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Dissertations / Theses on the topic 'Audiences'
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1
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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Gardair, Colombine. "Assembling audiences." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8486.
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Street performers have to create and manage their own performance events. This makes street performance an ideal type of situation for studying how an audience is assembled and sustained in practice. This thesis uses detailed video-based ethnographic analysis to investigate these processes in street performances in Covent Garden, London. Drawing on the performance literature, the role of the physical structure of the environment, the arrangement of physical objects within the environment and the physical placement of people are all examined. The argument of the thesis is that these analyses alone are insufficient to explain how an audience is established or sustained. Rather, an audience is an ongoing interactional achievement built up through a structured sequence of interactions between performers, passers-by and audience members. Through these interactions performers get people’s attention, achieve the recognition that what is going on is a performance, build a collective sense of audience membership, establish moral obligations to each other and the performer, and train the audience how to respond. The interactional principles uncovered in this thesis establish the audience as a social group worthy of studying in its own right, and are in support of a multiparty human-human interaction approach to design for crowds and audiences.
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Seles, Sheila Murphy. "Audience research for fun and profit : rediscovering the value of television audiences." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/59574.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2010.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student submitted PDF version of thesis.
Includes bibliographical references (p. 121-128).
The American television industry is in a moment of transition because of changes brought about by digital distribution and audience fragmentation. This thesis argues that the television industry can no longer adapt to the changing media landscape because structural relationships and business logics forged in previous eras do not allow for meaningful innovation. This project investigates how these relationships evolved and how they can be made more flexible to meet the challenges of digital distribution and digitally networked audiences. Legacy relationships, logics, and measurement methods have prevented the television industry from maximizing the value of increasingly fragmented television audiences. Publishers, advertisers, and measurement companies have historically been able to get around the limitations of their relationships to one another, but they are now faced with increasing competition from digital companies that understand how to make fragmented audiences valuable. This thesis argues that the methodologies and corporate ethos of successful online companies can serve as a model for the television industry, or they can be its undoing. This project also argues that the television ratings system is no longer serving the television industry, the advertising industry, and television audiences. The television industry has the opportunity to develop a system of audience measurement that maintains the residual value of television audiences while accounting for the value of audience expression. To leverage the true value of the television audience, the television industry must reconcile the commodity value of the audience with the cultural value that viewers derive from television programming. This thesis proposes that the cultural value of content should augment the commodity value of the audience. This project concludes that the television industry should reconfigure its economic structure by looking to other digital business, experimenting with new business models online, and actively exploring emergent sites of audience value.
by Sheila Murphy Seles.
S.M.
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Morris, Amanda. "Investigating the 'Audience' in Theatre for Young Audiences: The Call for Artistic Educators." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2199.
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Theatre history provides little information on theatre audiences and how the concept of an audience has changed over time. Through the investigation of theatre history texts, theatre theorists' manifestos, and interviews with workers in the field of theatre for young audiences, this thesis outlines the theatre audience from the first performance to the present and examines how the history of the concept of "child" and young audiences has developed in recent years. Opposing views exist on the subject of how a child is perceived as well as the purpose and role of a theatre audience. In this thesis, I investigate the classical, romantic, realist, modern, and current theatre movements and how scholars and theorists have perceived or written about their audiences in an effort to cultivate an understanding of what an audience is today and how the concept of theatre etiquette has or has not changed throughout history in order to relate these findings to experiences of audiences today. I began this thesis with a general knowledge of "audience," from a personal perspective as a performer and audience member. However, through my collected data, I find that audiences are valued in distinctive ways throughout various movements in theatre history. With this understanding, I wrote a short book to help young audience members to understand what the present conventions are as a theatre audience member.M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Robinson, Rebecca Grace. "Scottish television comedy audiences." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/1177/.
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This study explores how Scottish people feel about representations of Scottishness in contemporary television comedy. The thesis is in two related parts, articulating an exploration of genre, comedy and Scottish television texts with the theory, methodology and analysis of empirical audience research. The thesis begins by exploring how current television comedy is poorly served by critical literature beyond notions of genre although this field of study too fails to indicate significant contemporary permeabilities between comedy sub-genres, and between comedy and other kinds of leisure shows. The second chapter explores historical approaches to Scottish cultural criticism and literary myths (Tartanry, Kailyardism, Caledonian anti-syzygy, Clydesidism) and sets these against contemporary mythologising by individual Scottish comedy practitioners. The second half of the thesis marks a shift from textual studies toward audience research, and in particular develops a discussion about the problematics of researching comedy and audiences qualitatively. The first part of the second half is a literature survey of selected examples of audience research which is translated from theory and epistemology, to methodology and technique in the next section which comprises a discussion of the model for the empirical data collection. The next section presents data from a quantitative survey and qualitative focus-group discussions. The last part of the second section interprets the data through triangulation although this is limited by lack of comparable critical materials. The whole attempts to explore concepts of national identity in Scottish television comedy with audiences, but also develops the additional problematic of empirical quantitative research and comedy themes.
