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Journal articles on the topic 'Audience reception'

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

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1

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

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

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3

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

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

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

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

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Television is one of the most important sources of information and entertainment for the majority of Moroccans. Since 2002, the Moroccan government has put forth policies to regulate the use of television as an important outside source for promoting its development programs. This audience reception study aims to assess the opinions of Moroccan television viewers on the quality of programming provided by the two public service TV stations, Al Oula and 2M. The study applies Stuart Hall’s encoding/decoding theory to examine the interactions of the Moroccan audience with the content of the two public service television stations. This study focuses mainly on television viewers of lower educational backgrounds and those with lower incomes because they could benefit most from the developmental role of public service television. The study examines the extent to which TV programming addresses the viewers’ lifestyles and concerns and the expectations viewers may have of their public service stations. The study uses focus groups as a stand-alone data-gathering strategy because of the multicultural nature of Moroccan society, which is characterized by different ethnic, linguistic and geographic attributes. Focus groups enable researchers to collect rich data in participants’ own words; they are particularly useful when the survey group is illiterate or semiliterate. The application of Stuart Hall’s theory in the Moroccan context reveals some of the model’s strengths as well some of its limitations. While the model provides rich analytical tools that help us understand the relationship between how television producers encode messages and how audiences decode them, this study illustrates the limits of Hall’s theory application to non-western audiences. Hall’s model is founded on the assumption that audiences are capable of decoding the television content and that the variations in the decoding process are the outcome of the audiences’ reactions to the hegemonic message. The study found that this was not applicable to Moroccan audiences and that additional theoretical tools needed to be in place for an audience reception analysis to be complete and substantial.
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7

Kjeldsen, Jens Elmelund. "Studying Rhetorical Audiences – a Call for Qualitative Reception Studies in Argumentation and Rhetoric." Informal Logic 36, no. 2 (July 14, 2016): 136. http://dx.doi.org/10.22329/il.v36i2.4672.

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

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Audience responses to television are at the heart of sense-making in the public sphere. Research on viewers' readings of economic, political and social events in news programs, invariably constructed around the activities of ‘significant’ individuals, is of particular consequence for understanding the functioning of a democracy. This paper is a cross-cultural reception study of how audiences come to interpret the program genre of television news. In a process of comprehension characterised by fusing/feuding horizons of understanding the world, viewers playfully accommodate the meaning of programs in their everyday lives. Analysis of television's reception should be tested against audience activity. Theory must be corroborated. Drawing from a significant literature discussing the phenomenology of ludic experience, the article theorises trans-cultural reception of Western (British) television by Asian (Malaysian) viewers as seriously ‘playful’. Academic assertions are assessed as illuminating audience response.
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Cavalcante, Andre. "Affect, emotion, and media audiences: the case of resilient reception." Media, Culture & Society 40, no. 8 (June 12, 2018): 1186–201. http://dx.doi.org/10.1177/0163443718781991.

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In this article, I place qualitative audience research in conversation with theories of affect. Informed by participant data from two qualitative audience studies I have conducted with lesbian, gay, bisexual, transgender, and queer (LGBTQ) audiences in the United States, I illustrate how cultural representations can make significant demands on one’s emotional and affective life, requiring practices of rest, rebuilding, and reclamation. I call this process resilient reception, or the strategies audiences employ to manage the affectively turbulent power of media and communications technologies. I examine two examples of resilient reception that the participants in my studies practiced: orientation devices (how audiences oriented toward and away from media) and practices of immersion (how audiences immersed themselves in empowering interpersonal communities and media fare). Ultimately, I argue that theories of affect can complement ideological understandings of media audiences by offering a more embodied and dynamic optic.
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10

Ovitamaya, Eklesia. "RESEPSI PENONTON REMAJA FILM DUA GARIS BIRU TENTANG ISU PENDIDIKAN SEKS." Jurnal Audience 4, no. 01 (March 24, 2021): 73–85. http://dx.doi.org/10.33633/ja.v4i01.4232.

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AbstrakFilm Indonesia yang mengangkat isu tentang pendidikan seks masih dianggap tabu. Pada sisi yang lain, sebagai media alternatif, pesan dalam film dapat dipahami dengan mudah oleh para penontonnya. Penelitian ini membahas resepsi penonton remaja film Dua Garis Biru tentang isu pendidikan seks. Penelitian ini menggunakan kerangka encoding-decoding Stuart Hall untuk menganalisis pemakanaan audiens dari setiap adegan dalam film. Temuan data menunjukkan bahwa audiens terbagi ke dalam tiga kelompok pembacaan: dominan hegemonik, negosiasi, dan oposisi. Posisi pembacaan penonton ini dipengaruhi oleh latar belakang dan pengalaman dari para penonton remaja. Selain itu, para penonton menginterpretasikan film Dua Garis Biru tidak hanya memberikan pesan tentang pendidikan seks, melainkan juga kesetaraan gender, nilai-nilai yang dipegang, dan bagaimana lingkungan keluarga memberikan pendidikan seks kepada para remaja.Kata Kunci: Encoding-decoding, Film, Pendidikan Seks, Remaja, Resepsi Audiens.AbstractIn Indonesia, movies that bring sensitive issues such as sex education was previously considered taboo. On the other hand, as an alternative media that is easily understood by the audience, movies are used as one of the most effective means of delivering messages. This study aimed to determine the reception of Dua Garis Biru's teenage audiences about sex education issues. This study used Stuart Hall's encoding-decoding analysis method to determine the audiences’ meaning of each scene in the movie.The findings show that the reception of the film audience of Dua Garis Biru showed three reading positions. There were dominant reading, negotiation reading, and opposition reading. The position of the reading was highly influenced by the background and experiences of teenage audiences. Furthermore, the audiences interpret Dua Garis Biru movie as giving the messages about sex education issues but also gender equality issues, the values of the beliefs held, and how the family provided sexual education to the teenagers.Keyword: Audiences reception, Encoding-Decoding, Movie, Sex Education, Teenagers.
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11

