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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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Al-Omiri, Mona H. "The aesthetic experience of the Kuwaiti audience : an application of reception theory." Thesis, University of Leeds, 2007. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486138.
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The aesthetic experience of the spectator has a continuous ability to become a new experience at every theatrical event. This thesis endeavours to explore this. phenomenon and test the variables that may influence the theatrical experience of a Kuwaiti spectator through the use and application of a survey questionnaire. In Chapter One we aimed to provide the thesis with a historical background to serve as a backdrop for the reader of this thesis to better understand the experience of Kuwaiti spectator and to know the main features and historical events that shaped the Kuwaiti society and how various historical events affected as well as shaped the Kuwaiti individual and society. The sea and the desert life, the discovery of oil and the Iraqi invasion are the main events which formulated the features of the Kuwaiti spectator. In Chapter Two we presented the theoretical framework ofthis study with emphasis on the reception theory. In Chapter Three we discussed the development ofArabic theatre as a backdrop of the Kuwaiti theatre. While the fourth chapter traces the stages ofthe development ofKuwaiti theatre' from its early beginnings to the present, Chapter Five is the presentation of the two study cases examined in this research. .. The sixth chapter is devoted to the experimental application and its results, and in Chapter Seven we have examined the correlation between the variables.
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Parra-Olmedo, Mar. "The audiovisual translation and audience reception of satire : 'Extras', a case study." Thesis, University of Strathclyde, 2017. http://digitool.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=29465.
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In recent years, the number of studies of the audiovisual translation (AVT) of humour and its audience reception have increased (e.g. Fuentes Luque, 2000; Chiaro, 2004, 2007; Schauffler, 2012 etc.). However, no previous studies of the audience reception of AVT have looked at specific types of humour such as satire. A more detailed look into the textual and discoursal properties of satire (Simpson, 2003) reveal that satire is significantly different from other types of humorous discourses and thus, its translation should be studied separately in order to gain insight into the translation issues that might be specific to this type of discourse. Moreover, Mason (2009: 55) notes that enquiries into reader response would be useful for translation studies. Audience reception experiments should aim at seeking evidence of inferences drawn by actual users of a text and its translation as a means to support and correct the analyst’s findings. In light of these observations, this study investigates the audiovisual translation and audience reception of satirical discourse. In order to fulfil this aim, and as a case study, the British television programme (Extras, 2005, BBC Two) and its dubbed version in Spanish for Spain are analysed in the light of Simpson’s (2003) model of satirical discourse. This comparative analysis is followed by an audience reception test which has been carried out in order to elicit responses from British and Spanish participants regarding their interpretations of both source and target texts. The results of the study show that recurrent aspects of satirical discourse such as culture-specific items, intertextuality and taboo topics etc. often prevent the successful ‘uptake’ of satirical discourse amongst the target viewers. The study also proves that the use of audience response tests is useful in order to elicit viewers’ responses to elements of satirical discourse and their translations.
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Zook, Alyse. "Museum as site of meaning: Exploring audience responses to the National Underground Railroad Freedom Center's Invisible: Slavery Today Exhibit." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1407407154.
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Jamieson, Smith Caroline. "So nervously am I alive to reproach : anxiety of audience in Thomas De Quincy's biographical and autobiographical writings." Thesis, University of Bristol, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271841.
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Kirchoff, Sarah M. "The influence of context on message-making and audience reception in graphic design /." Online version of thesis, 2008. http://hdl.handle.net/1850/6243.
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Jendoubi, Sonya. "An Audience Reception Analysis of the Depth and Breadth of Lifestyle Blogging Communities." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1486.
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Lifestyle blogging has become a vast and profitable domain, with visitors engaging with new content in a variety of ways. The communities that begin to form around these blogs has rarely been analyzed, due to a lack of metrics and a complex definition of virtual communities. Relying on Henry Jenkins work on virtual communities, a set of metrics were used to analyze the depth and breadth of three communities: A Cup of Jo, Wit & Delight, and Cupcakes and Cashmere. The three areas these metrics worked to measure were: awareness, membership, and belonging. Through this audience reception study the clear marker of a community was the direct and systematic blogger engagement with the readership. Many other factors are influential in building a virtual community on a blog, however, what set the three blogs apart was the ways in which Joanna Goddard (A Cup of Jo) and Kate Arends (Wit & Delight) reached out and built relationships with their readers, strengthening their community and allowing it to thrive.
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Leikas, Nette, and Kamila Szkwarek. "Trust in influencer marketing A qualitative study on audience reception of Royal Design advertising." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22613.
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The aim of this thesis is to investigate whether there is a trust between social media influencers and their followers, and if so, to what extent. The methodological approach consists of an analysis of interview material, expert interviews and selected comment boxes on social media. By conducting qualitative analysis, this thesis examines audience reception to promotional content produced by social media influencers in collaboration with the Swedish interior design brand Royal Design. Based on the theories of parasocial interaction, two-step flow and opinion leadership, and modes of reception, concepts such as audience advertising response, relationship to influencers and the level of trust are investigated and concluded in order to find common patterns around audience reception to influencer marketing. The analysis shows that there is indeed a certain amount of trust towards social media influencers among the sample group especially if they recognise the influencer, however, the trust is not full and unconditional. The audience reception of influencer marketing content both in the interviews and comment boxes was mostly positive, and some respondents seemed to have developed sympathy towards social media personas featured in the advertisements, praising them for being personal and authentic. The results of the study imply that while the credibility and motives of influencer content are questioned by some, it is generally perceived as a more enjoyable alternative to traditional advertising formats.
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Narberhaus, Martínez Marta. "Children's news: topics, information quality and audience reception around Newsround, Logo and Info K." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398982.
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Aquesta tesi doctoral analitza els informatius infantils de televisió a partir de l’estudi de les notícies de tres programes de referència de cadenes públiques: Newsround, de la British Broadcasting Corporation (BBC); Logo, de l’alemanya Zweites Deutsches Fernsehen (ZDF) i Info K de la Televisi de Catalunya (TVC). A partir d’una anàlisi de contingut s’identifiquen els temes que aborden aquests programes i la manera com són explicats als seus espectadors, nens i nenes, tenint en compte criteris de qualitat informativa. El treball es completa amb un estudi de la recepció a partir de la realització de grups de discussió amb nens i nenes que parlen sobre el seu consum mediàtic, la seva relació amb la televisió i, de manera més específica, amb la informació i els telenotícies.Esta tesis doctoral analiza los informativos infantiles de televisión a partir del estudio de las noticias de tres programas de referencia de cadenas públicas europeas: Newsround, de la British Broadcasting Corporation (BBC); Logo, de la alemana Zweites Deutsches Fernsehen (ZDF) e Info K de Televisió de Catalunya (TVC). A partir de un análisis de contenido se identifican los temas que abordan estos programas y la manera como se explican a sus espectadores, niños y niñas, teniendo en cuenta criterios de calidad informativa. El trabajo se completa con un estudio de recepción a partir de la realización de grupos de discusión con niños y niñas sobre su consumo mediático, su relación con la televisión y, de manera más específica, con la información y los noticiarios.
