November 9, 2018): 151–65. http://dx.doi.org/10.19195/1899-5101.11.2(21).3.
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This article explores patterns of mediatized participation of European citizens and the way they differ across different media systems, in a multilevel, cross-national comparative research design. Mediatized participation is operationalized as audience practices on the Internet. The media system is conceptualized through the theoretical model of digital mediascapes, which applied to 22 European Union countries produced three clusters/media systems. The audience data are from representative online surveys in 8 eastern and western European countries N = 9532 collected by the authors and their research partners. Factor and cluster analyses were performed showing types and patterns of mediatized participation. Hierarchical multiple regression analysis and ANOVA were performed to relate the individual level variables to the macro-level clusters of digital media systems. The article shows audiences in the more mediatized, Western cluster are more engaged in participatory practices in comparison to audiences in the Eastern/Southern cluster of European countries which show more extensive information consumption practices.
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Corsa, Andrew J. "John Cage, Henry David Thoreau, Wild Nature, Humility, and Music." Environmental Ethics 43, no. 3 (2021): 219–34. http://dx.doi.org/10.5840/enviroethics202111828.
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John Cage and Henry David Thoreau draw attention to the indeterminacy of wild nature and imply humans cannot entirely control the natural world. This paper argues Cage and Thoreau each encourages his audience to recognize their own human limitations in relation to wildness, and thus each helps his audience to develop greater humility before nature. By reflecting on how Thoreau’s theory relates to Cage’s music, we can recognize how Cage’s music contributes to audiences’ environmental moral education. We can appreciate the role of music in helping audiences to develop values conducive to environmentally sustainable practices.
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Aleshnikova, V. I. "Digital place marketing: interaction practices with target audiences." Vestnik Universiteta 1, no. 7 (August 31, 2022): 71–81. http://dx.doi.org/10.26425/1816-4277-2022-7-71-81.
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The article analyzes how the authorities and territorial administrations use marketing tools of interaction with various groups of the local population and tourists. The relevance of the research lies in the increasing role of regional government bodies in ensuring stable socio-economic territorial development in the conditions of the digital economy, external and internal threats, crises, sanctions limitations, as well as in the urgent need for a marketing approach in the management of the territories. The aim of the study is to identify the best practices for using tools for interaction between regional administrations and target audiences and the quality of response to their requests. A set of scientific representations and conceptual developments of Russian and foreign scientists in the field of territory marketing, methods of comparative expert analysis and marketing research formed the methodological basis of the study. The study formulated the main reasons for the use of digital marketing tools in the management of territories. The author raises the problem of formation of competencies among specialists of regional administrations on the use of marketing tools. The research identifies the main types of interactive tools for communication with an external and internal target audience. It assesses the practice of regional administration cooperation with the target audience. The practical value of the study lies in the possibility of using conclusions and recommendations to organize effective interaction of regional administrations with external and internal target audiences.
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Nanì, Alessandro, and Pille Pruulmann-Vengerfeldt. "Exploring Cross-Media Audience Practices in Two Cases of Public Service Media in Estonia and Finland." Baltic Screen Media Review 5, no. 1 (December 20, 2017): 58–69. http://dx.doi.org/10.1515/bsmr-2017-0012.
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AbstractStemming from the concept of active audiences and from Henry Jenkins’ (2006) idea of participatory culture as the driving force behind the transformation of public service broadcasting into agencies of public service media (Bardoel, Ferrell Lowe 2007), this empirical study explores the attitude and behaviour of the audiences of two crossmedia projects, produced by the public service media of Finland (YLE) and Estonia (ERR). This empirical study aims to explore the behaviour, wants and needs of the audiences of cross-media productions and to shed some light on the conditions that support the dynamic switching of the engagement with cross-media. The study’s results suggest that audiences are neither passive nor active, but switch from one mode to another. The findings demonstrate that audience dynamism is circumstantial and cannot be assumed. Thus, thinking about active audiences and participation as the lymph of public service media becomes problematic, especially when broadcasters seek generalised production practices. This work demonstrates how television networks in general cannot be participatory, and instead, how cross-media can work as a vehicle of micro participation through small acts of audience engagement (Kleut et al. 2017).
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Ciobanu, Liliana. "POSTMODERNIST PRACTICES IN CONTEMPORARY OPERA." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(42) (September 2022): 158–63. http://dx.doi.org/10.55383/amtap.2022.1.29.
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Opera, an important link of contemporary culture, has a considerable influence on the individual and society, directing and enriching the cognitive, affective and attitudinal universe of the audience. Postmodernist ideology projects opera into a crisis, stimulating the development of controversial artistic forms. But, at the same time, the information environment gives Opera the possibility of transiting the closed spaces of the halls, propagating and broadcasting the lyrical performances in front of an impressive audience. The social and cultural-artistic context of the last decades has favored the rise of postmodern directorial opera, which invented multiple methods of interpretation, becoming a real challenge for many reviewers, but especially for the conservative opera audience. Without having negative connotations at its beginnings, the New postmodernist concept Regietheater/Regieoper surmounted the stage interpretations with aesthetic character of classical works, reaching today a maximum level of speculative excesses, radically distanced from the original content.