Osiebe, Garhe. "Electoral Music Reception." Matatu 49, no. 2 (December 20, 2017): 439–66. http://dx.doi.org/10.1163/18757421-04902011.

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Abstract Audiences in Africa are a grossly under-researched demographic. This paper centres on the comparative analysis of two electoral audience-based surveys conducted between April and September 2012 in the Nigerian states of Bayelsa and Lagos; following the April 2011 presidential election in Nigeria that ushered the erstwhile President Goodluck Jonathan into power. The surveys sought to know the electorates’ reaction to the electoral campaign songs that endorsed Jonathan and how these songs informed their choice of candidate. The paper’s analysis combines an appreciation of the surveys’ results and the surveys’ procedure while focusing on the middle-ground between aesthetics and politics in the context.
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12

Grall, Clare, Ron Tamborini, René Weber, and Ralf Schmälzle. "Stories Collectively Engage Listeners’ Brains: Enhanced Intersubject Correlations during Reception of Personal Narratives." Journal of Communication 71, no. 2 (April 1, 2021): 332–55. http://dx.doi.org/10.1093/joc/jqab004.

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Abstract Audiences’ engagement with mediated messages lies at the center of media effects research. However, the neurocognitive components underlying audience engagement remain unclear. A neuroimaging study was conducted to determine whether personal narratives engage the brains of audience members more than non-narrative messages and to investigate the brain regions that facilitate this effect. Intersubject correlations of brain activity during message exposure showed that listening to personal narratives elicited strong audience engagement as evidenced by robust correlations across participants’ frontal and parietal lobes compared to a nonpersonal control text and a reversed language control stimulus. Thus, personal narratives were received and processed more consistently and reliably within specific brain regions. The findings contribute toward a biologically informed explanation for how personal narratives engage audiences to convey information.
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13

Schroeder, David P. "Audience Reception and Haydn's London Symphonies." International Review of the Aesthetics and Sociology of Music 16, no. 1 (June 1985): 57. http://dx.doi.org/10.2307/836462.

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14

Leap, William L. "Language, Gay Pornography, and Audience Reception." Journal of Homosexuality 58, no. 6-7 (July 2011): 932–52. http://dx.doi.org/10.1080/00918369.2011.581944.

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15

Bolin, Göran. "Digitization, Multiplatform Texts, and Audience Reception." Popular Communication 8, no. 1 (February 4, 2010): 72–83. http://dx.doi.org/10.1080/15405700903502353.

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Smith, C. Zoe. "Audience Reception of Diane Arbus' Photographs." Journal of American Culture 8, no. 1 (March 1985): 13–28. http://dx.doi.org/10.1111/j.1542-734x.1985.0801_13.x.

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Wilson, Tony. "Towards a Phenomenology of Audience Reception." Media International Australia 83, no. 1 (February 1997): 113–22. http://dx.doi.org/10.1177/1329878x9708300118.

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Nofa Harumike, Yefi Dyan. "RECEPTION ANALYSIS OF FARMERS GROUP MEMBERS AGAINST AGRICULTURAL INTERACTIVE DIALOGUE BROADCAST PROGRAM AT PERSADA FM RADIO AND MAYANGKARA FM, JOINT EXECUTIVE AGENCY EXTENSION OF AGRICULTURE, FISHERIES AND FORESTRY (BP4K) BLITAR." JARES (Journal of Academic Research and Sciences) 2, no. 2 (September 10, 2017): 4. http://dx.doi.org/10.35457/jares.v2i2.403.

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This research was conducted by the interest of the researcher looking at the active phenomenon of mass communication media in the community. The researcher chose to conduct a research on a broadcasting program of interactive dialogue organized by BP4K Blitar, because in previous studies regarding the reception of audience have never used the broadcast program audience interactive dialogue. This type of research is qualitative descriptive research using audience reception analysis is based on the concept of encoding/decoding stated Stuart Hall. The researcher compiled the study based on the theory models used to determine the audience reception of the broadcasting program of agricultural interactive dialogue with the theme of the broadcast organic mushroom cultivation timber Persada FM radio broadcast and organic fertilizer production Mayangkara FM radio broadcast. Reception results obtained from this study, both the theme of agriculture broadcast interactive dialogue on the theme of organic wood mushroom cultivation, as well as organic fertilizer there are three positions, namely dominant, negotiated and oppositional. In a dominant position audience is inclined to accept the message and then applied the same as those interpreted by a messenger, to the position negosiated audience besides receiving and applying the meaning of the message delivered with creators message yet been of meaning other than experience, while for the position of oppositional audiences tend to have a different meaning with delivering message, and the application also made on the basis of personal experiences and knowledge. Keywords: Agriculture interactive dialogue, Organic wood mushroom cultivation, Organic fertilizer Received: 6 August, 2017; Accepter: 10 September, 2017
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Nofa Harumike, Yefi Dyan. "RECEPTION ANALYSIS OF FARMERS GROUP MEMBERS AGAINST AGRICULTURAL INTERACTIVE DIALOGUE BROADCAST PROGRAM AT PERSADA FM RADIO AND MAYANGKARA FM, JOINT EXECUTIVE AGENCY EXTENSION OF AGRICULTURE, FISHERIES AND FORESTRY (BP4K) BLITAR." Journal of Academic Research and Sciences (JARES) 2, no. 2 (September 10, 2017): 4. http://dx.doi.org/10.30957/jares.v2i2.403.

