Relevant bibliographies by topics / Audience reception

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Audience reception'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 January 2023

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Journal articles on the topic "Audience reception"

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Anderson-Lopez, Jonina, R. J. Lambert, and Allison Budaj. "Tug of War: Social Media, Cancel Culture, and Diversity for Girls and The 100." KOME 9, no. 1 (2021): 64–84. http://dx.doi.org/10.17646/kome.75672.59.

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Hate the most recent season of a television show? Create a viral petition! Better yet, find an old tweet of a cast member to publicly shame them. These are examples of audience participation and expectations when it comes to television. Audiences react to several types of fiction, but this article mostly focuses on the impacts of television shows and audience reception. Analyzing audience and critical reception of certain TV shows may reveal motivations for subsequent creative decisions by the creators. On shows like Roseanne, audience reception has influenced decisions concerning creative control. Audience demands help sway the market and have opened up diversity initiatives in speculative media. The theoretical base for this article is formed from reception theoryand primary research of Twitter posts. To further explore the phenomenon of audience sway over artistic ownership, two television shows, Girlsand The 100, will be examined in context with audience and critical reception, cancelculture, and diversity initiatives across media.
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Omasta, Matt. "Artist Intention and Audience Reception in Theatre for Young Audiences." Youth Theatre Journal 25, no. 1 (May 2, 2011): 32–50. http://dx.doi.org/10.1080/08929092.2011.569530.

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Hambali, Muhammad, Imam Suyitno, Roekhan ., and Martutik . "Reader Response on Public Figure Opinion in Social Media." Webology 19, no. 1 (January 20, 2022): 4158–73. http://dx.doi.org/10.14704/web/v19i1/web19274.

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The purpose of this study is to describe the public's reception of essays by Indonesian public figures, namely Dahlan Iskan, on social media. The ease with which social media is used to communicate has increased the involvement of the audience in receptive to a work. In fact, audience receptions on social media are often used as a reference in assessing whether or not a work is good. Therefore, research on reader reception on social media is interesting to do. This research uses qualitative methods and the research approach used is reception study. In this study, the theory of active audiences in the form of the encoding-decoding model proposed by Stuart Hall is also used. The results showed that there were three typologies of audiences in receptive to Dahlan Iskan's essays, namely there were four models of readers in receptive to DI essays on social media. The four reader models include (a) dominant-hegemonic readers, (b) negotiating readers, (c) oppositional readers, and (d) recreational readers. The categorization of this reader model is based on the position of the reader towards the text being received. Apart from these four categories, ideological-political readership models are also found, namely readers who are not dominant, negotiating, in opposition, or recreational. Readers of this model respond to the work by relating it to political conditions. Whatever works are received, readers of the ideological-political model always relate the content of the work and comment negatively on the political conditions in Indonesia.
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Miyao, Daisuke. "After The Cheat." Reception: Texts, Readers, Audiences, History 14 (July 1, 2022): 42–60. http://dx.doi.org/10.5325/reception.14.1.0042.

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ABSTRACT A discernible identity of the Japanese American film audience coalesced at a pivotal moment in the history of Japanese immigrants in the United States. That audience formed amidst a discrete event in early American cinema, the release of Cecil B. DeMille’s The Cheat in December 1915. The social construction of that audience emerged as a result of both the historical forces and the public discourses at work: 1) the social circumstances, particularly on the West Coast of the United States, involving intensifying racist thinking; and 2) the discursive event that was negotiated publicly as a controversial response to The Cheat in Japanese American publications. The production of a Japanese American film audience was inevitable by the mid-1910s, and The Cheat was the nodal point. Still, the public controversy over The Cheat in the important Japanese American newspaper Rafu Shimpo made the formation of such a filmgoing identity complicit and transparent.
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McAuley, Thomas E. "Audience Attitude and Translation Reception." Babel. Revue internationale de la traduction / International Journal of Translation 61, no. 2 (October 23, 2015): 219–41. http://dx.doi.org/10.1075/babel.61.2.04mac.