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Spelman, Henry Lawlor. "Pindar and his audiences." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:83184846-33cc-41bf-a7d0-8b1f1da5c57d.
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This thesis explores Pindar's relationship to his audiences. Part One demonstrates how his victory odes take into account an audience present at their premiere performance and also secondary audiences throughout space and time. It argues that getting the most out of the epinicians involves simultaneously assuming the perspectives of both their initial and subsequent audiences. Part Two describes how Pindar uses his audiences' knowledge of other lyric to situate his work both within an immanent poetic history and within a contemporary poetic culture. It sets out Pindar's vision of the literary world past and present and suggests how this framework shapes an audience's experience of his work. Part Three explains how Pindar's victory odes made lucid sense as linear unities to fifth-century Greeks imbued in the traditions of choral lyric. An annotated text shows how each sentence in the epinician corpus forms part of a coherent chain of rational discourse.
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Evans, Elizabeth Jane. "Audiences for emergent drama." Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498288.
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Jackson, Ruth, and Scottie Misner. "Diabetes and Diverse Audiences." College of Agriculture and Life Sciences, University of Arizona (Tucson, AZ), 2006. http://hdl.handle.net/10150/146652.
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Yang, Jing-Wen. "Multiple audiences and corporate disclosure." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/7411.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.Thesis research directed by: Business and Management: Accounting & Information Assurance. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Das, Ranjana. "Interpretation : from audiences to user." Thesis, London School of Economics and Political Science (University of London), 2011. http://etheses.lse.ac.uk/175/.
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In this thesis I primarily address those within media and communications studies who research mass media audiences and their engagement with a diverse range of texts. I ask in what ways our knowledge about the interpretation of genres, emergent from many decades of empirical research with mass media audiences, is useful in understanding engagement with new media. This conceptual task is pursued empirically by applying a conceptual repertoire derived from reception analysis to interviews with youthful users of the online genre of social networking sites (SNSs). The thesis presents findings on the heterogeneity of children’s experiences in using SNSs following their perceptions of authorial presence, their notions of others using the text, their expertise with the interface and pushing textual boundaries. I explore four tasks involved in the act of interpretation – those being intertextual, critical, collaborative and problem-resolving. In analysis, I also reflect on a selection of the core conceptual tools that have been animated in this thesis, in research design as well as analysis and interpretation. It is concluded that inherited concepts - text and interpretation, continue to be useful in extension from the world of television audiences to the world of the internet. Second, inherited priorities from audience reception research which connect clearly to the conversation on media and digital literacies prove to be important by connecting resistance and the broader task of critique to the demands of being analytical, evaluative and critical users of new media. Third, the notion of interpretation as work is useful overall, to retain in research with new media use, for there is a range of tasks and responsibilities involved in making sense of new media.
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Asiedu, Awo Mana. "West African theatre audiences : a study of Ghanaian and Nigerian audiences of literary theatre in English." Thesis, University of Birmingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288805.
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This thesis examines the question of who the main audiences of West African literary theatre in English are and what they expect from literary theatre performances. Through a survey of audiences at performances in Ghana and Nigeria, it shows that the main audiences of literary theatre in English in this region of Africa are mainly students and the educated elite. The language of these plays and the main venues of performance are largely seen as responsible for this limited but important audience. The study concludes that since playwrights and their audiences see theatre as a medium for social change and edification respectively, this category of audiences are strategic targets. The study, however, sees the role of other theatre practices, such as Theatre for Development and Concert Party Theatre, which are in local languages and target the larger, less educated sections of society as more relevant but complementary to literary theatre in English. This thesis also highlights the lively interaction of West African audiences with theatre performances. Theatre practitioners encourage the active participation of their audiences by casting them in concrete roles or by directly addressing them, thus insisting on their participation.
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Leder, Kerstin. "Audiences talking 'fear' : a qualitative investigation." Thesis, Aberystwyth University, 2009. http://hdl.handle.net/2160/3696b73d-a4ba-4b10-85d2-9608ae0c236a.