This doctoral thesis analyses children’s news in television studying three reference programs of public European broadcasters: Newsround, from the British Broadcasting Corporation (BBC); Logo, from the German Zweites Deutsches Fernsehen (ZDF) and Info K from the Catalan Televisió de Catalunya (TVC). An empiric content analysis identifies the topics shown by these programs and the way in which they are explained to their audience, boys and girls, considering information quality criteria. The research is completed with a reception study with focus groups with children who discuss about their media consumption, their relationship with television and, more specifically, with information and the News.
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Rauch, Stefanie Gudrun. "Making sense of Holocaust representations : a reception study of audience responses to recent films." Thesis, University of Leicester, 2014. http://hdl.handle.net/2381/31370.
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This thesis provides a complex and in-depth analysis of the reception, by actual audiences, of recent films about the Holocaust. Drawing on approaches from cultural studies, and using an original methodology developed for this project, the analysis of film text and context was combined with an empirical, qualitative reception study. Using Britain as a case study, it is demonstrated that the reception process of feature films and docu-dramas about the Holocaust is multi-faceted and cannot be fully understood through textual analysis alone. The thesis challenges the widespread generalisations about films’ alleged impact on ‘the public’ in the literature about Holocaust representations. By analysing the data, the ways in which a select number of films are made sense of immediately after the film viewing are explored, and how the Holocaust is understood through these films. It is demonstrated that the reading of films is simultaneously multiple and emanating from the text, which triggers and facilitates a range of interpretations. The process of making sense of Holocaust representations is an active process, which is influenced, guided and at times constrained by preconceptions, emotions, and the extent to which films are considered as authentic. As such, the thesis makes a long overdue contribution to the study of the representation of the Holocaust.
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Miller, Emma. "British television coverage of the global South : case studies in content and audience reception." Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/6867/.
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The starting point of this thesis is that British television coverage of the developing world is increasingly limited, both in terms of quantity and the lack of background information. There tends to be very little coverage of developing countries, and what there is doesn't explain them very well. This thesis aims to use this starting point as a basis for exploring ways in which television coverage might be improved in order to develop public knowledge and enable audiences to place issues affecting developing countries in a wider context of globalisation. Television is the focus of this research because it remains the key source of news information in Britain. A key aim is to assess how far the neo-liberal ideology that supports globalisation is replicated in television reporting of the South. The other side of this assessment is the availability of alternative views and explanations. The analysis will examine these questions empirically. The empirical work undertaken for this research involved a detailed examination of television coverage of the global South, and of audience responses to it. One of the aims here is to identify the contextual information that helps make sense of such world affairs. To do this, the thesis is divided into three parts. Part One will discuss the context of capitalist globalisation, including economic, political and cultural aspects. The second part of this thesis examines how television covers the majority world and how it explains events and their relation to globalisation. Part Three consists of the audience reception component of this research.
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Aron, Danielle Belinda. "Production and reception in British television documentary : a genre-based analysis of mass-mediated communication." Thesis, London School of Economics and Political Science (University of London), 1999. http://etheses.lse.ac.uk/2866/.
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This thesis explores the nature of communication in television documentary, based on an investigation of production, reception and their interrelationship. It assumes that social context is fundamental to an understanding of mass communication. Doise's (1986) levels of analysis (intrapersonal; interpersonal/situational; positional; cultural/ideological) provide the framework for conceptualizing social context. Audience reception research, which appreciates viewers' active role in reception and influence on production, inspires the qualitative approach. Whilst these premises challenge a traditional transmission approach to mass communication, the thesis argues against simultaneously rejecting the concept of information transmission. The thesis is located within a ritual approach to communication (Carey, 1989), exploring the potential for information transmission by extending this approach to situational and positional levels. As a distinctive information genre, the television documentary is perfect for investigating transmission. In this endeavour, the thesis explores the assumptions of both broadcasters and audiences concerning the function, structure and content of documentary communication. The methodological structure comprises three qualitative studies - production context, reception context and a case study. The production study involves twenty one interviews with television documentary broadcasters and establishes two intersecting dimensions embracing their perspectives. The reception study includes eight focus group discussions, and finds documentary expectations differing by socio-economic status and gender. These studies provide the context for analysing the nature of communication in one documentary programme, "Parental Choice", comparing a producer interview with four audience focus group discussions. The results highlight a lack of awareness amongst broadcasters of the varying genre-specific criteria used by documentary audiences in programme interpretation. Information transmission is possible if viewers accept a documentary's credibility. However, perceptions of credibility vary at the situational and positional levels, thus transmission is limited and ritually-based. The emerging nature of documentary communication contributes to academic debate on mass communication, audience research and the television documentary genre.
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Cooper, Sarah Katherine. "Breaking the Crass Ceiling? Exploring Narratives, Performances, and Audience Reception of Women's Stand-Up Comedy." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7613.
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Despite the long history of stand-up comedy as a distinct form of popular entertainment, there has been little sociological attention given to its cultural significance. Comedians have arguably become legitimate and visible voices in many public conversations about social issues and social justice. This dissertation explores the cultural work of women’s comedy in popular culture. Specifically, I examine narrative representation and audience reception of women’s stand-up comedy through multi-method qualitative inquiry.
First, I analyze stand-up performances by popular U.S. comedians Amy Schumer, Wanda Sykes, and Margaret Cho. Through narrative analysis, I focus on the ironic performativity of Schumer and the charged styles of Sykes and Cho, and I discuss how these women use humor (in different but overlapping ways) to challenge dominant cultural narratives pertaining to gender, race, and sexuality. Second, I conduct an audience reception analysis using focus groups in order to better understand how people consume and interpret stand-up comedy. Due to the polysemic nature of comedy and satire, audiences decode these texts in a myriad of ways. My analysis shows how different audiences perceive the comedian as unpacking social “truths” in comedy. I elaborate these audience decoding positions, discuss the layers of interpretation (i.e., intersectional positionality and interpretive frameworks), and discuss how participants negotiate symbolic boundaries around what is deemed funny or topically appropriate for comics to say. My findings further highlight the importance of identity in critical referential viewing by incorporating standpoint epistemologies. In particular, audience members of marginalized social groups experience a “bifurcated consciousness” (Smith 1974) in their interpretations compared to those from dominant identity groups, and women and minority audience members are more likely to interpret these performances as counterhegemonic texts.
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Lehmann, Sophie. "Performing emotions : A case study on audience reception of the German docusoap Bauer sucht Frau." Thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77301.