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This article proposes a skopos-based analysis of the English translations of the eleventh century Japanese literary work, Genji monogatari (“The Tale of Genji”) as a means of understanding the basis for the translations’ differing receptions among their target audiences. The translations, by Suematsu Kenchō, Arthur Waley, Edward Seidensticker and Royall Tyler, are widely spaced chronologically, being published between 1888–2001, and were each produced with differing audiences and aims, thus making them a useful corpus for this analysis. In addition, all of the translators have written, with varying degrees of explicitness, about their motivations and purposes in conducting their translations. First, through an analysis of the translators’ writings, introductions, and individual circumstances, the article will demonstrate how the skopos for each translation can be determined. Second, through an analysis and comparison of text excerpts, it will demonstrate how the skopos influenced the translation choices of the individual translators, with material being, for example, omitted, changed in psychological tone, or rendered more explicit, depending upon the individual translator’s overriding purpose in their work. Finally, through an analysis of the reviews of the various translations, it will consider the extent to which each translator was successful in achieving a positive and intended response to his translation in the target audience.
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Zaid, Bouziane. "Audience Reception Analysis of Moroccan Public Service Broadcasting." Middle East Journal of Culture and Communication 7, no. 3 (2014): 284–309. http://dx.doi.org/10.1163/18739865-00703003.

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Television is one of the most important sources of information and entertainment for the majority of Moroccans. Since 2002, the Moroccan government has put forth policies to regulate the use of television as an important outside source for promoting its development programs. This audience reception study aims to assess the opinions of Moroccan television viewers on the quality of programming provided by the two public service TV stations, Al Oula and 2M. The study applies Stuart Hall’s encoding/decoding theory to examine the interactions of the Moroccan audience with the content of the two public service television stations. This study focuses mainly on television viewers of lower educational backgrounds and those with lower incomes because they could benefit most from the developmental role of public service television. The study examines the extent to which TV programming addresses the viewers’ lifestyles and concerns and the expectations viewers may have of their public service stations. The study uses focus groups as a stand-alone data-gathering strategy because of the multicultural nature of Moroccan society, which is characterized by different ethnic, linguistic and geographic attributes. Focus groups enable researchers to collect rich data in participants’ own words; they are particularly useful when the survey group is illiterate or semiliterate. The application of Stuart Hall’s theory in the Moroccan context reveals some of the model’s strengths as well some of its limitations. While the model provides rich analytical tools that help us understand the relationship between how television producers encode messages and how audiences decode them, this study illustrates the limits of Hall’s theory application to non-western audiences. Hall’s model is founded on the assumption that audiences are capable of decoding the television content and that the variations in the decoding process are the outcome of the audiences’ reactions to the hegemonic message. The study found that this was not applicable to Moroccan audiences and that additional theoretical tools needed to be in place for an audience reception analysis to be complete and substantial.
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Kjeldsen, Jens Elmelund. "Studying Rhetorical Audiences – a Call for Qualitative Reception Studies in Argumentation and Rhetoric." Informal Logic 36, no. 2 (July 14, 2016): 136. http://dx.doi.org/10.22329/il.v36i2.4672.

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In rhetoric and argumentation research studies of empirical audiences are rare. Most studies are speaker- or text focussed. However, new media and new forms of communication make it harder to distinguish between speaker and audience. The active involvement of users and audiences is more important than ever before. Therefore, this paper argues that rhetorical research should reconsider the understanding, conceptualization and examination of the rhetorical audience. From mostly understanding audiences as theoretical constructions that are examined textually and speculatively, we should give more attention to empirical explorations of actual audiences and users.
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Wilson, Tony. "Global Constructions of ‘Korupsi’ in a Local Public Sphere: A Cross-Cultural Malaysian Reception Study." Media International Australia 102, no. 1 (February 2002): 113–25. http://dx.doi.org/10.1177/1329878x0210200112.