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This research was conducted by the interest of the researcher looking at the active phenomenon of mass communication media in the community. The researcher chose to conduct a research on a broadcasting program of interactive dialogue organized by BP4K Blitar, because in previous studies regarding the reception of audience have never used the broadcast program audience interactive dialogue. This type of research is qualitative descriptive research using audience reception analysis is based on the concept of encoding/decoding stated Stuart Hall. The researcher compiled the study based on the theory models used to determine the audience reception of the broadcasting program of agricultural interactive dialogue with the theme of the broadcast organic mushroom cultivation timber Persada FM radio broadcast and organic fertilizer production Mayangkara FM radio broadcast. Reception results obtained from this study, both the theme of agriculture broadcast interactive dialogue on the theme of organic wood mushroom cultivation, as well as organic fertilizer there are three positions, namely dominant, negotiated and oppositional. In a dominant position audience is inclined to accept the message and then applied the same as those interpreted by a messenger, to the position negosiated audience besides receiving and applying the meaning of the message delivered with creators message yet been of meaning other than experience, while for the position of oppositional audiences tend to have a different meaning with delivering message, and the application also made on the basis of personal experiences and knowledge. Keywords: Agriculture interactive dialogue, Organic wood mushroom cultivation, Organic fertilizer Received: 6 August, 2017; Accepter: 10 September, 2017
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20

Chinniah, Sathiavathi. "K. Balachander: An Innovative Filmmaker." Asian Journal of Social Science 37, no. 4 (2009): 574–98. http://dx.doi.org/10.1163/156853109x460291.

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AbstractThis study aims to contribute to existing literature on Indian cinema by exploring the works of K. Balachander. An academic enquiry into K. Balachander's films is justified given his presence in the Tamil film industry for some 40 years and the numerous awards he had obtained over this period for his filmic contributions, including the prestigious Padmashree Award which he won in 1987. In the bigger study of which this is a small part, I also study female representation in his films, as well as how various groups of audience interpret the portrayal of women in three specific films directed by him. Keeping in mind the varied audience groups of Tamil cinema, three different groups have been selected for this purpose, namely the rural and urban audiences in India and the diaspora audience in Singapore. Emphasis on the audience allows this study to build on earlier research on the reception of films at the point of consumption. I hope in this to provide a new perspective on audience reception of female portrayals in Tamil films.
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Eardley-Weaver, Sarah. "Opening eyes to opera." Describing Cognitive Processes in Translation: Acts and events 8, no. 2 (November 29, 2013): 272–92. http://dx.doi.org/10.1075/tis.8.2.08ear.

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In today’s rapidly developing digital age and increasingly socially-aware society, the notion of media accessibility is evolving in response to shifting audience expectations. Performing arts and media, such as opera, are called upon to include all audiences, and related audiovisual translation methods are progressing in this direction. These comprise audio description and touch tours for the blind and partially-sighted, two relatively new translation modalities which are consumer-oriented and require an original research design for the analysis of the translation processes involved. This research design follows two fundamental principles: (1) audience reception studies should be an integral part of the investigation into the translation process; and (2) the translation process is regarded as a network. Therefore, this paper explores the unique translation processes of audio description and touch tours within the context of live opera from the perspective of actor-network theory and by providing an overview of a reception project. Through discussion of the methodology and findings, this paper addresses the question of the impact of audience reception on the translation process.
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Kavoori, Anandam P. "Discursive texts, reflexive audiences: Global trends in television news texts and audience reception." Journal of Broadcasting & Electronic Media 43, no. 3 (June 1999): 386–98. http://dx.doi.org/10.1080/08838159909364498.

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Middlemost, Renee. "RenovatingThe Room: audience reception and paratextual intervention." Celebrity Studies 10, no. 2 (July 25, 2018): 247–64. http://dx.doi.org/10.1080/19392397.2018.1492429.

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Vikram, Jaycey, Kiran Bala, and Archana Durgesh. "Women-centric documentary films and audience reception." Mass Communicator: International Journal of Communication Studies 16, no. 3 (2022): 4–11. http://dx.doi.org/10.5958/0973-967x.2022.00012.6.

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Haw, Ashleigh L. "‘Manufactured hysteria’: audience perceptions of sensationalism and moral panic in Australian news representations of asylum seekers." Media International Australia 174, no. 1 (September 16, 2019): 125–39. http://dx.doi.org/10.1177/1329878x19876093.