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Gulyas, Agnes, Sarah O’Hara, and Jon Eilenberg. "Experiencing Local News Online: Audience Practices and Perceptions." Journalism Studies 20, no. 13 (October 26, 2018): 1846–63. http://dx.doi.org/10.1080/1461670x.2018.1539345.
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Batabyal, Somnath. "Constructing an audience: news television practices in India." Contemporary South Asia 18, no. 4 (December 2010): 387–99. http://dx.doi.org/10.1080/09584935.2010.526199.
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Ikulayo, Philomena B., and Johnson A. Semidara. "Culturally Informed Sport Psychology Practice: Nigeria in Perspective." Journal of Clinical Sport Psychology 5, no. 4 (December 2011): 339–49. http://dx.doi.org/10.1123/jcsp.5.4.339.
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This article discusses unorthodox sport psychology practices typical with Nigerian athletes, which differ from Western mainstream practice models. These practices are specific Nigerian cultural approaches to sport psychology and are based on two broad types of motivation: intrinsic and extrinsic motivation. The intrinsic aspects include prayers, chanting of songs, verbalization of incantations, psyching verses, and juju and spirits in motivational processes. The extrinsic strategies include praise singing, audience verbalization, drumming effects, persistent silent audiences’ effects, and presence of important persons as spectators or part of the audience. The article concludes with the hope that some of these unique practice strategies will be further researched and will be viable for adoption by athletes in other nations of the world who believe in their power so that multicultural practices can help advance the field of sport psychology.
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Saryusz-Wolska, Magdalena. "Powojenna widownia filmowa w Berlinie. Przyczynek do nowej historii kina." Prace Kulturoznawcze 20 (March 27, 2017): 121–32. http://dx.doi.org/10.19195/0860-6668.20.10.
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Post-war Film Audience in Berlin. A Contribution to the New Cinema HistoryThe article aims to present the advantages of the new cinema history as a research tool in the field of cultural participation. It focuses on early post-war cinema audience in Berlin, their motivations, practices and habits. Watching films is treated as an exemplary social, economic and political phenomenon that influences all kinds of using and producing popular culture. The author stresses that films are usually made for their audiences. Hence, film studies should pay more attention to the cinemagoers as well as to their parallel activities, such as reading film magazines, observing film posters, or watching film advertisements. Moreover, historical audience studies are a necessary step while analyzing the changing modes of cultural participations. Information on historical practices is especially useful, at a comparative level, in order to support theses on the specificity of contemporary cultural activities.
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Hodson, Jaigris, Victoria O’Meara, Christiani Thompson, Shandell Houlden, Chandell Gosse, and George Veletsianos. "“My People Already Know That”: The Imagined Audience and COVID-19 Health Information Sharing Practices on Social Media." Social Media + Society 8, no. 3 (July 2022): 205630512211224. http://dx.doi.org/10.1177/20563051221122463.
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This article examines how imagined audiences and impression management strategies shape COVID-19 health information sharing practices on social media and considers the implications of this for combatting the spread of misinformation online. In an interview study with 27 Canadian adults, participants were shown two infographics about masks and vaccines produced by the World Health Organization (WHO) and asked whether or not they would share these on social media. We find that interviewees’ willingness to share the WHO infographics is negotiated against their mental perception of the online audience, which is conceptualized in three distinct ways. First, interviewees who would not share the infographics frequently describe a self-similar audience of peers that are “in the know” about COVID-19; second, those who might share the infographics conjure a specific and contextual audience who “needs” the information; and finally, those who said they would share the infographics most frequently conjure an abstract audience of “the public” or “my community” to explain that decision. Implications of these sharing behaviors for combatting the spread of misinformation are discussed.
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Randazzo, Chalice. "About Face: Reflexively Considering “Audience” in Hiring Situations." Journal of Business and Technical Communication 33, no. 2 (December 9, 2018): 203–32. http://dx.doi.org/10.1177/1050651918816355.
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Using data from 88 students, 20 advisers, and 24 hirers about U.S. résumés, this article focuses on face of the company, the concept of employers' evaluating how well applicants might represent a company. The results of applying rhetorical listening’s identification–disidentification to “face” suggested two outcomes and their implications. First, primary audiences invoked secondary audiences to the point in which they conflated, suggesting that résumés should incorporate secondary audiences. Second, hirers sometimes violated their own beliefs about diversity hiring because of audiences they invoked, suggesting that because invoking audience can perpetuate inequitable hiring practices, hirers should be more nuanced about the audiences they choose.
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Kumar Sarma, Sushanta. "Theorization of New Practices in Emerging Organizational Fields." Vikalpa: The Journal for Decision Makers 42, no. 3 (August 15, 2017): 131–44. http://dx.doi.org/10.1177/0256090917719980.