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Audience responses to television are at the heart of sense-making in the public sphere. Research on viewers' readings of economic, political and social events in news programs, invariably constructed around the activities of ‘significant’ individuals, is of particular consequence for understanding the functioning of a democracy. This paper is a cross-cultural reception study of how audiences come to interpret the program genre of television news. In a process of comprehension characterised by fusing/feuding horizons of understanding the world, viewers playfully accommodate the meaning of programs in their everyday lives. Analysis of television's reception should be tested against audience activity. Theory must be corroborated. Drawing from a significant literature discussing the phenomenology of ludic experience, the article theorises trans-cultural reception of Western (British) television by Asian (Malaysian) viewers as seriously ‘playful’. Academic assertions are assessed as illuminating audience response.
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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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Ovitamaya, Eklesia. "RESEPSI PENONTON REMAJA FILM DUA GARIS BIRU TENTANG ISU PENDIDIKAN SEKS." Jurnal Audience 4, no. 01 (March 24, 2021): 73–85. http://dx.doi.org/10.33633/ja.v4i01.4232.

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AbstrakFilm Indonesia yang mengangkat isu tentang pendidikan seks masih dianggap tabu. Pada sisi yang lain, sebagai media alternatif, pesan dalam film dapat dipahami dengan mudah oleh para penontonnya. Penelitian ini membahas resepsi penonton remaja film Dua Garis Biru tentang isu pendidikan seks. Penelitian ini menggunakan kerangka encoding-decoding Stuart Hall untuk menganalisis pemakanaan audiens dari setiap adegan dalam film. Temuan data menunjukkan bahwa audiens terbagi ke dalam tiga kelompok pembacaan: dominan hegemonik, negosiasi, dan oposisi. Posisi pembacaan penonton ini dipengaruhi oleh latar belakang dan pengalaman dari para penonton remaja. Selain itu, para penonton menginterpretasikan film Dua Garis Biru tidak hanya memberikan pesan tentang pendidikan seks, melainkan juga kesetaraan gender, nilai-nilai yang dipegang, dan bagaimana lingkungan keluarga memberikan pendidikan seks kepada para remaja.Kata Kunci: Encoding-decoding, Film, Pendidikan Seks, Remaja, Resepsi Audiens.AbstractIn Indonesia, movies that bring sensitive issues such as sex education was previously considered taboo. On the other hand, as an alternative media that is easily understood by the audience, movies are used as one of the most effective means of delivering messages. This study aimed to determine the reception of Dua Garis Biru's teenage audiences about sex education issues. This study used Stuart Hall's encoding-decoding analysis method to determine the audiences’ meaning of each scene in the movie.The findings show that the reception of the film audience of Dua Garis Biru showed three reading positions. There were dominant reading, negotiation reading, and opposition reading. The position of the reading was highly influenced by the background and experiences of teenage audiences. Furthermore, the audiences interpret Dua Garis Biru movie as giving the messages about sex education issues but also gender equality issues, the values of the beliefs held, and how the family provided sexual education to the teenagers.Keyword: Audiences reception, Encoding-Decoding, Movie, Sex Education, Teenagers.
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Dissertations / Theses on the topic "Audience reception"

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Scollen, Rebecca. "Building new theatre audiences: Post performance audience reception in action." Thesis, Queensland University of Technology, 2002. https://eprints.qut.edu.au/36428/1/36428_Digitised%20Thesis.pdf.

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The aim of this research is to arrive at an effective method for gathering and analysing nontheatregoers' reception of theatrical performance. It is anticipated that this method will provide insight into non-theatregoers' reasons for non-attendance, their reactions to theatre productions, and the likelihood that they might change their attitudes towards theatregoing and become theatre attenders in the future. A combined methodical approach to audience reception is created by adapting and combining the methods of Sauter (1986), Lidstone (1996), Knodel (1993) and Krueger (1994), and the model of Miles and Huberman (1984). This approach consists of a collection of questionnaires, a series of post performance group discussions, and analytical methods designed for examining qualitative data. This approach is tested and refined across three studies: a 1997 Pilot Study, a 1998 La Boite Theatre Study, and a 2000 Queensland Theatre Company Study. The primary result of this research is the emergence of the Scollen Post Performance Audience Reception (SPP AR) method for audience development. This method is the refined final version of the rigorously tested combined approach. Other results include the formation of a non-theatregoer profile; an understanding of how non-theatregoers perceive performances; the discovery that gender, age, and income have no direct impact on theatre attendance or reception of theatrical performance; confirmation that exposure to performance and an arts education increases interest and confidence in theatregoing; and that self and peer education is an effective way for non-theatregoers to learn about theatre.
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Oredsson, Lindsey. "Communicating Responsibility : Audience reception of CSR communication on social media." Thesis, Stockholms universitet, Institutionen för mediestudier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104697.