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Seeking asylum is a highly polarising topic, exacerbated by news discourses that construct asylum seekers as threats to the nation. National and international news coverage has been said to incite ‘moral panics’ via the use of sensationalised depictions of asylum seekers, however, few studies have examined audience responses. This article discusses the findings of research utilising Critical Discourse Analysis alongside an Audience Reception framework to examine how 24 Western Australians perceive news coverage of asylum seekers. All participants critiqued news constructions of the issue, with many emphasising sensationalism and the incitement of fear as central concerns affecting their trust and engagement with Australian coverage. Analysed with consideration of the ‘moral panic’ and ‘media panic’ literature, these findings demonstrate that sensationalist depictions of asylum seekers are being resisted by audiences. This inclination towards ‘media panics’ over ‘moral panics’ is discussed in terms of its implications for democracy and audience reception scholarship.
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Ghaderi Ghalehno, Aynaz. "The aesthetic reception of the film Exam." Short Film Studies 12, no. 2 (September 1, 2022): 155–60. http://dx.doi.org/10.1386/sfs_00079_1.

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Few studies have observed audience reception within the context of narrative short films. Short films, with their idiosyncratic structures and smaller audience, have been overlooked by the field of film studies in favour of other forms – namely feature films. This article discusses the audience reception of the short film Exam in accordance with Molinié’s Sémiostylistique (‘semio-stylistics’) and examines the aesthetic effect of this short film on its audience.
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Niemann, Philipp, Laura Bittner, Philipp Schrögel, and Christiane Hauser. "Science Slams as Edutainment: A Reception Study." Media and Communication 8, no. 1 (March 18, 2020): 177–90. http://dx.doi.org/10.17645/mac.v8i1.2459.

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Science slams are a prominent form of science communication especially in Germany that seeks to entertain. While some view science slams as an excellent vehicle for disseminating knowledge, others argue that the imperative to entertain undermines the scientific value of this form of presentation. Drawing on empirical data from three science slam events, this explorative study examines how audiences and presenters perceive the science slam, particularly as it relates to entertainment and the communication of scientific knowledge. Our multi-method analysis includes audience surveys (n = 469), an eye-tracking study, and interviews with science slammers (n = 18). Our results show that the main reason audiences attend a science slam is for entertainment, yet they also have a strong interest in scientific content. Assessing the slammers’ aspirations concerning the audience, we find entertainment to be an important part, but the motivation to impart scientific knowledge is key for most. When asked to evaluate individual presentations (n = 20), spectators tended to rate both the entertainment and scientific value of the presentations as high. However, in terms of visual attention within individual presentations, spectators spent more time considering scientific content than entertainment content. Overall, we do not find evidence for the common claim that the focus on entertainment undermines the scientific value of science slam presentations—rather, entertainment and scientific content are combined to produce “edutainment” in a positive sense.
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Manggala, Delimaniati Bungsuna Manggala. "Audience Reception of Intermediality in Sandiwara Sastra Podcast." Lakon : Jurnal Kajian Sastra dan Budaya 11, no. 2 (November 29, 2022): 98–109. http://dx.doi.org/10.20473/lakon.v11i2.37521.

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Intermediality is a commonplace in the literary world, however it has not been widely found in the form of audio podcasts. The use of podcasts as a new medium for distributing audio plays can be an attractive option considering that youth as the target audience are currently very fond of podcasts. The Sandiwara Sastra podcast is interesting to study because it used a popular literary works that already have numerous readers, but it is not easy to make plays in an audio format that are liked by youth who are more familiar with visual literature. The purpose of this study is to determine the youth’s reception of intermediality on the Sandiwara Sastra podcast and to find out the role of the interpretive community in the production of meaning. With Irina O Rajewsky's intermediality framework and Alasuutari's third generation audience reception analysis framework. The results show that the intermediality of the Sandiwara Sastra podcast can provide a new experience for youth as the audience in enjoying literature. The audio component makes the audience feel closer to the literary story because audio can create a theater of mind. Audio can also evoke memories and bring back nostalgia when the audience listens to them. The use of the Sandiwara Sastra podcast also gives the audience a choice regarding the mode of listening to the podcast, even though the audience is not focused on enjoying literature.
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Antonioni, Stefania, Luca Barra, and Chiara Checcaglini. "‘SKAM Italia did it again’. The multiple lives of a format adaptation from production to audience experience." Critical Studies in Television: The International Journal of Television Studies 16, no. 4 (December 2021): 433–54. http://dx.doi.org/10.1177/17496020211049363.

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SKAM Italia, the Italian version of the Norwegian SKAM format, was first released in Spring 2018 and has reached its fourth season in May 2020, overcoming several industrial struggles and slowly engaging an increasing, young and local audience. This article aims to integrate a production–distribution and reception perspective, showing how they mutually reinforce the series’ identity: the peculiarity of SKAM’s distribution system fostered the audience’s engagement, until its complicated production history brought the series to a more conventional circulation. Mutual exchanges between professionals and audiences on a global level are always counterbalanced by national negotiations, influencing the series’ life cycle.
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Adjoteye, Eugene Agbasi, M. Yoserizal Saragih, and Muhammad Ridwan. "Methodological Approaches to Reception Analysis Research in Ghanaian Media Studies." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 4, no. 1 (March 6, 2021): 1545–51. http://dx.doi.org/10.33258/birci.v4i1.1786.