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This thesis presents the processes and outcomes of a cross-national and cross-generational audience study of the varying roles of film and television in relation to people’s fearful perceptions of the world. As well as dealing with viewers’ ‘fright’ responses to individual films or programmes, the thesis provides a detailed critique of Gerbner et al.’s Cultivation Analysis and responds to current generalised discourses of a ‘culture of fear’ and the media’s role within it. The study is based on qualitative material gathered from nine three-generational families in Germany and the UK. Research tools included longitudinal viewing diaries, open-ended questionnaires, and semi-structured interviews with participants from 9 to 80 years of age. Interview transcripts were analysed thematically and discursively, with particular attention towards the kinds of ‘fear’ participants made relevant in their talk, as well as the nature and significance of wider socio-cultural processes. The material discussed in this study suggests that media-related fears are manifold and contain experiential and consequential differences. Importantly, they have to be understood in relation to viewers’ sense of life history, their theories of the media, and their understanding of themselves as emotional beings. Participants in this study inhabited different viewing positions as members of physical and/or ‘imagined’ audiences, which impacted on their interpretive stances towards a range of media material. As a result, ‘fear’ emerged as a fluid and complex concept, and one which contained both personal and social dimensions. These findings directly challenge the assumptions which underlie Cultivation Analysis and related studies on ‘fear cultures’, particularly as regards the centrality of the media text (including its representations of violence), the determinism of socio-demographic variables, and the model of ‘fear’ as singular, negative, cumulative, and intensely privatised. This study contributes to knowledge in the fields of media and communication studies, film studies, psychology, sociology, and cultural studies audience research.
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Abdel, Karim Mohamed. "Jordanian audiences and satellite news media." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/25092/.
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This study aims to examine current reception analysis and meida theories to determine if extant literature in the field is relevant to the experience of the Arab audience focusing on the Jordanian audiences as an illustrative case study, using quantitative and qualitative tools including questionnaires and in-depth interviews. The findings show that the Jordanian audiences seem to favour television over print press as a source of information, and they favoured channels such as Al Jazeera. Getting information about international (political) affairs gives this sample of audiences a sense of empowerment which is argued, could compensate for the lack of genuine opportunities for political participation in Jordan. It is also argued that, unlike western studies which claim the prevalence of entertainment programmes and the decline of news, this study shows the opposite trend in the Arab region where viewers are more interested in politics as a topic for social conversation. The findings show that the Jordanian audiences are aware of the role of ownership on the news content but tend to use their awareness of this issue to distinguish between information and propaganda. In general, audiences seem mistrustful of pan-Arab channels and their ideologies and yet they are avid consumers of such channels. One reason, in my view, is the low quality of what they see as censored news in Jordan. Audiences' sceptism of what they watch on news channels is not necassarily damaging their engagement in the political life. Jordanian audiences also understand that the diversity of views offered by satellite news channels is based on the selectivity of each channel (and its editorial team as well as its owner).
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Redhead, Tracy. "Interactive music formats : will audiences interact?" Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/80881/4/Tracy_Redhead_Thesis.pdf.
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The purpose of this research was to conduct a pilot study of a prototype interactive music release format which sought to investigate the readiness of audiences to interact with an interactive alternative to a fixed recorded work. A prototype music interface was created for testing. The prototype was then tested on a sample of users to understand what factors might be critical to audience engagement. The research further investigated the potential implications of the interactive release format on musicians' creative process.
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Beal, Ara Grabaskas. "MISCASTING THE SPECTATOR: DRAMATURGS AND AUDIENCES IN TRANSCULTURAL PRODUCTIONS." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1114146896.
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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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Carnegie, Elizabeth. "Essays on representation : authors, audiences and organisations." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/26383.
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Hayes, S. "Building community : a sociology of theatre audiences." Thesis, University of Salford, 2006. http://usir.salford.ac.uk/2034/.