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This study offers insight into international audience reception of Corporate Social Responsibility (CSR) communication. Swedish companies are currently reaching international audiences through a variety of social media channels and this study analyzes how audiences in Sweden and the U.S. respond to specific messages.   Qualitative interviews with professionals offer background information on how CSR is currently communicated while audience responses to CSR communication are gathered through a web-based survey and focus groups consisting of American and Swedish citizens.   Results indicate that the two countries have more similarities than differences. Americans have a slightly more positive outlook on the communication and they are more likely to look up information about CSR initiatives after hearing a corporate message. This might indicate a more profound interest. Cultural and social differences are given as a possible explanation for the key differences.
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Peirce, L. Meghan. "Botswana's Makgabaneng: An Audience Reception Study of an Edutainment Drama." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1304698745.

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Eaves, Billie L. "The Reception of Erik Satie’s Gymnopédies: Audience, Identity, and Commercialization." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299643553.

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Emter, Katelyn M. "Plot Twist: Improving Audience Reception Through Co-Creational Storytelling Strategy." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556281301221124.

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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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Kitzinger, Jenny. "Audience understandings of media messages about child sexual abuse : an exploration of audience reception and media influence." Thesis, University of Glasgow, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298709.

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Kao, Huan-Li. "Coherence and audience reception in subtitling : with special reference to connectives." Thesis, University of Newcastle Upon Tyne, 2011. http://hdl.handle.net/10443/1262.

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Due to time and space constraints, subtitling is often subject to reduction, which in turn may lead to information loss and hamper comprehension of subtitles. However, little research has been done to investigate the potential conflict between subtitle reduction and comprehension. Therefore, with the aim of exploring both ‘cohesion in text’ and ‘coherence in mind’, a two-phase study was designed to investigate textual reduction and audience reception with particular reference to connectives (e.g. moreover, but, because, and at first). More specifically, the present study aims to find to out how connectives are translated in different genres of factual TV programmes and whether and to what extent their reduction may affect audience comprehension. The first part of this study involved textual analysis of source texts and target texts of two TV genres: scripted documentaries and ‘spontaneous’ (i.e. unscripted) travel programmes. The occurrences of connectives in STs and TTs were manually counted and statistically analysed. The results showed that the addition or omission of connectives was related to the difference between these two genres: documentaries were translated more explicitly with more connectives translated and added, while a travel programme were translated more implicitly with more connectives omitted. The second part of this study involved a questionnaire survey using four English clips (two scripted documentaries and two spontaneous travel programmes from Discovery Channel) to test the perception of 158 participants on the reduction of connectives in Chinese subtitles. The results of the survey showed the participants seemed to have no difficulty comprehending Chinese subtitles when most English connectives were intentionally not translated. That is, the omission of connectives did not seem to affect their perception on the coherence of subtitles, which may be explained by contextual factors such as register (field, tenor, and mode), pragmatic principles (e.g. the cooperative principle and Gricean maxims), and multi-semiotic features of subtitling (e.g. co-presence of subtitles, image, and sound). In other words, the present study shows that reduction in subtitling could be justified from the perspective of context in subtitling. These findings can be further applied to the teaching and assessment of subtitling.
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Choyke, Kelly Lynn. "Domesticating the Vampire: An LGBTQ Audience Reception Study of True Blood." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/theses/1020.

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This is an ethnographic audience reception study of True Blood. LGBTQ fans of True Blood were interviewed in order to understand their opinions about True Blood, what makes it queer, and whether the representations are positive or negative. Overall, the subjects found the sexual fluidity of the vampires in True Blood to be queer because they felt it transcended human sexuality. As for the representations of gay and lesbian characters, they were found to be both negative and positive, but the inclusion of such characters is what is most important. I argue that the sexual fluidity of the vampires on True Blood is not queer, and True Blood is not queer, for queer does not transcend the binary system upon which sexuality is predicated.
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Odirile, Shumie T. "Mareledi: An Audience-Reception Study of an HIV/AIDS Entertainment-Education Serial Television Drama in Botswana." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1461322756.