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The purpose of this study is to approach the understanding of viewing of reality television with the intention to explore emotional responses in the reception since emotions are crucial part in the emotionalized television genre of reality television. The German adaption of the format The Farmer Wants a Wife was chosen for this case study to examine tendencies of portraying contestants in unpleasant situations. Humiliation, embarrassment or discrediting the contestants creates a balancing act between fun and ridicule. The protagonists are located between the status of (temporary) cult figures and/or figures of fun. The thesis’ main aim is to find out which emotions are perceived and addressed in the watching experience of the format being named in the context of ‘fremdschämen’. The winged German word for vicarious or empathic embarrassment was thereby addressed beyond its descriptive metaphor for current programs. Emotional responses in connection with shame and embarrassment were previously predominantly neglected in research on reality television. Its relevance and occurrence in media is insofar important, as the concept of ‘fremdschämen’ found the way into German mainstream language use. The thesis delivers qualitative approaches to capture the mediation of emotions in reality TV: In a narrative analysis, the question on how emotions actually are staged was approached. Subsequently, four focus group discussions with overall 18 German-speaking discussants were conducted to understand individual and social watching preferences, emotional involvement, attachment styles and positioning in the reception. The study’s findings suggest that the contestants’ ordinariness is challenged by mainly focusing on extraordinarity in the docusoap. Thereby, new opportunities of audience positioning, identification and anti-identification and constructions of appealing figures are encouraged. Gentle mockery in the style of presentation contains furthermore self-criticism of the genre and expresses a critical stance of viewing. Emotions are performed on different levels to increase entertaining values in the program. Especially embarrassment can be connected to its function of ridicule and the maintenance of social order.
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Asare, Kofi. "Pentecostal-Charismatic Christianity in video films : audience reception and appropriation in Ghana and the UK." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8903.
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Religion has become one of the central themes in the Ghanaian/Nigerian video film industry. The portrayal of religious elements which mirrors the religious dynamics of the audience has been attributed partly to the success and popularity of the films. The video films have also excited religious passions as well as criticisms. The heart of the debate, as the existing studies indicate, is how the various religious traditions (often, Christianity and Indigenous religions) are represented in the video films. Whereas some scholars opine that Christianity, especially Pentecostal-Charismatic Churches are frequently privileged, others contend that the religious delineation in the video films reflect experiential issues; the churches are portrayed in line with the niche, positive or otherwise, that they have created for themselves which is well known to producers and the consumers. This study examines the religious constructs in the Ghanaian/Nigerian video films phenomenon. The main focus is an investigation into audience reception of the video films, particularly among the members of Pentecostal-Charismatic Christianity in Ghana and the UK. It also explores the appropriation of the religious elements in general and Pentecostal-Charismatic narratives in selected video films. An ethnographic research method, comprising mainly of textual analysis of selected video films; participant observation and qualitative interviews, was used to draw comparative insights from a cross section of members of Action Chapel International and Word Miracle International churches in Accra and London. This thesis contributes to the on-going discourse on the Ghanaian/Nigerian video films and Pentecostal-Charismatic Christianity partly popularized by Birgit Meyer and Afe Adogame. Hall’s Encoding/Decoding theoretical framework is used to explore the reception while the Uses and Gratifications theory is also adopted to examine the appropriation of the religious constructs in the Ghanaian/Nigerian video films. Notwithstanding the fluid representations of various religious traditions in Ghanaian/Nigerian video films, the findings show that the reception and uses of the religious narratives in the films by the audience comprise of a synthesis of full embrace on one hand and scepticism on the other. It was found that beyond entertainment, majority of the audience who were members of Pentecostal-Charismatic Christianity focus on the religious significance of the video films. Yet, most pastors and leaders in these churches were not comfortable recommending the video films as a good partner in the religious lives of their members. As this thesis focused on only Pentecostal-Charismatic audience, further research on members of other Christian denominations or religions regarding their self-representation in the video films is recommended. This will help to establish if the reception pattern of other religious groups is complex or linked directly with the portrayal trend of one’s religion.
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Afshari, Sarjaz Masoumhe Sara. "The reception of Christian television in contemporary Iran : an analysis of audience interactions and negotiations." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25987.
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This research explores Iranian audiences of Farsi Christian satellite channels. It considers what the narratives and interviews of participants of this research reveal about the way audiences interact and negotiate with both religious broadcasts and their socio-political or religious contexts. What are the motivating factors that led the audiences first to watch Christian channels and secondly, where relevant, to change or add to their religious belief system? For those whose faith was transformed, how did this process happen according to their self-declared stories? Expressions of belief are analysed in order to consider their different understandings of religion, faith and their own belief system. The research also studies the triangular relationships between the audience, Farsi Christian media, and the audience’s culture(s). It is therefore a study of Farsi Christian channel audiences, their motivations in viewing the Christian message, their methods of interpretation and negotiations with different media texts, and their process of changing or altering their religion, using the concept of conversion as a tool of analysis. More specifically, I investigate the motivations of those in the audience of the four Farsi Christian satellite channels who stated that they had become Christians through that medium. I will examine factors that influenced both their interpretations of and negotiations with the religious media message, and their process of changing, adding to or modifying their belief system, including their understanding of religious conversion. My research investigates the interactions and negotiations between meaning making and mediation, and the process of faith transformation within Reception Theory against the background of the sociology of religion and culture in contemporary Iran. This research contributes to three areas of study: media reception (largely religious television) and sociology of religion and culture, mostly from the point of view of selfidentified conversion; Media, Religion and Culture, mainly using audiences’ interactions and negotiations methods with the channels, and the religion of Islam and Christianity in the Iranian political-cultural context. This involved analysing three hundred narratives drawn from audiences of four Farsi Christian satellite television channels, during the period between 2010 and 2015, as well as fifteen semi-structured interviews, two focus group discussions and a telephone survey. The argument develops over nine chapters. Chapter one provides the socio-political and religious context of the Iranian audience as well as presenting literature reviews and methodology, while Chapter two gives the Iranian (state and society) understanding of religion (din and mazhab) and of globalisation, as well as discussing the satellite channel usage. Chapter three introduces the four Farsi Christian satellite channels using data from interviews channel directors. Chapter four analyses the two focus groups’ discussion of the central question: how do audiences interact and negotiate with the Christian message presented on the channels? Chapters five, six and seven examine the participants’ narratives and interviews using respectively experimenting, negotiating and resisting attitudes of participants. Chapter eight discusses and analyses the findings, the conclusion sets out the implications, contributions and limitations of the research.
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Bell, Henry. "'The audience enjoyed the audience' : a practice-as-research based investigation into space, proxemics, embodiment and illocution in relation to young people's reception of Shakespeare." Thesis, University of Hull, 2015. http://hydra.hull.ac.uk/resources/hull:16292.