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This thesis is an ethnographic study of theatre audiences and the ways in which they experience community. It is positioned within current debates on the mediatization and globalization of society, and the ongoing discussion as to whether social change has an adverse effect on community experience. Methodologically it emphasizes the investigation of audience contexts and collaborative practices among actors and theatregoers and between researcher and respondents. Audiences’ own terminology is considered vital to understanding what community means to them. The thesis examines community experience across the whole trajectory of the theatregoing event, from theatregoers’ backgrounds, through interactions at theatre performances, to discussion outside the auditorium and in their everyday lives. It argues that while theatre audiences conform to the perception that they tend to be middle aged and predominantly female, there are modifications to Bourdieu’s findings that cultural consumption is closely related to social class gradations. In particular, mainstream theatregoers extend across the spectrum of the middle class and their tastes in theatre are eclectic. Similarly, the research finds that there are other ways than through habitus that theatregoers acquire cultural tastes and practices. A close consideration of interactions at theatre performances, and the physical contexts in which they take place, identifies features of interaction and auditoria that encourage or discourage community, and relates them to interaction in everyday life. An investigation of why theatregoers prefer live to mediatized performance, and an examination of changes in audience perception and how much they are shared with others, contribute to an assessment of the transformative power of theatre and of how far face-to-face community is perennial in society.
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Haslop, Craig. "Talking Torchwood : fluid sexuality, representation and audiences." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/45318/.
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Queer theorists have argued that we should move beyond sexual labelling in the social sense. For this thesis I have conducted audience research to explore the liberatory potential of the representation of fluid sexuality in the BBC television series Torchwood (2006-) through my own and my participants' interpretations. I evaluate how Torchwood can be seen as potentially liberating in terms of sexual identity and what the implications might be for wider debates around fluid versus stable gendered sexual identities in queer politics. I suggest Torchwood should be seen as liberatory in the sense that it challenges rigid notions of sexual identity in the first two seasons of the series. However through the analysis, I argue that in two important ways we cannot suggest that the series is challenging heteronormativity, as some academics have proposed. Firstly, as part of the process of channel hopping from niche to mainstream television, the liberatory sexual agenda is watered down. Secondly, through readings of the series from the perspective of gender I suggest that the portrayal of masculinity in particular is heteronormative. In terms of my participants, I also note the tension that exists between their aspirations for fluid sexuality, exercised through their readings of Torchwood and the need for stability of identity, also notable when analysing their responses. In this way, I suggest that in terms of the period now often termed the ‘post-gay', perhaps we need a more fluid approach to identity, where we aspire to a fluid notion of gendered sexual identities, but keep in mind the need for stability as part of that process.
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Huffer, Ian James. "Shadowboxing : Sylvester Stallone and British Film audiences." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420491.
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Within this I study I use qualitative audience research to examine the aesthetic and ideological pleasures derived from the films of Sylvester Stallone. show how audiences' evaluations of Stallone's skills as a performer involve a complex negotiation of the star's status as an actor, character and star image, and how such negotiations are variously shaped by Stallone's use of his body and his voice within his films, the expectations audiences bring to their encounters with the star and the varying modes through which they consume Stallone. I also reveal the differing pleasures audiences find in the spectacular action sequences of Stallone's films, whilst underlining the degree to which this agency is constrained by the specific textual organization of the star's films and the specific commercial context in which these films were produced. Moving on to audiences' ideological engagements, I show how my female respondents' identities as heterosexual women are partly constructed through their engagement with a particular model of masculinity they find to be embodied by Stallone. In doing so, I reveal some of the limitations of existing attempts to explain the social/cultural construction of heterosexuality and gender. I also show how Stallone embodies a range of masculinities to my male respondents, but reveal how the texts of the star's films and the extra-textual material that surround them can be seen to combine with wider social/cultural forces to privilege certain ways of being a man as more important than others. In conclusion, my study reveals the ways in which audiences' aesthetic and ideological pleasures are variously contingent upon the codes embodied in film texts; those extra-textual representations of the star which circulate around the films; the commercial operations of Hollywood as an industry; the lived experiences of audiences; and the macro social/cultural contexts in which both audiences and Hollywood as an industry are located. As such, it grants us a more nuanced insight into the degree to which aesthetic pleasures may, or may not, be shaped by wider social/cultural forces and a more refined understanding of how hegemonic notions of masculinity may be both maintained and challenged through popular culture.
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Kuang, Jun. "Provincial Heroism: Hunanese Audiences and Sylvester Stallone." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149625/.
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The thesis focuses on analyzing and discussing Hunanese audience members’ receptions of three of his films – Rocky IV (1985), Cliffhanger (1993) and The Expendables (2010) to reveal the audiences’ motivations of admiring him and his movies. The analysis is based on Hunanese male characteristics because Hunanese culture is a male centric culture. In the Rocky IV film, Hunanese fans like his manhood, nature of soldier, and determination. In the response to Cliffhanger, some audience members appreciate his manhood, family value. Some members think his character is a coward, some of them even support the bad guys. In the audience’s reception of The Expendables, audiences have different opinions for different action actors. For example, Barney Ross (Stallone) was perceived as an extraordinary military leader. The thesis is divided into six chapters, and conducted upon Stuart Hall’s Encoding & Decoding theory.