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Books on the topic "Audience reception"

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Kjeldsen, Jens E., ed. Rhetorical Audience Studies and Reception of Rhetoric. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-61618-6.

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Decker, John R., and Mitzi Kirkland-Ives. Audience and Reception in the Early Modern Period. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003132141.

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Bradley, Sarah. Slackers, slashers and sticklers: Hollywood films and audience reception. St. Catharines, Ont: Brock University, Dept. of Communications, Popular Culture and Film, 2006.

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Philo, Greg. Media representations of mental health/illness: Audience reception study. Glasgow: Glasgow University Media Group, 1993.

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Philo, Greg. Mass media representations of mental health/illness: Audience reception study. Glasgow: Glasgow University Media Group, 1993.

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Media reception studies. New York: New York University Press, 2005.

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Staiger, Janet. Media reception studies. New York, NY: New York University Press, 2004.

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Postcolonial audiences: Readers, viewers and reception. New York: Routledge, 2011.

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Jon, Cruz, and Lewis Justin 1958-, eds. Viewing, reading, listening: Audiences and cultural reception. Boulder: Westview Press, 1994.

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Theatre audiences: A theory of production and reception. 2nd ed. London: Routledge, 1998.

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Book chapters on the topic "Audience reception"

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Etherington-Wright, Christine, and Ruth Doughty. "Audience Research and Reception." In Understanding Film Theory, 199–212. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34392-4_13.

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Doughty, Ruth, and Christine Etherington-Wright. "Audience Research and Reception." In Understanding Film Theory, 283–99. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-58796-1_16.

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Magennis, Hugh. "Audience(s), Reception, Literacy." In A Companion to Anglo-Saxon Literature, 84–101. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405165303.ch5.

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Bengtsson, Mette. "Think-Aloud Reading: Selected Audiences’ Concurrent Reaction to the Implied Audience in Political Commentary." In Rhetorical Audience Studies and Reception of Rhetoric, 161–83. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61618-6_6.

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Stromer-Galley, Jennifer, and Edward Schiappa. "The Argumentative Burdens of Audience Conjectures: Audience Research in Popular Culture Criticism (Reprint)." In Rhetorical Audience Studies and Reception of Rhetoric, 43–83. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61618-6_2.

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Iversen, Magnus H. "Audience Response to Mediated Authenticity Appeals." In Rhetorical Audience Studies and Reception of Rhetoric, 109–34. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61618-6_4.

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Kjeldsen, Jens E. "Audience Analysis and Reception Studies of Rhetoric." In Rhetorical Audience Studies and Reception of Rhetoric, 1–42. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61618-6_1.

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Toye, Richard. "Assessing Audience Reactions to Winston Churchill’s Speeches." In Rhetorical Audience Studies and Reception of Rhetoric, 85–107. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61618-6_3.

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Bjørkdahl, Kristian, and Benedicte Carlsen. "Pandemic Rhetoric and Public Memory. What People (Don’t) Remember from the 2009 Swine Flu." In Rhetorical Audience Studies and Reception of Rhetoric, 261–83. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61618-6_10.

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Hariman, Robert, and John Louis Lucaites. "Icons, Appropriations, and the Co-production of Meaning." In Rhetorical Audience Studies and Reception of Rhetoric, 285–308. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61618-6_11.

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Conference papers on the topic "Audience reception"

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Listiani, Endri, Deddy Mulyana, Edwin Rizal, and Ahmad Mulyana. "The Reception Audience of the Woman’s Beauty in Korean Drama." In Proceedings of the Social and Humaniora Research Symposium (SoRes 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/sores-18.2019.59.

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Perdana, Dionni Ditya. "Reception Analysis of Related Audience by Watching “Sexy Killers” the Documentary Film." In 2nd International Media Conference 2019 (IMC 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200325.009.