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Reception Analysis audience research since its evolution from the German Reception Theory of the Constance School has been beset with varied methodological issues. This is stridently because reception analysis per se straddles both the humanities and the social sciences. This paper attempts to set off the methodological perspective that can enable audience researchers in the field of media studies in Africa conduct reliable and valid reception analysis research. This paper posits the qualitative method as a viable analytical tool for reception researchers. Additionally, this paper takes into consideration factors in the social systems in which media discourses are embedded. These factors enable the generation of interpretative strategies shared by individuals belonging to a specific audience group within a specified cultural context. In the light of this, these interpretative repertoires can thus serve as veritable texts that could be analyzed in reception analysis research.
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Cavalcante, Andre, Andrea Press, and Katherine Sender. "Feminist reception studies in a post-audience age: returning to audiences and everyday life." Feminist Media Studies 17, no. 1 (January 2, 2017): 1–13. http://dx.doi.org/10.1080/14680777.2017.1261822.

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Schrøder, Kim Christian. "Audience Reception Research in a Post-broadcasting Digital Age." Television & New Media 20, no. 2 (November 14, 2018): 155–69. http://dx.doi.org/10.1177/1527476418811114.

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Audience reception research was a child of the broadcasting age, emerging strongly as a subdiscipline in media and communication research in the 1980s. Many saw reception research as a cross-fertilizing force theoretically and methodologically, bringing together research traditions from the humanities and the social sciences, and adding a qualitative orientation to the near-hegemonic rule of quantitative methods in audience research. This article discusses the ways in which reception research is reinventing itself in a post-broadcasting age. With sense-making processes as the continued key concern, three transformations are affecting the trajectory of reception research: An empirical shift has occurred from analyzing viewers’ “decoding” encounters with media “texts” to mapping audience participation in the wider mediascapes of traditional, digital, and social media; a theoretical adoption of, and contributions to, theories of participation and mediatization; and a methodological shift from purely qualitative to a mixed-method research design.
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Santoso, Rahmania, Bambang Dwi Prasetyo, and Desi Dwi Prianti. "Islamic Branding Strategy Through Audience's Reception." Technium Social Sciences Journal 23 (September 9, 2021): 348–53. http://dx.doi.org/10.47577/tssj.v23i1.4606.

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Islamic Branding is an approach to branding with Sharia Principles. Over time, Islamic Branding has become one of the strategies used in product marketing. The aims of this research to analyze the related topic towards audience reception and identifying the position of meaning for the Islamic Branding Strategy in Advertising Sahaja Products. This research used a qualitative research approach with the reception analysis method. The method highlights Stuart Hall's two concepts of encoding and decoding. The subjects of this research were seven members of the Islamic organization Nasyiatul 'Aisyiyah. The data were analyzed using two orders of signification by Roland Barthes (encoding) and in-depth interviews (decoding). The results of this research indicated the reception caused by the audiences, in understanding the meaning of the message can vary depending on the intensity of product use. The experience that has been felt and knowledge possessed. Thus, not all audiences can receive the message in full.
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Ayu, Aulia Suminar. "Parody Iklan, Meningkatkan Brand Awaraness melalui Olokan." Interaksi: Jurnal Ilmu Komunikasi 5, no. 1 (March 29, 2017): 16. http://dx.doi.org/10.14710/interaksi.5.1.16-23.

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Abstract Usually, parody were used to show how audience dislike or resistance with certain texts. Recently, parody about the standarized herbal product , “Mastin” were circulating around social media world. This phenomenon starts from Mastin parody video on youtube. Repetitive use of Mastin' TVC lyrics, “kabar gembira untuk kita semua” was becoming new joke trend and slang on cyber and real world. On the other side, that was insulting and making people bored of that kind of joke. Either do Mastin, along with this trend, Mastin changes their TVC Jingle chord (until) three times in order to make audience didn't get drown on boredom. This text would be explained by reception analysis as methodology with Elaboration Likelihood Modes and Hirearchy of Effect Model as theoritical background. Subject of this research are people who reviewing Mastin on their webblog, and Mastin user that researcher met on real world. This study aimed to understand how audiences interpret Mastin related with this parody. Keyword: Parody, Mastin, Audience Reception Analysis, Elaboration Likelihood Model, Hirearchy of Effect Model
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Chusna, Aidatul, M. Taufiqurrohman, and Lynda Suzanna. "Gender Role in Rural Life: An Audience Reception Analysis on Banyumas Films in Reformation Era." Lingua Cultura 11, no. 2 (November 30, 2017): 115. http://dx.doi.org/10.21512/lc.v11i2.1818.

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This qualitative research was aimed at investigating audience’s responses on gender role in rural life represented in Banyumas films. The data were taken from library research, questionnaire, and group discussion with Banyumas natives. The audience consisted of female and male university students as well as Banyumas film community. Media viewing was conducted before the discussion. The study findings show that the audiences, both males and females, tend to be receptive to the shifting role of wife as the breadwinner of the family since factories in Banyumas give more work opportunities to women than men. In addition, the respondents are appreciative to the role of Banyumas women who are actively involved in the cultural preservation. However, they think that it rarely happens as Banyumas people prefer working in factories to preserve the tradition.
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Utami, Niluh Putu Krisna, and Septia Winduwati. "Pemaknaan Khlayak pada Iklan Animasi Gojek Versi Pevita Pearce dan Joe Taslim." Prologia 6, no. 1 (March 2, 2022): 121. http://dx.doi.org/10.24912/pr.v6i1.10332.