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This dissertation is the written component of a practice-as-research based investigation into the reception of Shakespeare’s writing by young people via performance-based methods. Participants in the research took part in a twofold process, firstly attending preparatory workshops utilising active storytelling and active Shakespeare approaches, before attending an abridged performance, which was performed in one of a number of in-the-round theatre spaces. The study explores the responses and behaviours of primary school aged children who attended Julius Caesar performed at the Orange Tree Theatre in Richmond, London and secondary school aged pupils who attended Romeo and Juliet at various locations in schools and a specifically constructed in-the-round auditorium in Hull and Scarborough in North Yorkshire, England. Firstly, this dissertation uses ideas stemming from Maurice Merleau Ponty’s existential phenomenology to describe the skills development of the participants in the preparatory workshops, before providing a wider phenomenological theoretical framework to justify and explain the practical deployment of aesthetic and architectural design choices in the research conducted. The spatial investigation is continued by applying Henri Lefebvre’s theories of space to explore how considerations of space can realign the position of Shakespeare’s writing within the hegemonies of the various youth cultures of which primary and secondary school age groups are a part. This framework is then used theoretically to analyse the theatre spaces in which research took place; the spatial dynamics of the audience and performance spaces found within theatre in-the-round are analysed using existing, contemporary audience reception theories alongside original research conducted with practitioners of this theatrical configuration. Finally, the treatment of illocutionary acts, both in the performances conducted as part of this dissertation, and in UK classrooms, by young people, are investigated via the concepts of J.L. Austin and John C. Searle’s Speech Act Theory, in order to provide a methodology appropriate for analysis of the linguistic behaviour of Shakespeare’s writing in performance.
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Harrison, Thomas R. "Van Halen : changes in their stylistic development and a critical examination of audience reception, 1978-1986." Thesis, University of Salford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420470.
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Schauffler, Svea F. "Investigating subtitling strategies for the translation of wordplay in Wallace and Gromit : an audience reception study." Thesis, University of Sheffield, 2012. http://etheses.whiterose.ac.uk/2915/.
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This thesis constitutes an experimental, receptor-oriented study which investigates the reception of two different strategies for subtitling English wordplay into German. Two translations of the animated short film Wallace and Gromit in A Matter of Loaf and Death are screened for test audiences, whose reaction is then recorded in a questionnaire. The existing translation, which was broadcast on German television and published on DVD, follows an approach based on formal equivalence and therefore rarely diverges from the original dialogue at word level, but equally sacrifices parts of the extensive humorous content inherent the text. This is contrasted by a specifically produced alternative translation which prioritises equivalence of effect, the transfer of linguistic humour at the cost of formal similarity. The research project also explores the influence of source language comprehension on the reception of both versions, as it is assumed that a formally different subtitle text could be interpreted as "incorrect" by members of the audience with knowledge of English. In light of the fact that English as a second language is spoken by a growing number of people in the German language community, the effect of this development on the viewers' requirements for audiovisual translation strategies and modes of linguistic transfer are considered relevant for the field. Furthermore, the reception of subtitling by a German audience is investigated in this context.
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Ali-Haapala, Anja Saara. "'Insider-other': spectator-dancer relationships fostered through open rehearsals." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/93088/1/Anja%20Saara_Ali-Haapala_Thesis.pdf.
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This thesis addresses audience engagement challenges during professional mainstream ballet and contemporary dance company performances by examining spectator-dancer relationships. Focusing on the open rehearsal as an audience engagement tool, this project presents a new line of enquiry in dance reception studies. The findings signify that open rehearsal attendance can contribute to more meaningful and enjoyable performance experiences for audience members by opening up the possibility of different relationships with dancers.
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Tsaousi, Aikaterini. "Sound effect labelling in subtitling for the deaf and hard-ofhearing: an experimental study on audience reception." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/400472.
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El objetivo de la presente tesis es conseguir un mejor entendimiento de los efectos sonoros en el SPS y de las estrategias que se usan para su representación en la pantalla con una aproximación hacia el espectador. Los efectos sonoros han sido incluidos en diversas clasificaciones en TAV, pero sus funciones y características dentro de una narrativa audiovisual no han sido analizadas en profundidad. Por este motivo, este estudio propone un modelo de análisis basado en los Estudios Fílmicos que podrían emplear los profesionales del SPS. Aún así, para determinar el grado de adecuación de las estrategias usadas en el SPS es necesario obtener información sobre y desde los usuarios del SPS, por lo cual este estudio también adopta una aproximación empírica.
En este caso, el enfoque a los usuarios se basa en el uso del lenguaje en el sentido que las personas sordas y con diversidad funcional auditiva pueden usar una lengua de signos, una lengua oral o ambas. El grado de familiarización con estos sistemas de representación conlleva una serie de implicaciones para la presentación de estrategias verbales o no verbales en la pantalla. Por eso, las dicotomías verbal/no verbal y signante/oralista han sido la base del diseño experimental del presente estudio.
Al mismo tiempo, en los estudios empíricos en el ámbito del SPS las medidas de satisfacción y preferencias mediante cuestionarios son a menudo complementados por otras medidas relacionadas con la percepción, como los estudios de medición de los movimientos oculares (véase Arnáiz-Uzquiza 2012, Miquel-Iriarte 2014). Hasta la fecha, en estas aproximaciones de diseño metodológico mixto, no se han incluido medidas de la experiencia narrativa. Por lo tanto, en este estudio se investigan tanto las preferencias de los espectadores sobre las estrategias verbales o no verbales, como también el fenómeno de compromiso narrativo (enganche) y el disfrute de la narrativa cuando se aplican las mismas estrategias. El experimento se llevó a cabo en Cataluña con espectadores tanto de perfil oralista como de perfil signante, provenientes de la misma región.
En cuanto a las preferencias expresadas, los principales resultados de este estudio indican que ambos tipos de espectadores (N = 40) aceptan las estrategias verbales que coinciden con las que se emplean generalmente en la televisión española. Sin embargo, cuando se estudian los diferentes parámetros que podrían incluirse en las etiquetas de los efectos sonoros en el SPS, los participantes están más abiertos a estrategias menos establecidas, especialmente cuando se trata de incluir información sobre el origen y el volumen del sonido.
En el segundo nivel de recepción, es decir el grado de compromiso narrativo y disfrute de los contenidos audiovisuales, no se hallaron diferencias significativas entre los perfiles oralistas (N = 21) y signates (N = 25) cuando se presentaron con estrategias verbales o no verbales. Por otro lado, se observa una estrecha relación entre el efecto de compromiso narrativo y el disfrute. Este resultado apunta a las posibilidades que ofrece esta metodología para evaluar la experiencia audiovisual por parte de personas sordas y con diversidad auditiva.