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Nai, Ruihua. "Research on Translation of Shaanxi’s International Publicity Materials from the Perspective of Audience Reception." In 2020 Conference on Education, Language and Inter-cultural Communication (ELIC 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201127.074.

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Sherstneva, E. S. "Retranslation in the context of evolution of translators’ reception of the original." In XXV REGIONAL SCIENTIFIC CONFERENCE STUDENTS, APPLICANTS AND YOUNG RESEARCHERS. Знание-М, 2020. http://dx.doi.org/10.38006/907345-63-8.2020.135.141.

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The article is devoted to the consideration of the retranslation of the original in the context of translations evolution. After analysis of translators’ discourse, as well as critical essays, the author comes to the conclusion that the focus of the translator on a certain audience leads to the foreignization of the translation, and the focus on the language of the original author contributes to preserving the features of the author’s style and the national nature of the original.
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Emad, Sabine, and Alexandra Broillet. "Reception by members of the audience of the information presented during Professional Communication and Academic conferences in Virtual Worlds." In 2013 IEEE International Professional Communication Conference (IPCC 2013). IEEE, 2013. http://dx.doi.org/10.1109/ipcc.2013.6623937.

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López Rodríguez, María Isabel, Daniel G. Palací López, and Jesús Palací López. "Docencia presencial, on-line o mixta: ¿Qué herramientas pedagógicas son mejor valoradas por el alumnado?" In INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11799.

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The implementation of the Bologna process in Spanish universities, which has been active for a decade as of this academic year, facilitated the implementation of multiple teaching methodologies where numerous Information and Communication Technologies (ICTs) and e-learning tools have had a place. Thus, at this point, an analysis ought to be carried out of the impact that their use may have had on the teaching-learning process for the students. The results from such study will allow selecting the tools that could potentially optimize the results of the aforementioned process. Once the best ones among them have been identified, and taking into account their face-to-face or online nature, it will be posible to make a proposal of which teaching methodologies will lead to the best results in three possible scenarios: face-to-face, online or mixed teaching. While most reaserach in this field focuses on the academic performance as the main output to optimize, measured through the student's qualification, the present work aims at taking the student’s opinion into consideration. Therefore, the perception of the students with regards to some pedagogical tools is assessed in this work. Specifically, two tools have been selected: one face-to-face tool (an Audience Response Tool, H.R.A.) and another e-learning one (a hypermedia container) that, logically, does not require attendance. The data collection required for its posterior analysis was carried out through an ad-hoc questionnaire presented to the students of a degree offered by the University of Valencia,. The first results reflect a better reception to H.R.A., with a higher average score (higher than 8), although e-learning is postulated useful for self-evaluation.
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Wynn, David, P. John Clarkson, and Claudia Eckert. "A Model-Based Approach to Improve Planning Practice in Collaborative Aerospace Design." In ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-85297.

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The research reported in this paper complements previous work in the modeling and analysis of product development processes to reduce process risk and lead time. Such methods have found a receptive audience in industry, as evidenced by many academic case studies and the initiation of similar process improvement initiatives by the companies themselves. Given the ongoing ‘pull’ from a number of companies, we are interested to understand why such model-based methods have not yet impacted upon wider operational planning in industry. In this paper, based on an extended research study at a large UK aerospace company, we describe the application of the Signposting process modeling approach to the problem of developing a pragmatic method to support planning practice. The research described in the paper focuses on the elicitation, representation and manipulation of process information in a form which can inform planning and scheduling; during the study, addressing these issues was key to gaining support of the approach within the company.
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Kennedy-Karpat, Colleen. "Adaptation studies in Europe." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.02015k.

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Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Kennedy-Karpat, Colleen. "Adaptation studies in Europe." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.02015k.

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Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Reports on the topic "Audience reception"

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Soto-Sanfiel, MT, A. Ibiti, and RM Palencia Villa. Identification with lesbian characters: Reception processes of heterosexual and homosexual audiences from a mixed method approach. Revista Latina de Comunicación Social, RLCS, May 2014. http://dx.doi.org/10.4185/rlcs-2014-1012en.

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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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