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Executive Summary Organizational actions are subject to multiple interpretations by the constituents of organizational field and are often prone to lose legitimacy in an uncertain environment. To ensure that organizational practices are given meaning in a deliberate way, actors resort to ‘theorization’. The institutional theory literature looks at theorization as a legitimacy seeking strategy. IT defines the goal of theorization as mobilizing support and justifying new courses of action. By linking legitimacy, theorization, and emerging field, this article explores the question of how do the organizations theorize a new practice in an emerging field. Emerging organizational field is distinguished from a mature organizational field across four dimensions: extent of interactions among organizations, defined structure of domination and pattern of coalition among organizations, information sufficiency within the organizational field, and existence of commonly shared purpose among organizations. Theorization would focus on two important questions for justifying a new practice: ‘base of legitimacy’ and ‘audience for seeking legitimacy’. The article argues that in an emerging field, organization would theorize new practices with variants of moral and pragmatic legitimacy as base and would target the constituents of normative and market governance structure as the intended audiences. The article presents four propositions linking each of the dimensions of the emerging organizational field. It suggests that organization would theorize new practices by focusing on exchange, procedural, structural, and consequential legitimacy. The article contributes to existing literature by linking the characteristics of the emerging field to focus and audience of theorization strategy. With the growing prevalence of hybrid organizations, organizations are commonly exposed to multiple and even contradictory institutional demands. Understanding the focus of theorization and the intended audience can help these organizations to be more persuasive in seeking legitimacy.
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Hanchard, Matthew, Peter Merrington, Bridgette Wessels, Kathy Rogers, Michael Pidd, Simeon Yates, David Forrest, Andrew Higson, Nathan Townsend, and Roderik Smits. "Developing a computational ontology to understand the relational aspects of audience formation." Emerald Open Research 2 (February 12, 2020): 5. http://dx.doi.org/10.35241/emeraldopenres.13465.1.
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In this article, we discuss an innovative audience research methodology developed for the AHRC-funded ‘Beyond the Multiplex: Audiences for Specialised Film in English Regions’ project (BtM). The project combines a computational ontology with a mixed-methods approach drawn from both the social sciences and the humanities, enabling research to be conducted both at scale and in depth, producing complex relational analyses of audiences. BtM aims to understand how we might enable a wide range of audiences to participate in a more diverse film culture, and embrace the wealth of films beyond the mainstream in order to optimise the cultural value of engaging with less familiar films. BtM collects data through a three-wave survey of film audience members’ practices, semi-structured interviews and film-elicitation groups with audience members alongside interviews with policy and industry experts, and analyses of key policy and industry documents. Bringing each of these datasets together within our ontology enables us to map relationships between them across a variety of different concerns. For instance, how cultural engagement in general relates to engagement with specialised films; how different audiences access and/or share films across different platforms and venues; how their engagement with those films enables them to make meaning and generate value; and how all of this is shaped by national and regional policy, film industry practices, and the decisions of cultural intermediaries across the fields of film production, distribution and exhibition. Alongside our analyses, the ontology enables us to produce data visualisations and a suite of analytical tools for audience development studies that stakeholders can use, ensuring the research has impact beyond the academy. This paper sets out our methodology for developing the BtM ontology, so that others may adapt it and develop their own ontologies from mixed-methods empirical data in their studies of other knowledge domains.
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Picone, Ike, Jelena Kleut, Tereza Pavlíčková, Bojana Romic, Jannie Møller Hartley, and Sander De Ridder. "Small acts of engagement: Reconnecting productive audience practices with everyday agency." New Media & Society 21, no. 9 (May 2, 2019): 2010–28. http://dx.doi.org/10.1177/1461444819837569.
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In this article, we develop the concept of small acts of engagement (SAOE) in a networked media environment as a conceptual framework to study specific audience practices and as an agenda for research on these practices. We define SAOE, such as liking, sharing, and commenting, as productive audience practices that require little investment and are intentionally more casual than the structural and laborious practices examined as types of produsage and convergence culture. We further elaborate on the interpretive and productive aspects of SAOE, which allow us to reconnect the notions of a participatory culture and a culture of everyday agency. Our central argument is that audience studies’ perspective allows viewing SAOE as practices of everyday audience agency, which, on an aggregate level, have the potential to become powerful acts of resistance.
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Rahman, Jacquelyn. "Woman to woman." English World-Wide 32, no. 3 (October 25, 2011): 309–37. http://dx.doi.org/10.1075/eww.32.3.03rah.
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Professional female comedians frequently face harassment from male fellow performers and from male audience members who take a sexist attitude, essentializing women as psychologically and temperamentally unsuited to the profession of comedy. This paper examines a strategy that African American female comedians employ to overcome the obstacles they face in performing before mixed gender African American audiences. While implementing features that emphasize their African American and female identity, the comedians direct their performances toward women in the audience, employing features and practices comparable to those researchers associate with close female friends in conversation. Intensive use of a strategy that includes taking stances such as confidence sharing and using gendered terms to directly address female audience members establishes solidarity with the women who are listening. Having a large portion of the audience as allies discourages the occurrence of sexist harassment.