Los anteriores resultados indican que a nivel de compromiso narrativo y disfrute de la experiencia audiovisual es parecida para ambos perfiles lingüísticos independientemente de la estrategia presentada. Aún así, existe una tendencia positiva hacia las estrategias verbales y la inclusión de diferentes etiquetas para el mismo tipo de sonido. Dichos resultados podrían abrir el camino hacia la investigación en el SPS creativo. Por último, y a pesar de las limitaciones de este estudio, se presenta una primera aproximación a la experiencia narrativa combinada con el SPS, mientras también se ofrece una amplia perspectiva de los efectos sonoros y sus funciones en una narrativa audiovisual.The present thesis is an attempt towards achieving a better understanding of sound effects in SDH and their appropriate rendering on screen with an addressee-oriented scope. Sound effects have been included in various categorizations in AVT, however, their characteristics and functions in an audiovisual narrative have not been analysed in depth. For this reason, this study proposes a model of analysis for sound effects through a merge with Film Studies that could be useful to SDH practitioners. Still, determining the adequacy of the strategies applied cannot be complete without information from and about SDH users, which is where audience reception studies acquire specific importance. In the present case, audience is approached from the scope of language use, in the sense that deaf and hard-of-hearing audiences can be users of an oral language, a sign language, or both. The degree of familiarity with these representation systems has a series of implications when viewers are presented with verbal or non verbal strategies on screen. The verbal/non-verbal and the sing/oral language dichotomies have been the basis of the experimental design of this study. Meanwhile, the empirical studies carried out in the field of SDH have combined surveys measuring satisfaction and stated preferences mostly with eye-tracking for assessing viewer's perception (see Arnáiz-Uzquiza 2012, Miquel-Iriarte 2014), while viewer experience has not been previously included in a similar mixed-method design. Therefore, the methodology of the experimental part of the study assesses both preferences regarding verbal and non verbal strategies but also viewers' narrative engagement and enjoyment when the above-mentioned strategies are applied. The experiment was carried out in Spain and, specifically, with deaf and hard of hearing viewers coming from the region of Catalonia. Regarding stated preferences, the main findings suggest that both types of users (N = 40) accept verbal strategies, which coincides with the practice commonly applied in Spanish television. However, concerning different parameters that could be included in sound-effect labels, participants seem to be open to diversity, especially when it comes to factors like the source and the volume of the sound. With regard to the second level of reception, namely, the grades of narrative engagement and enjoyment of the audiovisual material, no significant differences were found between oral-language users (N = 21) and sign-language users (N = 25), when presented with verbal and non-verbal representation strategies. Meanwhile, the relationship between the component of engagement and enjoyment has been confirmed, demonstrating the prospects offered by the methodology selected for measuring viewer experience for deaf and hard of hearing audiences. These results suggest that the narrative experience at the level of engagement with and enjoyment of the narrative is similar, regardless of the language profile of viewers and strategy presented. However, there is a positive tendency with respect to preferences towards verbal strategies and the inclusion of different labels for the same sound effect, which could pave the way towards further research in creative SDH. Finally, despite the limitations of the study, it constitutes a first attempt in merging viewer experience and SDH, while providing a wide overview of sound effects and their functions in an audiovisual narrative.
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Balfour, Virginia H. "Likes, comments, action: The strengths and limitations of strategic impact documentary's Facebook audience engagement strategies." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/133366/1/Virginia_Balfour_Thesis.pdf.
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The research project examined how social issue documentary is evolving in the digital age. Using case study analysis of That Sugar Film's Facebook audience engagement campaign and an innovative mixed methods approach, the research demonstrated that positive personal stories, information exchange, and authentic characters can build trust, while negative posts may gain reach, but can also lead to exclusion and polarisation. The research evidenced how publics discuss social issues in the digital age, with important implications for the way social media can be used to productively engage audiences in behaviour and attitude change in the long tail of online engagement.
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Qasmi, Hosai. "Representations of Gender Relations in Turkish Soap Operas and Afghan Audiences' Reception." Thesis, Université d'Ottawa / University of Ottawa, 2020. http://hdl.handle.net/10393/41594.
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Although efforts have been made by the Afghan government and its international partners to promote the tents of gender equality in Afghan society, biases against women and other marginalized groups persist in the society and media sector, particularly. The current study is a timely research because feminist media studies are an under-researched field in the context of Afghanistan. My research aims to be a contribution to this field and open a path for Afghan feminist media studies. The current study explores the representations of gender relations in transnational television soap operas broadcast on Afghan television stations, audiences’ decoding of the representations, and the role of the media in promoting social change. The selected soap operas for the study are Paiman and Qesay Maa, Turkish television soap operas dubbed in the Dari language. The current study is based on feminist theory and feminist methodology, providing a balance of content and reception analysis. Drawing on feminist media studies and focusing on media representations, the content analysis of transnational soap operas echoed previous studies on representations of gender relations and indicated that gender relations are often portrayed in stereotypical and traditional manners. The content analysis further demonstrated that women are objectified in different ways and are often represented as domestic, passive, selfless beings in men’s service. Moreover, relationships between women are often based on rivalry, hatred, and shaming and often without any particular reason. The study also found that contrary to women, men are often represented at outdoor and professional settings. Additionally, grounded on encoding/decoding model through a feminist lens, the thematic analysis of focus group discussions demonstrated that audiences constantly interact with media text and actively make meaning. Interestingly, FGD findings further indicated that as active viewers, both female and male participants, derive multiple and often diverse meanings from the media text. Although both female and male participants problematize the content of transnational soap operas, their interpretations of representations of gender relations and gender equality are dissimilar. The study concludes that transnational soap operas, and the media in general, can play an important role in promoting social change in Afghanistan, particularly gender parity through the Entertainment-Education strategy. However, an intersectional framework is essential in designing EE programmes for promoting gender equality in a diverse society like Afghanistan.
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Doucet, Emily Rose. "'Us poor singers' : Victorians and The Earthly Paradise : audience, community, and storytelling in William Morris' first success." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9451.
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The Earthly Paradise was William Morris’s first real success, and it remained his best-known work even after his death. It has not fared as well since the mid-twentieth century, when it became overlooked and problematic, as the Morris of The Earthly Paradise years became coextensive with a portrait of Victorian middle-class myopia. This verdict has been brought to the doors of the poem’s first readers, who are imagined to have liked it for uncomplicated reasons of fashion and entertainment. I reconsider these assumptions by returning to the contemporary reception of the poem to ask what audiences thought about Morris as a public figure, what it was that they so responded to in his work, and what the poem itself says about reception—the relationship between story, audience, and speaker. I argue both within the text and in the reception of it, such relationships are nearly always understood as communal, as storytellers—Morris and those in his text—address audiences as collective publics, and speak on behalf of them. Moreover, this speech is always marked by a mutually inclusive relationship with text, so that stories are properly understood as arising from the discursive field established through the participation, both textual and vocal, of anyone who understands himself or herself addressed by the discourse.
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Casprov, Alexandra Genţiana. "Two Film Adaptations of Larsson’s novel The Girl with the Dragon Tattoo : A Semiotic and Audience Reception Study." Thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77603.
