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Books on the topic 'Audience reception'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 January 2023

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1

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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2

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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3

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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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Athique, Adrian. Transnational audiences: Media reception on a global scale. Cambridge, UK: Polity Press, 2016.

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12

Bennett, Susan. Theatre audiences: A theory of production and reception. London: Routledge, 1990.

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13

1959-, Hagen Ingunn, and Wasko Janet, eds. Consuming audiences?: Production and reception in media research. Cresskill, N.J: Hampton Press, 2000.

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14

Stevens, E. Charlotte. Fanvids. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985865.

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Fanvids, or vids, are short videos created in media fandom. Made from television and film sources, they are neither television episodes nor films; they resemble music videos but are non-commercial fanworks that construct creative and critical analyses of existing media. The creators of fanvids-called vidders-are predominantly women, whose vids prompt questions about media historiography and pleasures taken from screen media. Vids remake narratives for an attentive fan audience, who watch with a deep knowledge of the source text(s), or an interest in the vid form itself. Fanvids: Television, Women, and Home Media Re-Use draws on four decades of vids, produced on videotape and digitally, to argue that the vid form's creation and reception reveals a mode of engaged spectatorship that counters academic histories of media audiences and technologies. Vids offer an answer to the prevalent questions: What happens to television after it's been aired? How and by whom is it used and shared? Is it still television?

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15

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

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16

Tsivian, Yuri. Early cinema in Russia and its cultural reception. London: Routledge, 1994.

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17

Early cinema in Russia and its cultural reception. Chicago: University of Chicago Press, 1998.

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18

Marciniak, Katarzyna, ed. Chasing Mythical Beasts. Heidelberg, Germany: Universitätsverlag WINTER, 2020. http://dx.doi.org/10.33675/2021-82537874.

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Classical Antiquity is strongly present in youth culture globally. It accompanies children during their initiation into adulthood and thereby deepens their knowledge of the cultural code based on the Greek and Roman heritage. It enables intergenerational communication, with the reception of the Classics being able to serve as a marker of transformations underway in societies the world over. The team of contributors from Europe, North America, Africa, Asia, Australia, and New Zealand focuses on the reception of mythical creatures as the key to these transformations, including the changes in human mentality. The volume gathers the results of a stage of the programme ‘Our Mythical Childhood’, supported by an Alexander von Humboldt Foundation Alumni Award for Innovative Networking Initiatives and an ERC Consolidator Grant. Thanks to the multidisciplinary character of its research (Classics, Modern Philologies, Animal Studies) and to the universal importance of the theme of childhood, the volume offers stimulating reading for scholars, students, and educators, as well as for a wider audience.

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19

Roma, Istituto svizzero di, ed. Film, Kino, Zuschauer: Filmrezeption = Film, cinema, spectator : film reception. Marburg: Schüren Verlag, 2010.

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20

Pollard, Tanya. Audience Reception. Oxford University Press, 2011. http://dx.doi.org/10.1093/oxfordhb/9780199566105.013.0026.

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21

Kjeldsen, Jens E. Rhetorical Audience Studies and Reception of Rhetoric: Exploring Audiences Empirically. Palgrave Macmillan, 2017.

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22

Kjeldsen, Jens E. Rhetorical Audience Studies and Reception of Rhetoric: Exploring Audiences Empirically. Springer, 2018.

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23

Tindale, Christopher W. Philosophy of Argument and Audience Reception. Cambridge University Press, 2015.

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24

Henri, Schoenmakers, Tijdschrift voor Theaterwetenschap, and International Committee for Reception and Audience Research., eds. Performance theory reception and audience research. Amsterdam: Tijdschrift voor Theaterwetenschap, 1992.

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25

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

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

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26

Tindale, Christopher W. Philosophy of Argument and Audience Reception. Cambridge University Press, 2015.

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27

Tindale, Christopher W. Philosophy of Argument and Audience Reception. Cambridge University Press, 2015.

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28

Tindale, Christopher W. Philosophy of Argument and Audience Reception. Cambridge University Press, 2015.

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29

Tindale, Christopher W. The Philosophy of Argument and Audience Reception. Cambridge University Press, 2018.

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30

Decker, John R., and Mitzi Kirkland-Ives. Audience and Reception in the Early Modern Period. Taylor & Francis Group, 2021.

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31

Cavalcante, Andre, Andrea Press, and Katherine Sender, eds. Feminist Reception Studies in a Post-Audience Age. Routledge, 2019. http://dx.doi.org/10.4324/9781351270304.