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Gojek is an application and company in Indonesia that was founded by Nadiem Makarim in 2010, one of the best services for Goiek is online transportation, Gojek also provides many other services such as Go-Food, Go- Mart and Gojek provide digital wallet lavanan, namely Gopay. Animated Gojek advertisement is one of the advertisements that has its own uniqueness and appeal, because it is the first advertisement in Indonesia that applies animation techniques to advertisements. is to know the reception or audience meaning as well as to know the audience's position in receiving the meaning in the animated Gojek ad. To achieve the objectives, researchers used a qualitative approach with case study research methods and Stuart Hall's reception analysis. The active role of the audience in interpreting the text can be seen in Stuart Hall's encoding-decoding model, there are 3 audience categories, namely the dominant hegemony position of negotiation and opposition. The results showed that the audience reception who became the informants in this study were all dominant and dominated by dominant hegemony positions. Gojek adalah salah satu aplikasi dan perusahaan di Indonesia yang didirikan oleh Nadiem Makarim pada tahun 2010, salah satu layanan jasa Gojek adalah transportasi online, Gojek juga menyediakan banyak layanan lain seperti Go-Food, Go-Mart serta Gojek menyediakan layanan dompet digital yaitu Gopay. Iklan animasi Gojek merupakan salah satu iklan yang memiliki keunikan dan daya Tarik tersendiri, karena merupakan iklan pertama di Indonesia yang mengaplikasikan teknik animasi kedalam iklan. Tujuan peneliti melakukan penelitian terhadap iklan Animasi Gojek Versi Pevita Pearce dan Joe Taslim adalah untuk mengetahui resepsi atau pemaknaan audiens serta mengetahui posisi khalayak dalam penerimaan makna pada iklan animasi Gojek. Untuk mencapai tujuan, peneliti menggunakan pendekatan kualitatif dengan metode penelitian studi kasus dan analisis resepsi dari Stuart Hall. Peran aktif penonton dalam memaknai teks dapat terlihat pada model encoding-decoding Stuart Hall, ada 3 kategori penonton yaitu posisi hagemoni dominan, negosiasi dan oposisi. Hasil penelitian menunjukkan bahwa resepsi khalayak yang menjadi informan dalam penelitian ini ketiganya dominan dan didominasi oleh posisi hagemoni dominan.
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Siauw, Glenity Marchella, and Lambok Hermanto Sihombing. "CHARACTERISTICS AND STRUCTURES OF STORYTELLING TECHNIQUES IN CRIMINAL, HORROR, AND MYSTERY GENRES OF YOUTUBERS STORYTELLERS." Metacommunication; Journal of Communication Studies 7, no. 2 (October 13, 2022): 38. http://dx.doi.org/10.20527/mc.v7i2.13165.

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YouTube is the biggest platform of sharing and watching online videos that enable everyone to have their own channel and upload their own contents. As YouTube attracts people’s interest, this research explores the characteristics and structure of storytelling techniques on storyteller YouTuber. This research analyzes how the storyteller YouTubers use storytelling techniques to deliver the story and how are the audience’s opinion towards the storytelling techniques of the YouTubers, focusing on three big YouTube channels, which is Nessie Judge. This research discovers the unique characteristics of each YouTuber that differentiate them one another. As the data, researcher chooses three videos of each YouTuber between January 2021 to November 2021 to analyze the storytelling techniques, audiences’ reception through the comment section and used sounds or music in the video. To answer the research questions, researcher applied three theories, which are Storytelling Theory, Audience Reception Theory and Sound Theory. The result of the research shows that these three YouTubers have their own unique characteristic that attracts the audiences’ attention to keep watching their contents.
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Pillai, Shanti. "Global Rasikas: Audience Reception for Akram Khan’s Desh." TDR/The Drama Review 61, no. 3 (September 2017): 12–35. http://dx.doi.org/10.1162/dram_a_00671.

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Spectatorship is shaped by structures of feeling that link individuals to the social both in and out of the theatre. The Indian concept of “rasika,” in which reception operates at the union of knowledge and feeling, illuminates the responses of audience members who share Khan’s experience of cultural hybridity and transnational mobility, even as Khan acknowledges spectators who do not share his cultural references.
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Mustaffa, Che Su, and Ilias Md Salleh. "Impact of Television Drama from Audience Reception Perspective." Procedia - Social and Behavioral Sciences 155 (November 2014): 203–8. http://dx.doi.org/10.1016/j.sbspro.2014.10.280.

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LIVINGSTONE, SONIA M. "Audience Reception and the Analysis of Program Meaning." American Behavioral Scientist 33, no. 2 (November 1989): 187–90. http://dx.doi.org/10.1177/0002764289033002012.

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Popovic, Helena. "‘Good comedy’ and the limits of humour." Sociologija 60, no. 3 (2018): 595–613. http://dx.doi.org/10.2298/soc1803595p.