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Stieg Larsson has reached vast audiences with his popular, page-turning crime novels, the Millennium Series. The series tells a story not just for fictional purposes, but to draw attention to what people did not see about the society that Larsson lived in. In 2009, local actors starred in a film adaptation of Larsson’s first novel, which went beyond the Swedish public. In December 2011 an English-language remake based on the same bestseller was released, starring famous Hollywood actors. Considering language can hinder the reach of foreign language movies in international markets and that international and Swedish audiences demands differ, the current research aims to find out how the two movie adaptations diverge in terms of gender representation, production, graphic content, ideological meaning, and cultural representation as they attempt to target their respective audiences. In order to find answers, this thesis adopted a qualitative approach using two different, supporting methods. First a semiotic analysis of a representative scene with a high psychological and graphic impact on the viewer in both movies was conducted. Second, focus group interviews, with International and Swedish audience members, were conducted. The findings suggest that considerable differences exist between the two movies and that audiences have a different pre-conception in the way they perceive the same media product: gender role dynamic has been reversed in the two movies, the American version is more graphic in its display of nudity, and lacks the ideological layer. Furthermore, this study can serve as a basis for future research that could try to statistically represent the way Swedish and international moviegoers draw on the two adaptations.
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Heasley, Gwendolyn Volz Yong. "Upper-class women reading celebrity news audience reception study on celebrity news viewed through the lens of class /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6529.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on November 17, 2009). Thesis advisor: Dr. Yong Volz. Includes bibliographical references.
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Tovar, Marlene. "An Unreceptive Audience: The Mixed Receptions of Mark Twain's and J.D.Salinger's Novels in the 1950s and 1960s." FIU Digital Commons, 2017. https://digitalcommons.fiu.edu/etd/3545.
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This thesis examines how the sociopolitical contexts of the mid-twentieth century influenced readers’ interpretations of Mark Twain’s novel “The Adventures of Huckleberry Finn” and J.D. Salinger’s “The Catcher in the Rye,” two controversial novels that were subjected to censorship activity. In particular, this thesis will focus on the reception of both of these novels during the 1950s and 1960s, a period marked by two major events: The Civil Rights Movement and the youth counterculture phenomenon. In this study, the reception of “Huckleberry Finn” will be analyzed in the context of the civil rights movement, using news articles published in the 1950s and 1960s to illustrate how the different interpretations of readers prompted school board directors to ban the book from junior high and high school reading lists.
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Burczynska, Paulina. "Investigating the multimodal construal and reception of irony in film translation : an experimental approach." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/investigating-the-multimodal-construal-and-reception-of-irony-in-film-translationaa-an-experimental-approach(a6c4afa5-02f8-4b74-8895-4c8cc161b5ab).html.
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In the light of recent changes on the audiovisual scene in Poland, audiences can choose among different AVT modalities. Although voice-over still prevails on Polish TV, subtitles have become more and more popular as an alternative form of film translation on television. Due to rapid technological advances, commercial requirements and differences in Polish viewersâ preferences, it is thus crucial to understand how audiences at different levels of English proficiency (low, medium, high) retrieve meaning, especially complex ironic meaning relayed through different methods of film translation, such as subtitles and voice-over and the extent to which verbal and non-verbal semiotic channels contribute to irony comprehension. Wilson and SperberâÂÂs (1981, 1992; 1995) echoic theory of irony has been selected as the theoretical framework, given its ability to account for multimodal irony in audiovisual texts as well as the significant importance of non-verbal semiotic resources in the generation and interpretation of irony. The study employs triangulation, incorporating descriptive, experimental and interactionist components. The descriptive component involves multimodal transcription (Baldry and Thibault, 2006) of selected fragments in which irony plays a pivotal narrative role. This procedure aims to determine what non-verbal modes contribute to the multimodal construal of irony and how it is relayed in the subtitled and voiced-over translations. In the experimental component, viewersâ eye movements are recorded using eye-tracking technology while watching subtitled and voiced-over fragments of Sherlock Holmes (2009) and Sherlock Holmes: A Game of Shadows (2011). In the interactionist components, a questionnaire is used in order to elucidate how and/or whether they retrieve ironic meaning as intended by the filmmakers in the selected excerpts. The most obvious finding to emerge from the descriptive data analysis is that multimodal irony is not relayed by the film dialogue alone but, rather, in unison with non-verbal semiotic resources. The instances of multimodal irony in the two Sherlock Holmes films were found to perform narrative and comedic functions by combining the visual, kinesic and acoustic modes of film language. The analysis and comparison of SL dialogues and TL translations revealed two broad categories of irony relay, namely: preservation and modification. The majority of the instances of multimodal irony were modified in the subtitled version, while preservation is only sporadically opted for. In its voiced-over counterpart, the intended meaning is preserved and modified in equal proportions. The experimental component showed major differences in gaze patterns among the participants with different language skills in the subtitled clips. For instance, on average, LLPs spent more time reading the subtitles than HLPs or MLPs. Similar visual behavior, on the other hand, was observed among all viewers in the voiced-over clips in which the on-screen characterâÂÂs face attracted the greatest amount of visual attention. The interactionist strand showed that the viewers retrieved the intended meaning to various extents depending on their English language proficiency. This data undergirds an assessment of the effectiveness of subtitles and voice-over in the translation and reception of multimodal irony on screen.
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Wolontis, Kira. "She Probably Did Not Get a Rose : A Case Study of Audience Reception of the Swedish Adaption of The Bachelor." Thesis, Stockholms universitet, JMK, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-183188.
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Reality TV is a well-appreciated concept in the world of entertainment. The purpose of this study is to approach the viewing of reality television, with the intention to explore if men and women react to and interpret gender roles differently in a chosen reality TV show. Further social factors, such as nationality, age, sexuality and education will simultaneously play a crucial part in the analysis. The Swedish adaption of the well-known format The Bachelor was chosen for this case study to examine if the situations in the show would provoke different reactions and interpretations among the respondents. The thesis delivers two qualitative methodological approaches to capture the reactions and interpretations among the test persons. A focus group discussion with eight Finnish men and women was conducted along with eight individual interviews with Swedish men and women, with the intention of gaining insightful and valuable knowledge regarding how men and women interpret what they see. The study’s findings suggest that there are both differences and similarities among men and women in their reactions and interpretations of gender roles in the chosen show, and that further social factors aid and affect in constructing the different interpretations.
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Araujo, Olga Susana Costa Coito e. "Os idosos como público de museus." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-07112016-124201/.