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32

Decker, John R., and Mitzi Kirkland-Ives. Audience and Reception in the Early Modern Period. Taylor & Francis Group, 2021.

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33

Audience and Reception in the Early Modern Period. Taylor & Francis Group, 2021.

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34

Decker, John R., and Mitzi Kirkland-Ives. Audience and Reception in the Early Modern Period. Taylor & Francis Group, 2021.

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35

Smith, Kathleen. Gender, Speech, and Audience Reception in Early Modern England. Taylor & Francis Group, 2019.

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36

Smith, Kathleen Kalpin. Gender, Speech, and Audience Reception in Early Modern England. Taylor & Francis Group, 2017.

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37

Homer's Divine Audience: The Iliad's Reception on Mount Olympus. Oxford University Press, 2019.

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38

Gender, Speech, and Audience Reception in Early Modern England. Taylor & Francis Group, 2017.

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39

Smith, Kathleen Kalpin. Gender, Speech, and Audience Reception in Early Modern England. Taylor & Francis Group, 2017.

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40

Smith, Kathleen Kalpin. Gender, Speech, and Audience Reception in Early Modern England. Taylor & Francis Group, 2017.

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41

Smith, Kathleen Kalpin. Gender, Speech, and Audience Reception in Early Modern England. Taylor & Francis Group, 2017.

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42

Press, Andrea, Katherine Sender, and Andre Cavalcante. Feminist Reception Studies in a Post-Audience Age: Returning to Audiences and Everyday Life. Taylor & Francis Group, 2018.

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43

Press, Andrea, Katherine Sender, and Andre Cavalcante. Feminist Reception Studies in a Post-Audience Age: Returning to Audiences and Everyday Life. Taylor & Francis Group, 2019.

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44

Press, Andrea, Katherine Sender, and Andre Cavalcante. Feminist Reception Studies in a Post-Audience Age: Returning to Audiences and Everyday Life. Taylor & Francis Group, 2019.

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45

Press, Andrea, Katherine Sender, and Andre Cavalcante. Feminist Reception Studies in a Post-Audience Age: Returning to Audiences and Everyday Life. Taylor & Francis Group, 2019.

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46

Press, Andrea, Katherine Sender, and Andre Cavalcante. Feminist Reception Studies in a Post-Audience Age: Returning to Audiences and Everyday Life. Taylor & Francis Group, 2019.

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47

Hanrahan, Cassandra Fortin. Cuban cinema, politics and film audience reception in North America. $c2002, 2002.

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48

Myers, Tobias. Homer's Divine Audience. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198842354.001.0001.

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This book lays out and explores a new ‘metaperformative’ approach to scenes of divine viewing, counsel, and intervention in the Iliad. Critics have often described the gods’ activities in terms of attendance at a ‘show’ and have suggested analogies to theatre and sports, but have done little to investigate the particular strategies by which the poet conveys the impression of gods attending a live, staged event. This book’s analysis of those strategies points to a ‘metaperformative’ significance to the motif of divine viewing: the poet is using the gods, in part, to model and thereby manipulate the ongoing dynamics of performance and live reception. The gods, like the external audience, are capable of a variety of emotional responses to events at Troy; notably pleasure, pity—and also great aloofness. By performing the speeches of the provocative, infuriating, yet ultimately obliging Zeus, the poet at key moments both challenges his listeners to take a stake in the continuation of the performance, and presents a sophisticated critique of possible responses to his poem. The result is a conception of epic not only as song that will transcend time through re-performance—as famously evinced in the Iliad’s meditations on kleos—but also as raw spectacle, in which audience ‘participation’, and complicity, magnify and complicate the emotional impact of the devastation at Troy.

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49

Hume, Robert D. Authorship, Publication, Reception (2). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0002.

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This chapter examines the period between the mid-1680s and 1740, long considered to be the time ‘the rise of the novel’ occurred. Scholars have difficulty separating fiction from factual narrative during this era, as the authors and readers of the time thought of fiction not as the ‘novel’ but rather as a congeries of disparate and overlapping types: ‘history’, ‘letters’, ‘tale’, ‘romance’, ‘secret history’, ‘memoirs’, ‘true relation’, and the like. Only in the 1740s could one find a publishing environment more familiar to modern observers. Moreover, a recurrent theme of this era is price, to which book historians are usually sensitive, but which literary critics have not tended to consider important. Price is a crucial factor in relation to the length of the book, the author's remuneration, the publisher's profit, and the audience that can be reached.

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50

David, Miller. Circuit of Mass Communication: Media Strategies, Representation and Audience Reception in the AIDS Crisis. SAGE Publications, Limited, 2010.

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