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Belair-Gagnon, Valerie. "News on the fly: journalist-audience online engagement success as a cultural matching process." Media, Culture & Society 41, no. 6 (November 22, 2018): 757–73. http://dx.doi.org/10.1177/0163443718813473.
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Looking at web analytics in newsrooms, journalism studies scholarship has explored the notion of success in using web analytics and metrics in measuring journalist-audience engagement. Scholars have looked at the role of organizational structures, cognition, and emotion in defining success with analytics. This article analyzes how journalists interpret journalist-audience engagement success using web analytics and what this reliance on web analytics might mean for contemporary news production. Using direct observation of newsrooms and interviews with news media workers, this article argues that media workers interpret success in audience engagement using web analytics as a process of cultural matching between web analytics companies, media workers, and audiences. This article shows that analytics in journalism have highlighted some of the shared values and practices across the matchers and revealed the challenges of measuring success in audience-journalist engagement.
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Huttunen, Laura. "From individual grief to a shared history of the Bosnian war." Focaal 2014, no. 68 (March 1, 2014): 91–104. http://dx.doi.org/10.3167/fcl.2014.680107.
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This article explores the relationship between psychotherapeutic practices with people with refugee backgrounds and “the political”. The relationship between voice and audience in psychotherapeutic practices is explored; through such an analysis the relationship between psychotherapy, history, and the political is considered. The theoretical questions are approached through a case study, a Bosnian man with refugee background living in Finland and attending psychotherapy there who invited the anthropologist to attend his therapy sessions. The analysis of the single case is situated within long-term ethnographic research on the Bosnian diaspora. Situating the personal in historical and moral plots, as well as seeking larger audiences beyond the confines of the therapeutic relationship, is seen as crucial in producing therapeutic effects. Simultaneously, the case enables a theoretical discussion about the relationships between voice, audience, and the political.
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Meese, James, and Aneta Podkalicka. "Practices of Media Sport: Everyday Experience and Audience Innovation." Media International Australia 155, no. 1 (May 2015): 89–98. http://dx.doi.org/10.1177/1329878x1515500111.
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Media sport has a long history as a significant site of media innovation, and existing work in media and cultural studies has explored how media sport, technological innovation and regulatory frameworks interact. However, this work often focuses on how major actors such as broadcasting organisations, sporting bodies and telecommunications companies mediate sport. As a complementary strategy to this ‘top-down’ analysis, we approach media sport through the lens of practice, which allows us to understand everyday forms of engagement with, and consumption of, media sport in a clearer fashion. The article analyses existing policy discourses and social commentaries centred on the targeted ‘high-quality’ or ‘high-tech technological’ innovation, and argues that users of sports media are also motivated by series of cultural rewards and varied tradeoffs that do not map neatly onto industrial categories of quality or media consumption trends.
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Himma-Kadakas, Marju, and Raul Ferrer-Conill. "Is news engagement worthwhile?: Studying young audiences’ engagement with YouTuber-like news content." Nordicom Review 43, no. 2 (June 1, 2022): 152–70. http://dx.doi.org/10.2478/nor-2022-0010.
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Abstract While traditional media often fails to engage young audiences with news, YouTubers’ content gains popularity and attracts attention with specific stylistic practices. Based on dimensions of audience engagement and a worthwhileness approach, this article examines how young audiences engage with YouTubers’ formats and genres used in news media products. Findings of five focus group interviews with Estonian teenagers show that while specific dimensions of engagement may increase due to a more relatable format, interest in traditional news content remains limited regardless of repackaging to a YouTube-intrinsic production. This article contributes to audience studies by demonstrating to news organisations that trying to engage younger audiences through mere formatting while forgetting content might not be worthwhile. However, making news more entertaining and adopting the youth's interpretation of what news is could prime young audiences to consume news through social media.
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Mishustina, A. B. "AUDIENCE PRACTICIES OF THE TV SERIES CONSUMPTION." UKRAINIAN CULTURAL STUDIES, no. 2 (5) (2019): 80–87. http://dx.doi.org/10.17721/ucs.2019.2(5).15.
