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Books on the topic 'Audiences'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

McConachie, Bruce. Engaging Audiences. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230617025.

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2

Gunter, Barrie, and David Machin. Media Audiences. 1 Oliver's Yard, 55 City Road, London EC1Y 1SP United Kingdom: SAGE Publications Ltd, 2009. http://dx.doi.org/10.4135/9781446262498.

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3

Kim, Schrøder, ed. Researching audiences. London: Arnold, 2003.

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4

name, No. Joyce's audiences. Amsterdam: Rodopi, 1998.

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5

Mufti, Sabeha. Media & its audiences: A media - audience study of Kashmir. Srinagar: Jaykay Books, 2011.

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6

Snyder-Young, Dani, and Matt Omasta. Impacting Theatre Audiences. London: Routledge, 2022. http://dx.doi.org/10.4324/9781032214146.

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7

Elvestad, Eiri, and Angela Phillips. Misunderstanding News Audiences. Names: Elvestad, Eiri, author. | Phillips, Angela, author.Title: Misunderstanding news audiences : seven myths of the social media era / Eiri Elvestad and Angela Phillips.Description: New York : Routledge : Abingdon, Oxon, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315444369.

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8

A, Kent Raymond, ed. Measuring media audiences. London: Routledge, 1994.

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9

Wollen, Tana. Film and audiences. London: Film Education, 1988.

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10

Conference, on International Broadcasters' Audience Research Services (2001 Washington D. C. ). Reaching audiences worldwide: Perspectives of international broadcasting and audience research. Bonn, Germany: CIBAR, 2003.

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11

Mathewson, James. Audience, relevance, and search: Targeting Web audiences with relevant content. Upper Saddle River, NJ: IBM Press/Pearson, 2010.

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12

Frank, Donatone, and Fishel Cynthia, eds. Audience, relevance, and search: Targeting Web audiences with relevant content. Upper Saddle River, NJ: IBM Press, 2010.

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13

Sellar, Tom. Audiences. Duke University Press, 2001.

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14

Christie, Ian, ed. Audiences. Amsterdam University Press, 2012. http://dx.doi.org/10.1515/9789048515059.

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15

Christie, Ian, ed. Audiences. Amsterdam University Press, 2013. http://dx.doi.org/10.1017/9789048515059.

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16

Cowart, Georgia. Audiences. Edited by Helen M. Greenwald. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195335538.013.030.

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17

Freeman, Barry, and Karen Gilado. Audiences. University of Toronto Press, 2009.

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18

Christie, Ian. Audiences. Amsterdam University Press, 2013.

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19

Holmes, Su, Sarah Ralph, and Martin Barker. Celebrity Audiences. Taylor & Francis Group, 2018.

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20

Kirwan, Peter, and Matteo Pangallo. Shakespeare's Audiences. Routledge, Chapman & Hall, Incorporated, 2022.

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21

Wood, Helen. Active Audiences. Taylor & Francis Group, 2016.

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22

Ruddock, Andy. Investigating Audiences. Sage Publications Ltd, 2007.

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23

Nelson, Jacob L. Imagined Audiences. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197542590.001.0001.

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The news industry faces profound financial instability and public distrust. Many believe the solution to these ongoing crises is for journalists to improve their relationship with their audiences. This raises important questions: How do journalists conceptualize their audiences in the first place? What is the connection between what journalists think about their audiences and what they do to reach them? Perhaps most important, how aligned are these “imagined” audiences with the real ones? Imagined Audiences draws on ethnographic case studies of three news organizations to show how journalists’ assumptions about their audiences shape their approaches to their audiences. In doing so, it examines the role that audiences traditionally have played in journalism, how that role has changed, and what those changes mean for both the profession and the public. It concludes by drawing on audience studies research to compare journalism’s “imagined” audiences with actual observations of news audience behavior. The result is a comprehensive study of both news production and reception at a time when the connection between the two has grown more important than ever.

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24

Gorton, Kristyn. Media Audiences. Edinburgh University Press, 2009. http://dx.doi.org/10.1515/9780748630363.

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25

Fujiki, Hideaki. Making Audiences. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197615003.001.0001.