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A pesquisa exploratória e metodológica debruça-se sobre as relações estabelecidas entre museus e idosos e procura entender como, na prática, a museografia aborda o público idoso, como resultado da expansão de públicos, com embasamento nas políticas de inclusão sócio cultural, diretrizes e regulamentações museológicas e políticas socioculturais desenvolvidas com aumento do número de cidadãos com 60 anos e mais como grupo etário no Brasil e dentro da tendência de envelhecimento da população mundial. A museologia explora a função social por meio da comunicação e salvaguarda no processo curatorial. O processo de envelhecimento e a musealização podem ser bem-sucedidos estabelecendo relações de comunicação e interação sociocultural, proporcionando aprendizagens ao longo da vida e diálogo intercultural contemplando as necessidades de atividades da vida diária e de lazer, contemplando necessidades, vivências, interesses e motivações, como forma adaptativa para a vida destes indivíduos, agregando conhecimentos interdisciplinares de estudos sobre envelhecimento, a partir da gerontologia. O grupo designado de \"idoso\" remete para uma diversidade de categorizações culturais de indivíduos, que pode ser um trunfo ou freio, mas certamente um desafio para o relacionamento com a museografia. A pesquisa de recepção como metodologia possibilita observar uma proposição conceitual, destacando a necessidade de se conhecer os idosos como público potencial de museus (visitantes e não visitantes), explorando o contexto das instituições museológicas e apontando diversas escolhas museográficas possíveis que condicionam as propostas de relacionamento com o público, com vista ao impacto positivo nos idosos e nos museus.The exploratory and methodological research focuses on the relations between museums and elderly, and seeks to understand how, in practice, museography covers elderly population since a result of expansion of public, with grounding in the social and cultural inclusion policies, guidelines and museological regulations and socio-cultural policies developed from the increase number of citizens aged 60 and over in Brazil, within the aging population trend. The museological communication and safeguarding can explore the social function in the curatorial process seeing that the process of aging and musealization can be successful establishing relationships and socio-cultural interaction and intercultural dialogue providing lifelong learning considering the needs of the elderly audiences, the daily life activities and leisure times,experiences, interests or motivations taking into account adaptations to the aging process and adding interdisciplinary knowledge of studies on aging from gerontology. The elderly group refers to a diversity of cultural categorizations of individuals who can be an asset or a brake to the relationship with museums in practice. Reception research is a methodology that has developed a conceptual proposal that enables understanding elderly as potential audience (visitors and non-visitors), exploring the institutional context as approaches and partnerships, and analysing museographic choices, because these are condition of practices \"in\" museums, reviewing challenges and / or opportunities enabling a museographic relationship with a view to impact on the life of both, elderly and museums.
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Juhlén, Ebba, and Nora Jonsson. "”Walk the talk och inte bara talk the talk”: En studie om studenters medvetenhet om och attityder till greenwashing i reklam." Thesis, Uppsala universitet, Medier och kommunikation, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-408504.
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The purpose of this study is to clarify university students’, between the ages of 18 and 25 years, awareness of and attitudes towards greenwashing in advertising as well as understand a potential connection between their awareness and attitudes and their perceived environmental engagement. One quantitative method and one qualitative method were used to collect data; an online survey with 148 respondents was conducted, and three separate focus group interviews were held and later transcribed and analyzed through a qualitative text analysis. Two theoretical frameworks were used: Stuart Hall’s encoding/decoding model to process audience reception and Corporate Social Responsibility (CSR) to process the topic of greenwashing. The results of the study showed that the students’ awareness of greenwashing was high and that their attitudes were almost exclusively negative towards it. The students’ awareness of greenwashing was shown to possibly affect their decoding of advertisements, as they tended to have more positive attitudes towards advertisements in which they judged greenwashing to not be very prominent. The students’ perceived environmental engagement could be linked to their awareness of greenwashing but no clear connection between their perceived environmental engagement and their attitudes towards greenwashing could be found. Our conclusion states that greenwashing may become an increasingly ineffective advertising strategy in the future, as current students, who have the ability to see through and not be deceived by greenwashing, will be in decision-making positions within a couple of decades and may demand stricter regulations.
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Burns, Andrew R. "Confirmation of Prophecy by Proxy: Audience Anticipation and Reception of the 2014 Movie Left Behind and its Relevance to the Dispensational Premillennialist Worldview." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2019.
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Media has the potential to legitimize or spread a belief system to the general public. The 2014 movie Left Behind is an example of a deliberate attempt at promoting the belief system referred to as dispensational premillennialism (DPM), or belief in the imminent rapture of Christians. Producers of Left Behind (2014) sought to promote DPM to the general public, hoping for a mass conversion. Online discussion and interviews were gathered and interpreted qualitatively. Content analysis of audience anticipation and reception show believers were as concerned with the conversion of the general public via this movie than the movie itself. Differences between the text of the movie and discussion surrounding the film provide insights into the DPM worldview. Dispensational premillennialists are observed; rejecting earthly existence as counterfeit, asserting the general inerrancy of prophecy while rejecting “date setting” practices and using the effigy of the Antichrist to criticize perceived socio-political enemies.
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Chanrungmaneekul, Unaloam. "The globalised village : grounded experience, media and response in Eastern Thailand." Thesis, Loughborough University, 2009. https://dspace.lboro.ac.uk/2134/13392.
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Drawing on the fieldwork in a village community in Eastern Thailand, Ban Noen PutsaPluak Ked, this thesis explores the complex relationships between processes of globaIisation, representations in the mainstream media and activist media; and villagers' responses to change. The research, summarised here has three interrelated objectives: First, to examine how globalisation and industrialisation are represented in the mainstream and activist media. Second, to investigate the role played by the activist media in promoting counter visions of possible futures. Thirdly, to investigate the practices and ideas that local people have developed to resist or accept globalisation. The research employs a multi-method approach combining ethnographic methods, a questionnaire survey; textual analysis; and focus groups. The findings point to a complex relationship between mediated representations and visions of modernity. They also demonstrate that villagers' responses are strongly stratified by age, length of residence, and relation to the pivot of the new industriaIisation- a major chemical plant and that they remain strongly influenced by the crucial nexus of traditional Thai society, the patron client system. Additionally, content analysis and critical discourse analysis suggest that Thai news television programmes reproduced both the ideology of globalism and the celebration of consumerism. Moreover, the voices of marginalized groups and local people are also absent from the activist media.
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Losasso, Joseph Charles. "That is Bad! This is Good: Morality as Constructed by Viewers of Television Reality Programs." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3210.
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Reality shows that feature people going about their presumed daily lives are not base entertainment. Internet message boards about reality programs are sites where moral work happens. Viewers write about the appearance and actions of show characters and construct moral lessons. Through naturally occurring data produced by fans of these shows, I find that viewers generally express a traditional heteronormative morality around class and gender through stating moral lessons, explaining what is wrong with the characters, or through ridicule and praise.
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Kropp, Lindh Frida, and David Nilsson. ""DÖD ÅT SAS" : En receptionsstudie på Flashback av SAS reklamfilm What is truly Scandinavian?" Thesis, Uppsala universitet, Institutionen för informatik och media, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446346.
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Research Problem: The pressure for brands to stand out and at the same contribute to a better world is a constant battle in a competing digital media landscape. Advertising campaigns are ways for brands to separate themselves from their competition. In a recent campaign launched by Scandinavian Airlines (SAS) their advertising campaign What is truly Scandinavian? backfired and caused an active media audience to engage. SAS feared that their campaign got hijacked which resulted in a temporary withdrawal of their film. In light of the rise of online counterpublics and the upswing of so-called cancel culture this essay draws upon these concepts to analyse the reactions to SAS advertising campaign on the Swedish discussion forum Flashback. Aim: The study intends to examine how the reactions to SAS advertising campaign, What is truly Scandinavian?, can be understood as part of a counterpublic and a cancel culture on Flashback. Questions: (1) Which most prominent themes and reading positions can be distinguished among the reactions to SAS's advertising campaign in the selected Flashback thread? (2) How can the studied part of the Flashback thread be understood as a counterpublic? (3) How can the studied part of the Flashback thread be understood as part of a cancel culture? Theories: Active audience theory, counterpublics, cancel culture The empirical material: A specific Flashback thread with a selection of the first 96 posts. Methods: A combination of netnography, qualitative content analysis and reception analysis. Results: Primary themes identified in the thread are Culture and identity, Boycott and other consequences and Negative reactions and emotions. The majority of the Flashback posts are considered to be cynical readings of SAS advertising campaign. Sympathetic and skeptical readings were not as prominent. The reactions in the Flashback thread can be considered a counterpublic where a cancel culture takes place. Significance: Further understanding of an audience reaction and response to a specific advertising campaign in relation to counterpublics and cancel culture. Results on a current case.