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The article is devoted to the analysis of the audience practices of the TV series as a type of visual culture of Postmodern. Parameters of the transformation of Modern visual practices in the context of the series presenting as a culture industry and their role in changing the anthropological model are considered. The significance of the consumption of TV series as a type of postmodern cultural industry, which produces a human as a TV series-viewer, is postulated. Such visual means of the serial industry as spoilers, suspense, Easter eggs, which are producing postmodernist types of visual interactivity, are revealed. Appealing to the basic concepts of postmodernist philosophy allows the author to research the following transformations of the audience practices connected to the TV series: fragmentation as opposed to a consistent and complete system as a modern form of hierarchy, speaking out against the conventional authorities – the "death of the author", irony, equal game-like participation of both authors and consumers. The basic characteristics of Postmodern culture are represented by an analysis of the works of such authors as U. Eko, I. Hasan, T. Adorno and M. Horkheimer, Z. Bauman, J. Baudrillard, S. Lash, F. Jameson, M. Foucault, P. Bourdieu, J. Liotard. The study of the series is a productive area of scientific research in the field of humanitarian knowledge as foreign (J. Mittell, M. Fleisfeder, M. Voitin, V. Kurinny, A. Khitrov, K. Pevzner, O. Akopov, N. Zakharchenko, I. Tuzovsky, Y. Belenkiy), as well as domestic (M. Sobutsky, L. Voznesensky, and others) researchers who consider this concept in various aspects. Postmodern, producing a new cultural product – a series, and even the production of a new cultural industry for the production of serials is not only limited to the industrialization of culture, but is carried out as a culture of industry – the viewer of the series is produced as a postmodern anthropological model. In this way, the "social implosion" is carried out – since the type of production of the new anthropological model does not become discursive and disciplinary practices (purely social instruments of human production, that is, a direct type of influence of a person on the person, or only through the medium of knowledge), and their own cultural anthropologies of anthropology are formed. models as a (global) cultural industry (the series itself).
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Frolova, Ksenia. "‘We pretty much just watched it all back to back!’." Critical Studies in Television: The International Journal of Television Studies 12, no. 3 (September 2017): 243–55. http://dx.doi.org/10.1177/1749602017713948.
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This article offers an empirical account of audience’s experience of television viewing and television flow, with a specific focus on parents as the audience group. It approaches the study of the medium from the standpoint of researching television as a lived experience, offering an insight into how television viewing practices and the experience of television flow are influenced by the complex experiences of parenting. In particular, this article addresses questions such as how audience’s specific experiences and circumstances, such as parenting, influence the ways in which television content is accessed and viewed; what is parents’ experience of flow when it comes to television viewing; and whether broadcast flow of television is becoming a contested and insecure concept in its own right, with audiences making a distinction between ‘broadcast television in the background’ and ‘watching television’.
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Tronstad, Ragnhild. "Interactivity that matters." Teatervitenskapelige studier, no. 6 (October 1, 2022): 5–18. http://dx.doi.org/10.15845/tvs.v.3645.
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Skilfully applied, interactivity is an ingredient that may boost engagement and enhance the performance experience of a young audience. However, it can also lead to confusion, banalization and even embarrassment. What are the parameters for interactivity to be experienced as meaningful, and when is it unproductive?
In this article I shall address how conceptions of artistic quality is challenged by contemporary practices of interactivity and audience participation in theatre for young audiences. The question will be discussed in relation to three performing arts productions presented in The Cultural Schoolbag (TCS): One participatory theatre performance and two interactive digital productions. The latter two were developed as part of Kulturtanken – Arts for Young Audiences Norway’s 3-year development project in digital mediation, FoNT (Formidling og Ny Teknologi/Mediation and New Technology). Equipped with theories of games and play, I shall discuss how the three projects succeed in presenting the kids with opportunities for meaningful interaction. I conclude by pointing out some of the parameters that are vital in order to provide meaningful interaction in performing arts aimed at a young audience – interactions that matter.
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Dean, Abbie. "Embracing the Wider Audience Through Creative Engagement and Installation Practices." International Journal of the Inclusive Museum 3, no. 1 (2010): 105–12. http://dx.doi.org/10.18848/1835-2014/cgp/v03i01/44299.
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Turnbull, Gemma-Rose. "Navigating Socially Engaged Documentary Photographic Practices." Nordicom Review 36, s1 (July 7, 2020): 79–95. http://dx.doi.org/10.1515/nor-2015-0031.
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AbstractAs Documentary Photographers increasingly introduce the collaborative and participatory methodologies common to socially engaged art practices into their projects (particularly those that are activist in nature, seeking to catalyse social change agendas and policies through image making and sharing), there is an increased tension between the process of production and the photographic representation that is created. Over the course of the last five years I have utilised these methodologies of co-authorship. This article contextualizes this kind of transdisciplinary work, and examines the ways in which the integration of collaborative strategies and co-authored practice in projects that are explicitly designed to be of benefit to a primary audience (the participants, collaborators and producers) might be usefully disseminated to a secondary audience (the general public, the ‘art world’, critics etc.) through analysis of my projects Red Light Dark Room; Sex, lives and stereotypes made in Melbourne, Australia, and The King School Portrait Project made in Portland, Oregon, America.
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Livingstone, Sonia. "Audiences in an Age of Datafication: Critical Questions for Media Research." Television & New Media 20, no. 2 (November 9, 2018): 170–83. http://dx.doi.org/10.1177/1527476418811118.