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This book explores the hundred-year history relationship between Japanese media and social subjects through an analysis of the connections between cinema audiences and five significant discursive terms: minshū (the people), kokumin (the national populace), tōa minzoku (the East Asian race), taishū (the masses), and shimin (citizens), which circulated in different periods from the 1910s through the present, while also overlapping in a way that indicates that the history of Japanese social subjects has unfolded in a multilayered rather than linear manner, through periods bounded up with and impacted by various political and economic issues, ranging from capitalism and total war to neoliberalism and risk society. The book shows how in each context these five terms have not necessarily been deployed as a set of lexically defined, fixed, and stable meanings but have entailed certain discrepancies and contradictions among a diverse range of standpoints, their different interpretative valence changing according to historical context. Sometimes used to define the self and sometimes to define a given other, as well as being enunciated through discourses, the terms have been enacted by physical bodies. The book empirically and analytically elucidates a dynamic, multilayered history of cinema audiences in Japan as part of a larger relationship between media and social subjects and examines cinema audiences as simultaneously shaped by and shaping social history. In so doing, it brings a new perspective to the history of Japanese society and culture in its global context from the early twentieth century up to the early twenty-first century.

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26

Spelman, Henry. Secondary Audiences. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0002.

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Chapter I lays the groundwork by showing how Pindar’s epinicians, despite being occasional poetry, take into account audiences beyond their first performance. Using the texts themselves as evidence, it first shows how Pindar’s poems anticipate and accommodate secondary audiences. Two sections then examine types of knowledge necessary for understanding the poems: first, knowledge of debut performance contexts; secondly, knowledge of external data including public history, individual circumstances, and mythological traditions. The conclusion emerges that knowledge available to debut audiences but unavailable to secondary audiences is largely inessential for understanding and appreciating Pindar’s poetry. Section 3 addresses the question of Pindar’s difficulty while section 4 considers the role of written texts in the reception of his work. The odes’ complexity provides an impetus, not an obstacle, to their later reception. The evidence for a text-based literary culture in Pindar’s day is cumulatively stronger than is sometimes supposed.

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27

Barker, Martin. Celebrity Audiences. Routledge, 2018. http://dx.doi.org/10.4324/9781315536736.

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28

Wicks, Robert H. Understanding Audiences. Routledge, 2000. http://dx.doi.org/10.4324/9781410601018.

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29

Bennett, Susan. Theatre Audiences. Routledge, 2013. http://dx.doi.org/10.4324/9781315005751.

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30

Ruddock, Andy. Investigating Audiences. SAGE Publications, Incorporated, 2007.

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31

Machin, David, and Barrie Gunter. Media Audiences. SAGE Publications, Limited, 2009.

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32

Kirwan, Peter, and Matteo Pangallo. Shakespeare's Audiences. Taylor & Francis Group, 2021.

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33

Kirwan, Peter, and Matteo Pangallo. Shakespeare's Audiences. Taylor & Francis Group, 2021.

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34

Celebrity Audiences. Taylor & Francis Group, 2018.

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35

Five audiences. Nashville: Abingdon Press, 1987.

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36

Understanding Audiences. Auteur, 2004.

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37

Bennett, Susan. Theatre Audiences. Taylor & Francis Group, 2013.

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38

Holmes, Su, Sarah Ralph, and Martin Barker. Celebrity Audiences. Taylor & Francis Group, 2016.

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39

Holmes, Su, Sarah Ralph, and Martin Barker. Celebrity Audiences. Taylor & Francis Group, 2018.

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40

Kirwan, Peter, and Matteo Pangallo. Shakespeare's Audiences. Taylor & Francis Group, 2021.

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41

Bennett, Susan. Theatre Audiences. Taylor & Francis Group, 2013.

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42

Kirwan, Peter, and Matteo Pangallo. Shakespeare's Audiences. Taylor & Francis Group, 2021.

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43

Bennett, Susan. Theatre Audiences. Taylor & Francis Group, 2013.

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44

Yopp, Jan Johnson, Katherine C. McAdams, and Ryan M. Thornburg. Reaching Audiences. Pearson Education, Limited, 2014.

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45

Bennett, Susan. Theatre Audiences. Taylor & Francis Group, 2013.

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46

Wood, Helen. Active Audiences. Taylor & Francis Group, 2020.

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47

Holmes, Su, Sarah Ralph, and Martin Barker. Celebrity Audiences. Taylor & Francis Group, 2018.

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48

Holmes, Su, Sarah Ralph, and Martin Barker. Celebrity Audiences. Taylor & Francis Group, 2018.

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49

Wood, Helen. Active Audiences. Taylor & Francis Group, 2020.

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50

Ruddock, Andy. Investigating Audiences. SAGE Publications, Limited, 2008.

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