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The article includes an overview of theoretical approaches to comedy and its social function and outlines the results of an empirical research on television audience reception of it. Even though the tolerance for specific faux pas in comedy and humour is stretched due to its communicative amusement value, they often transgress this line and initiate debates on the limits of humour. This is why this area is useful when researching and detecting norms and values in a specific socio-historical context. More specifically, the article outlines the result of an empirical research on audience reception of Da Ali G Show, a television comedy, that provocatively triggers debate on the limits of humour in contemporary society. Semi-structured interviews were carried out in two different settings: London/ United Kingdom and Zagreb/Croatia in order to assess the way the audiences discursively construct ?good comedy? and the limits of humour. The article serves as a contribution to the understanding of the complex nature of comedy and its reception in different socio-cultural settings.
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Permatasari, Andalusia Neneng, Izni Indrawati Maulani, Ferry Darmawan, and Nurrahmawati Nurrahmawati. "MEDIAMORFOSIS ITU BERNAMA BOOKTUBE: ANALISIS RESEPSI TERHADAP PENONTON BOOKTUBE." Interaksi: Jurnal Ilmu Komunikasi 10, no. 1 (June 3, 2021): 55–67. http://dx.doi.org/10.14710/interaksi.10.1.55-67.

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This study aims to determine the audience's meaning regarding booktube. Booktube is content about books, such as book reviews, discussions with authors, video challenge, video bookshelf tour, book haul, etc on Youtube. This study uses a qualitative method with a reception analysis for participants belonging to the M Generations (Sesak Media Generation). Booktube interpreted differently by participants as audiences, which is interpreted as an ordinary content of YouTube that cannot replace conventional book reviews. Another interpretation of the audience regarding booktube is as a form that is not just ordinary content, but also a community and effort and attempt to increase the level of literacy in Indonesia.
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Deckert, Mikołaj. "Receptor expectations and interlingual translation reception." XLinguae 14, no. 2 (April 2021): 3–21. http://dx.doi.org/10.18355/xl.2021.14.02.01.

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The fundamental question that this paper addresses is to what extent an individual’s judgment of incoming linguistic stimuli – in the form of a translation product – can be thought of as static and objective, as opposed to dynamic and subjectively constructed. By extension, this article proposes that rather than being viewed (solely) as displaying a set of stable features, the target text can be construed as a cognitive construct that is dynamically shaped. This proposition is tested against the cognitive mechanisms of expectations. I discuss two empirical studies examining how expectations about the authorship of translation, and therefore its characteristics like quality, can influence the audience’s perception of the translation product. The question is examined for written translation (Study 1) and subtitling (Study 2). While in both cases, the central subject of inquiry are linguistic stimuli, in the latter case, these are embedded multimodally. The hypothesis is that generating certain product expectations through the use of linguistic cues will lead the audience to assess the product differently than in a condition where identical material is assessed without cuing or where opposite receptor expectations are generated. It is relevant to note that both experiments were conducted with students whose background included linguistics and translation. Such a participant profile could be associated with a more rigorously principled – and therefore stable – assessment of linguistic stimuli in both monosemiotic and polysemiotic contexts. This, in turn, would make our participants less susceptible to the effects of anticipatory cognition than would be the case with participants without formal training in the relevant fields
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Pawlik, Jacek Jan. "Perception/Reception." Roczniki Kulturoznawcze 13, no. 4 (December 31, 2022): 145–47. http://dx.doi.org/10.18290/rkult22134.20.

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The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.
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Santoso, Rahmania, and Desi Dwi Prianti. "Da’wah in Household Product Advertisements: A Reception Study of Islamic Values in Nawaitu Sahaja TV Advertisements." Jurnal Humaniora 34, no. 1 (March 5, 2022): 51. http://dx.doi.org/10.22146/jh.69678.

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In Indonesian contemporary society, spirituality and religion can be used to create Islamic brand identities. In order to promote the intended identity, marketers use advertisements to reach their target audience. Sahaja, an Indonesian brand of home care products, uses Islamic identity as part of their strategic communication. Using their Nawaitu Sahaja advertisements, they promote the da’wah (promotion of Islam) message. This research aimed to examine how a Muslim audience receives the Islamic da’wah used by Nawaitu Sahaja. To understand how audiences, receive the Islamic values portrayed in the Nawaitu Sahaja advertisements, seven women who are part of Nasyiatul Aisyiyah – an Islamic women’s organis ation – were interviewed in 2021. In order to promote their products, Nawaitu Sahaja advocates the importance of making a clean and hygienic home as part of one’s Islamic values. Baiti Jannati ("my home is my heaven") is the main message in these advertisements. Using Stuart Hall’s reception analysis, this research found different reading positions. Such reading positions were influenced by the audience's views on the message of Islamic values. Participants’ interpretations of the da’wah message in the Nawaitu Sahaja advertisements was found to be dominant. Using Islamic messages in advertisements is thus one way of engaging with consumers and encouraging them to purchase the products therein.
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Huerta, Melissa. "Reading Audiences, Reading Materials: Reception in Tanya Saracho’s El Nogalar." Aletria: Revista de Estudos de Literatura 29, no. 1 (March 29, 2019): 53–72. http://dx.doi.org/10.17851/2317-2096.29.1.53-72.