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This article critically examines how fears of audience gullibility, ignorance, and exploitation impede media studies’ response to the pressing challenges posed by the growing power of social media platforms and their innovative datafication practices. I revisit the history of audience research to show how empirical findings contested the pejorative conception of the audience problematically yet persistently imagined by theorists of media power during the twentieth century. As media studies joins other disciplines in responding to the growing datafication of society, I propose that the circuit of culture model can help theorize media (including platform and algorithmic) power by opening up the hermeneutic and action space between production and consumption. In this way, critical scholarship might more effectively analyze such metaprocesses as mediatization and datafication precisely by recognizing rather than erasing audiences’ relation to both the everyday lifeworld and the public world of citizen action, regulatory intervention, and the wider society.
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Steffens, Maryke S., Adam G. Dunn, Julie Leask, and Kerrie E. Wiley. "Using social media for vaccination promotion: Practices and challenges." DIGITAL HEALTH 6 (January 2020): 205520762097078. http://dx.doi.org/10.1177/2055207620970785.
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Objective Vaccination misinformation is widespread on social media. Vaccine-promoting organisations are working to curb its influence, but face obstacles. We aimed to analyse their social media strategies and the challenges they encounter. Methods In this qualitative study, we purposively sampled 21 participants responsible for social media from vaccine-promoting organisations. We used Framework Analysis to explore the data. Results Vaccine-promoting organisations faced obstacles using social media, including fast-paced change, limited resources, and insufficient organisational buy-in. They experienced difficulties reaching audiences, exploiting social media listening, and measuring impact. Consequently, they may miss opportunities to counter misinformation, connect with groups low in vaccine confidence, and determine diverse audience responses. They lack strong evidence linking social media strategies with behaviour change, and have difficulty understanding silent audiences. Conclusions Vaccine-promoting organisations have an opportunity to embrace the participatory nature of social media. They could share listening insights with like-minded groups, and conduct research exploring associations between social media strategies and community attitude/behaviour change. Social media platforms could assist by renewing vaccine-promoting organisations' organic reach, supporting the development of tailored listening and credibility tools, and strengthening collaborations to promote credible content.
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Loganathan, Santosh, and Mathew Varghese. "Formative research on devising a street play to create awareness about mental illness: Cultural adaptation and targeted approach." International Journal of Social Psychiatry 65, no. 4 (April 12, 2019): 279–88. http://dx.doi.org/10.1177/0020764019838306.
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Background: Poor awareness about mental health and illness is one of the causes for the large treatment gap for all mental disorders across India. Material: We used both qualitative and quantitative methods in devising a street play to enhance knowledge, attitudes and beliefs about mental illness. Discussion: The formative research enabled the intervention to remain culturally appropriate to the socio-cultural practices of the targeted rural audience. Conclusion: Targeted audiences need to be understood carefully for their beliefs and notions about mental health and sickness. Their socio-cultural practices need incorporation in street plays to make them relevant and meaningful.
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Hagar, Nick, and Nicholas Diakopoulos. "Optimizing Content with A/B Headline Testing: Changing Newsroom Practices." Media and Communication 7, no. 1 (February 19, 2019): 117–27. http://dx.doi.org/10.17645/mac.v7i1.1801.
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Audience analytics are an increasingly essential part of the modern newsroom as publishers seek to maximize the reach and commercial potential of their content. On top of a wealth of audience data collected, algorithmic approaches can then be applied with an eye towards predicting and optimizing the performance of content based on historical patterns. This work focuses specifically on content optimization practices surrounding the use of A/B headline testing in newsrooms. Using such approaches, digital newsrooms might audience-test as many as a dozen headlines per article, collecting data that allows an optimization algorithm to converge on the headline that is best with respect to some metric, such as the click-through rate. This article presents the results of an interview study which illuminate the ways in which A/B testing algorithms are changing workflow and headline writing practices, as well as the social dynamics shaping this process and its implementation within US newsrooms.
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Shin, Soo Young. "News Media Image: A Typology of Audience Perspectives." Journalism & Communication Monographs 24, no. 2 (May 26, 2022): 80–140. http://dx.doi.org/10.1177/15226379221092019.
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The premise of this study is the timeliness of interdisciplinary approaches in news media research, specifically including the perceptions of news audiences. Using a multidisciplinary literature review and qualitative and quantitative analysis, this study adopted a multidimensional construct— news media image—to investigate how news audiences perceive news media organizations. The respondents studied here, who were representative of the general U.S. population, referenced the news media in general in their evaluation of news outlets. Results of focus groups and online surveys (factor analyses) indicated that news audiences evaluate the content and practices of news media overall based on perceptions related to seven specific criteria: usefulness, credibility, empathy, personality, usability, news selection bias, and social responsibility. Image perception encompasses rational, cognitive judgment, and affective evaluation. That news audience respondents commonly employed multiple evaluation criteria related to news media points to the need to broaden the scope of journalistic research in the direction of a new heuristic. Examining news media image, that is, investigating how “the general public” views news media as an institution in a continuously changing—and challenging—news media landscape adds value to media research. Results from a confirmatory factor analysis used in this study suggest that a positive news media image can enhance audience satisfaction and, subsequently, loyalty.