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Pörschke, Judith. "‘I am luckily not the only one’: Analyzing the readers’ interpretations of texting advice in women’s magazines." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23616.
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The aim of this master thesis is to contribute to a more profound knowledge of women's magazine reading by giving insights into the readerships’ interpretations of magazine texts. Three different dimensions of interpretation were thereby identified: the relation to the audiences’ own situations in life, the audiences’ reflections on their prior experiences, and the emerging emotions in the interpretation process. Audience and reception theory, as well as feminist media theory, form the theoretical framework of my research. As audience reception concerns the dynamic interaction between text and the audiences’ reception of it, I decided to concentrate on both text analysis and qualitative interviews. With my qualitative, methodological approach – comprising an analysis of three articles concerning texting advice and interviews with six regular readers, I was able to explore nuances and depths of the phenomenon. I identified four interpretative repertoires which the women used for making meaning of the texts: pleasure, rejection, self-reflection, and practical relevance. Pleasure and rejection were found to be the women’s predominant emotions in the interpretation process. Moreover, my research illustrates that women are interpreting the texting advice in a practical as well as in a self-reflexive way. Their own circumstances and prior experiences are thereby variables, which influence the reception. My work strengthens the perspective of readers as being empowered to understand, evaluate, and critique the media content they consume. This is an important finding influencing society at large. As my research outlines, critical readings were found to be superior to possible ideological influences of women’s magazines. Future research should focus on a further in-depth analysis of individual influencing variables in relation to the audiences’ interpretations as I was only able to evaluate some in my study.
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Butcher, Erica. "An Audience Reception Analysis Field Study: Exploring Second and Later Generation Latino Viewers’ Perceived Realism Appraisals of Latino Fictional Television Characters in English Language Television Programs." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1249586967.
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Lim, Bao Tung Michelle. "Performing morality : a framework for assessing the moral significance of selected works of postdramatic performance." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/76539/1/Bao%20Tung%20Michelle_Lim_Thesis.pdf.
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This study examines the relationship between aesthetic and moral dimensions of postdramatic performance (PdP) with specific reference to two case studies: The Power of Theatrical Madness (1984) by Jan Fabre; and Inferno (2008) by Romeo Castellucci. These two cases were selected based on Lehmann's (1999/2006) "Postdramatic Theatre" theoretical framework by identifying various aspects of PdP: text, space, time, body and media. There are three primary objectives in this research project: (1) to examine if the selected works of PdP have moral functions; (2) identify these moral functions; and (3) establish a suitable framework to examine and assess the moral significance of the selected works.
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Maageria, Jason Isoe. "Hollywood Made in Kenya: Domesticating or Appropriating?" Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1526067314404311.
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Jeon, Youngji. "Relationship between History Plays and Historical Studies Through Comparing the Dramas and the Audience Receptions of Yi Sang Counts to Thirteen and Our Joyful Young Days." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1272219149.
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Pignatari, Rosa Malena [UNESP]. "Show da fé e de sentido(s): o universo eclesial como mediação sociocultural." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/89407.
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Às vésperas de completar 100 anos em 2010, o pentecostalismo no Brasil se mostra como um fenômeno complexo, multifacetado, desafiando comunicadores, empresários da mídia, sociólogos, pastores, crentes, ateus e também pesquisadores da comunicação social, já que na contemporaneidade as experiências religiosas são impulsionadas pela adoção da cultura mediática. Essas experiências fermentam em programas como o Show da Fé comandado pelo líder da Igreja Internacional da Graça de Deus (IIGD), R. R. Soares, instituição religiosa objeto deste estudo. Visto acreditar que fenômenos sociais não são uniformes e tampouco que os produtos religiosos sejam livres de contradições, a pesquisa busca compreender a visibilidade mediática religiosa no tecido das relações sociais dos adeptos que assistem o Show da Fé. Ou seja, a pesquisa analisa a comunicação religiosa sob um outro ângulo, distinto da visão linear da transmisssão da mensagem, entendendo aquela comunicação como processo mediado pelas práticas sociais e culturais que se constroem no cotidiano, onde a constituição da subjetividade é resultado das maneiras pelas quais os sujeitos interagem entre si perante a mensagem. Assim, a pesquisa - um estudo de recepção na linha das mediações socioculturais - permitiu, entre outros aspectos, observar nos usos e hábitos de consumo televisivo a dialética denomiada por Martín-Barbero consumo objetivação de desejos/lugar de diferenciação social e processo ritual, evidenciando que o grupo de pertença exerce influência para a ressignificação do desejo do adepto. Foi possível identificar que a chave do gênero do programa Show da Fè é o poder de acionar ou despertar no imaginário dos adeptos um outro mundo, cujo senso de ordem interna, integração e direção faz com que o homem se sinta mais forte para suportar as dificuldades da existência.
On the verge of completing 100 years in 2010, Pentecostalism in Brazil turns out to be a complex, multifaceted, phenomenon, which challenges communication, media entrepreneurs, sociologists, preachers, believers, atheists and social communication reserachers, once nowadays new religious experiences are moved by the adoption of the mediatic culture. There are now widely shown experiences on broadcasts such as Show da Fé (The show of faith) hosted by R. R. Soares, the leader of Igreja Internacional da Graça de Deus (International Church of the Grace of God), which is the religious institution being this study's main topic. Having in mind the belief that social phenomenons are not uniform and also being aware that it is not possible to believe that the religious products are free from contradiction, the research opted to look for understanding the religious mediatic visibility through the thread of social relationships of those who adopt The show of faith. It means the research analyses the religious communication form a different angle, distinct from the linear view of message transmission, understanding that sort of communication as the process mediated by cultural and social practices which are built everyday, where the constitution of subjectivity is a way of analyzing the ways through which the individuals interact with the message. Thus, the research- a study on reception following the research line of the socio-cultural meditiation - allowed, among other aspects, to notice in the uses and habits of television consumerism the dialect named by Martin-Barbero as wish/place of social differentiation and ritual process objectification consumerism, evidencing that the group of belonging exerts influence for the re-seignification of the follower's wish. It was possible to identify that the key for the broadcast genre of Show da Fé (The show of faith) is the power... (Complete abstract click electronic access below)