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Tanya Saracho’s El Nogalar (2011), adaptation of Anton Chekhov’s The Cherry Orchard, recreates the Russian’s play social context in 21st century Mexican society, going through the awakening of the violence that dominates the U.S./Mexico border. The focus of this study is the audience’s response to El Nogalar premier at the Goodman’s theater. Such analysis is conducted by reading the paratextual elements, such as the program and related material found online. By analyzing the script, playbill, reviews, and the study guide, this study calls for an increased use of supplemental material in order to critically think about audience reception. The complexity of the play, as an adaptation alone, is enough to justify the need for more knowledge of non-traditional methods to approach the text and the surrounding material, including reviews, playbills and educational guides. These elements not only provide new insight into interpreting the performance and dramatic text, but they also offer ways to approach audience reception beyond the review.
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Rutledge, Steven. "Trajan and Tacitus' Audience: Reader Reception of Annals 1-2." Ramus 27, no. 2 (1998): 141–59. http://dx.doi.org/10.1017/s0048671x00001879.

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In his monumental work on Tacitus, Syme suggested that Tacitus made veiled criticisms directed against Hadrian in the Annals; subsequent scholars have not always accepted his suggestion. Yet those scholars who are sceptical of Syme's argument have not yet, on the whole, taken up the question of the reception of Tacitus' work by his contemporaries; this is a peculiar gap, when one considers the politically charged nature of Tacitus' Annals, which places under a miscroscope not only individual emperors, but the institution of the principate itself. It is, therefore, the intent of this essay to examine the audience's reception of Tacitus' Annals within the work's historical and cultural context: for Tacitus' audience (which I assume to consist primarily of elite males of senatorial and equestrian status), an understanding of the past about which he writes was made meaningful in part, I should like to suggest, by the present. Such an approach results in an open-ended understanding of the work, and decentralises it from its author in favour of the audience. The end result is a text which simultaneously questions even as it reaffirms Trajan as princeps.
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Widodo, Jordy Satria. "Reception analysis of Indonesian audience towards physical and verbal violence on series Squid Game (2021) by Hwang Dong-Hyuk." Rainbow : Journal of Literature, Linguistics and Culture Studies 11, no. 1 (April 30, 2022): 57–65. http://dx.doi.org/10.15294/rainbow.v11i1.53347.

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Korean film has been rampantly surging all over the world, particularly in Indonesia. Moreover, Squid Game (2021) by Hwang Dong-Hyuk is popular in the country due to its plot and settings which present the real condition of the gap between upper-class and lower-middle class urban people in South Korea. It becomes intriguing for Indonesian audience because it shows the happening fact not only in South Korea but also similarly in Indonesia. The research was aimed at investigating Indonesian audience’s responses on physical and verbal violence depicted on Squid Game series (2021) by Hwang Dong-Hyuk. The research used the qualitative approach with reception analysis method by Stuart Hall. There are four audiences who become the informants of this research coming from urban workers and Korean film enthusiasts. The data collection technique was done through interviews as well as document analysis. The result showed that the informants’ reception towards the scenes are varying due to the situation and context that set the scenes which present different uses of physical and verbal violence.
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Pratiwi, Winda Nur, and Fitria Akhmerti Primasita. "Female Action Hero’s Superpower Representation: Audience Reception on Twitter in Disney’s Mulan (2020)." Rubikon : Journal of Transnational American Studies 9, no. 2 (November 1, 2022): 180. http://dx.doi.org/10.22146/rubikon.v9i2.76886.

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The live-action adaptation of the Movie Mulan produced by Walt Disney in 2020 sparked heated discussion from the audience after Disney tries to represent a strong female action hero by giving Mulan, the female protagonist, a superpower attribute called ‘chi’. In the era of new media, audience expressed their opinion through Twitter. Thus, the tweet responses and reviews on several websites were consecutively taken as primary and secondary data as it is an audience analysis research, applying feminist theory to examine the audience responses to the representation of female action heroes with a superpower. The research found that the majority of the audience, approximately 80%, falls into the opposition audience. They do not like the representation of Mulan with a superpower. On the other hand, less than 20% of audience fall into the dominant and negotiate audience. The high percentage of the oppositional audience indicates that the audience of the live-action Mulan would rather choose the representation of Mulan who came from a humble background instead of someone who was born great.
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Jo, Sunggyung. "Homer’s Odyssey Once More: Magical Stories and Spellbound Audiences." British and American Language and Literature Association of Korea 146 (September 30, 2022): 311–28. http://dx.doi.org/10.21297/ballak.2022.146.311.

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In this essay, I discuss specific ways in which the Odyssey ensures its reception by broader and future audiences by employing both professional and amateur storytellers and internal listeners as guarantors of the story's viability. My focus here is on the differences between Demodocus’s professional storytelling and Odysseus's nominally nonprofessional storytelling. While the former serves to please groups of an audience who expect “safe” pleasures by listening to traditional epic tales, the latter opens an affective space between listeners and the storyteller, where the listeners’ affects are mobilized by Odysseus’s unpredictable and perhaps less skillful ways of narrating stories. Odysseus’s amateurism (as I would call it) instigates the audience’s desire to listen more and becomes a successful strategy to captivate the audience’s minds. In this age and culture often defined by the “narrative turn,” many of us are interested in telling good stories that can impact broad audiences. This much-loved, ancient work of fiction can teach us various techniques of good storytelling that can move the hearts of generations of audiences.
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