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Das, Ranjana, and Brita Ytre-Arne. "Critical, agentic and trans-media: Frameworks and findings from a foresight analysis exercise on audiences." European Journal of Communication 32, no. 6 (November 2, 2017): 535–51. http://dx.doi.org/10.1177/0267323117737954.
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We write this article presenting frameworks and findings from an international network on audience research, as we stand 75 years from Herta Herzog’s classic investigation of radio listeners, published in Lazarsfeld and Stanton’s 1944 war edition of Radio Research. The article aims to contribute to and advance a rich strand of self-reflexive stock-taking and sorting of future research priorities within the transforming field of audience analysis, by drawing on the collective efforts of CEDAR – Consortium on Emerging Directions in Audience Research – a 14-country network (2015–2018) funded by the Arts and Humanities Research Council, United Kingdom, which conducted a foresight analysis exercise on developing current trends and future scenarios for audiences and audience research in the year 2030. First, we wish to present the blueprint of what we did and how we did it – by discussing the questions, contexts and frameworks for our project. We hope this is useful for anyone considering a foresight analysis task, an approach we present as an innovative and rigorous tool for assessing and understanding the future of a field. Second, we present findings from our analysis of pivotal transformations in the field and the future scenarios we constructed for audiences, as media technologies rapidly change with the arrival of the Internet of Things and changes on many levels occur in audience practices. These findings not only make sense of a transformative decade that we have just lived through but they present possibilities for the future, outlining areas for individual and collective intellectual commitment.
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Crettaz von Roten, Fabienne. "In search of a new public for scientific exhibitions or festivals: the lead of casual visitors." Journal of Science Communication 10, no. 01 (March 14, 2011): A02. http://dx.doi.org/10.22323/2.10010202.
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This article examines the public at a science exhibition or festival and tries to determine whether casual visitors are a means of expanding the audience. According to a Swiss survey of public attitudes towards science (2005), the non-public of a science exhibition or festival is distinguished by demographics such as gender and education (more female and less educated), cultural practices (less frequent) and attitudes towards science (less positive). Considering the Swiss science festival of 2009, casual visitors differ from intentional ones in terms of sociodemographic aspects and scientific cultural practices; on the other hand, casual visitors are close to intentional ones in terms of non-scientific cultural practices and attitudes towards science. Consequently, casual visitors are one way of increasing audiences.
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Harding, Clare, Susan Liggett, and Mark Lochrie. "Digital Engagement in a Contemporary Art Gallery: Transforming Audiences." Arts 8, no. 3 (July 11, 2019): 90. http://dx.doi.org/10.3390/arts8030090.
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This paper examines a curatorial approach to digital art that acknowledges the symbiotic relationship between the digital and other more traditional art practices. It considers some of the issues that arise when digital content is delivered within a public gallery and how specialist knowledge, audience expectations and funding impact on current practices. From the perspective of the Digital Curator at MOSTYN, a contemporary gallery and visual arts centre in Llandudno, North Wales, it outlines the practical challenges and approaches taken to define what audiences want from a public art gallery. Human-centred design processes and activity systems analysis were adopted by MOSTYN with a community of practice—the gallery visitors—to explore the challenges of integrating digital technologies effectively within their curatorial programme and keep up with the pace of change needed today. MOSTYN’s aim is to consider digital holistically within their exhibition programme and within the cannon of 21st century contemporary art practice. Digital curation is at the heart of their model of engagement that offers new and existing audience insights into the significance of digital art within contemporary art practice.
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Wilson, Mary Katherine, Sarah Marczynski, and Elizabeth O’Brien. "Ethical Behavior of the Classical Music Audience." Ethical Human Psychology and Psychiatry 16, no. 2 (2014): 120–26. http://dx.doi.org/10.1891/1559-4343.16.2.120.
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The purpose of this research is to gain a better understanding of expected ethics of audience behavior during a classical music performance. Through a better understanding of cultural identities and practices of the classical music audience, symphony organizations may be able to more closely align audience expectations and the socialization frameworks that are present throughout the classical music experience. The researchers engaged in an ethnographic qualitative research approach in this study. Specific to this study, the researchers were engaging in gaining a greater understanding of classical music audience culture and how this may be impacting participants that are of a “marginalized” or nontraditional classical music audience group. There were 6 new-to-file ticket-buying patrons from the Chattanooga Symphony & Opera who participated in the study. The predominant theme that emerged from the focus group participants was that they like the traditional classical music experience, including venue, audience behavior expectation, and orchestration components, as it is. Further research is needed to better understand if these preferences root in long-standing structural and institutional frameworks that perpetuate cultural identities and practices and minimize audience “performance anxiety” because of reassurance of learned socialization processes (Jacobs, 2000; Mandeles, 1993). Or, if the American classical music audience of today authentically desires the concert etiquette and rituals that began in the 19th century European concert halls because the etiquette and rituals provide an ideal psychological setting for enjoyment of the classical music experience.
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Ademukova, N. V. "PRACTICES OF AUDIENCE RESEARCH IN THE LEADING RUSSIAN TELEVISION BROADCASTING COMPANIES." Vektor nauki Tol'yattinskogo gosudarstvennogo universiteta, no. 1 (2016): 61–66. http://dx.doi.org/10.18323/2073-5073-2016-1-61-66.
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Paretti, M. "Audience Awareness: Leveraging Problem-Based Learning to Teach Workplace Communication Practices." IEEE Transactions on Professional Communication 49, no. 2 (June 2006): 189–98. http://dx.doi.org/10.1109/tpc.2006.875083.
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Kemarskaya, Irina Nikolaevna. "TV- Show: From the Audience Habits To Principles of Dramaturgy." Journal of Flm Arts and Film Studies 6, no. 4 (December 15, 2014): 126–36. http://dx.doi.org/10.17816/vgik64126-136.
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The article is devoted to the scriptwriting of TV shows and the role of the social practices of TV-viewing in the creation of script plot of periodical programs. Script construction of contemporary TV shows differs greatly from the classical film screenwriting due to its primarily focusing on predicted audience reactions in every single moment of broadcasting. The show creators are directed by the intention of giving the viewer the opportunities to feel the emotions he/she anticipates watching every new issue of the program. In order to attract the audience to the screen, hold it, to ensure its return to the favorite show the TV creators are obliged to imagine the established rituals and social practices of screen viewing. The paper covers the historical aspects of the social TV viewing practices, their formation and dynamics, from the Soviet "collective viewing" in a communal apartments with a sole TV-set up to a contemporary tendency of individual binge-watching of full ser seasons through internet services. The author specially emphasizes gender, generational, socio-demographic differences in TV watching and their influence on different creative techniques and discoveries. As to the gender habits of audiovisual information perception, the author pays attention to the so called "female" way of TV watching, characteristic of empathy, emotional involvement in the perception of the show, against the "male" choice of action, spectacle dynamics and often simultaneous viewing of different channels. Changes in common practices of TV watching cause the script decisions, adapted to the habitual behavior of different audience groups (shortening of audiovisual elements within programs, clip cutting, priority of emotion over logic-screen narration, etc.). Resume: rapid changes of screen watching social practices challenge the well-known creative technologies, turning the familiar TV shows into the part of the hypertext with different logic of reading and understanding.
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Edgerly, Stephanie, and Emily K. Vraga. "Deciding What’s News: News-ness As an Audience Concept for the Hybrid Media Environment." Journalism & Mass Communication Quarterly 97, no. 2 (May 14, 2020): 416–34. http://dx.doi.org/10.1177/1077699020916808.
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A by-product of today’s hybrid media system is that genres—once uniformly defined and enforced—are now murky and contested. We develop the concept of news-ness, defined as the extent to which audiences characterize specific content as news, to capture how audiences understand and process media messages. In this article, we (a) ground the concept of news-ness within research on media genres, journalism practices, and audience studies, (b) develop a theoretical model that identifies the factors that influence news-ness and its outcomes, and (c) situate news-ness within discussions about fake news, partisan motivated reasoning, and comparative studies of media systems.
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Wolfgang, J. David, Hayley Blackburn, and Stephen McConnell. "Keepers of the comments: How comment moderators handle audience contributions." Newspaper Research Journal 41, no. 4 (October 26, 2020): 433–54. http://dx.doi.org/10.1177/0739532920968338.
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As news commenting has evolved as a participatory tool and journalists have developed traditional practices for moderation, there are questions about how to promote quality spaces for news discourse. Using gatekeeping theory, this study analyzes in-depth interviews with 13 news comment moderators to understand how these individuals establish moderation routines and define their professional role. This provides new insight into the journalist–audience relationship and the development of new media practices for online news production.
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Morris, Lucinda, Steve Wilson, and Walton Kelly. "Methods of conducting effective outreach to private well owners – a literature review and model approach." Journal of Water and Health 14, no. 2 (October 10, 2015): 167–82. http://dx.doi.org/10.2166/wh.2015.081.
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Educational outreach programs have the potential to increase the occurrence of private well testing and maintenance behaviors, but are not always able to successfully engage the intended audience and overcome their barriers to change. We conducted a review of literature regarding behavior change and risk communication to identify common barriers to private well stewardship and motivational strategies to encourage change, as well as best practices for communicating with well owners. Results indicated that no specific strategy will be appropriate for all audiences, as different groups of well owners will have different barriers to change. For this reason, educators must develop an understanding of their audience so they are able to identify the most significant barriers to change and select motivational strategies that will directly reduce barriers. Implications for private well outreach programs are discussed.