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Zaborowski, Rafal. "Audible audiences : engaging with music in Japan." Thesis, London School of Economics and Political Science (University of London), 2015. http://etheses.lse.ac.uk/3219/.
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In this thesis I aim to uncover the nature, quality and implications of audience engagement with popular music in everyday life. Specifically, I look at two post-war generations in modern Japan and analyse their listening practices and interpretations of music encounters. To investigate this, a mixed-method approach is used based on focus group and individual interviews, questionnaires, participant observation and expert interviews with industry representatives – 100 study participants overall. Emerging patterns and themes are identified through qualitative thematic analysis. In two case studies – of idol groups and vocaloid music - I focus on how audiences, especially fans, and producers interact, with a close bond emerging over a process of cultural co-evolution of production and reception. Then, I position this map of engagements within the experiences of two Japanese cohorts, “the lost” and “the relaxed”. I argue that their generational experiences and localities guide the frames through which they interpret music. I argue that listening to music is a complex social practice whose significance has been undervalued in audience research. Audiences make music choices and engage with musical texts according to specific modes and routines which should be analysed together. Following the legacy of literary and television audience studies, I propose an account of music listening in terms of a spectrum of audience engagements linked to texts, contexts, performances and authorship. The concepts of proximity (cultural proximity and the proximity between performers and audiences) inform the analysis of the circuit of culture, offering new insight into modes of engagement and production processes. Japan, home of the Walkman and karaoke, emerges from the analysis as not only the land of technological innovations in music, but also as a culture with wider implications for media and audience research.
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De, Ruiter Brian. "North American indigenous cinema and its audiences." Thesis, Swansea University, 2013. https://cronfa.swan.ac.uk/Record/cronfa42866.
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This dissertation examines the fictional and non-fictional films of Sherman Alexie, Chris Eyre and Zacharias Kunuk in the larger context of the development of North American indigenous cinema and its audiences. It examines the relation of the films to mainstream cinema and representations of North American indigenous populations by drawing on a wide range of critical responses. After the introduction, which surveys the literature in the field and demonstrates the need for the present study, Chapter One will discuss the persistence of stereotypical representations of Native Americans in cinematic texts and the manner in which they continue to influence people's perceptions of Native Americans. Chapter Twofocuses on Sherman Alexie's Smoke Signals and The Business of Fancydancing as conscious and sophisticated responses to these stereotypes which offer a new sort of dialogue regarding Coeur d 'Alene and Spokane identity. This chapter also looks at the relation of the films to the texts from which they originated. Chapter Three looks at the wide range of filmic texts directed by Chris Eyre, and his exploration of contemporary Sioux and Navajo identity, particularly the complex problems of representing spirituality, while Chapter Four focuses on shamanism as represented in the fictional filmic texts of Zacharias Kunuk. Chapter Five provides an account of the funding of indigenous cinema, and the problems that can potentially arise in production and distribution if not connected to government sources of funding. Chapter Six examines how 'A Thousand Roads' and 'Inuit Knowledge and Climate Change' utilises images connected to indigenous identity for their own political purposes. The conclusion of this dissertation will provide a brief assessment of the current state of North American indigenous cinema.
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Kim, Hyungmin. "Uses and Gratification of Sports Media Audiences." Master's thesis, Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/216550.
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Mass Media and CommunicationM.A.
With the exposure of mass media, sports fans are able to enjoy games in real time in their homes (Beck & Bosshart, 2003; Phua, 2010). While just watching sports broadcasts, fans are likely to share the game experience with family, friends, and other fans who are following the same team (Gantz & Wenner, 1995). Besides, a significant number of people use social media when they are watching live sports broadcasts (Horn, 2012; Phua, 2012; Tang & Cooper, 2011). In particular, sports is one of the most common topics for Twitter users (Kwak, Lee, Park & Moon, 2010). Thus, this thesis explores 1) sports media audiences' motivations to watch live NFL game broadcasts with others, 2) their gratifications as a consequence of the group watching, 3) their motivations to use sports Twitter while watching live NFL game broadcasts, 4) their gratifications as a consequence of sports Twitter use while watching the game broadcasts, and 5) the level of gratifications as a consequence of the group watching and sports Twitter use. The factor analysis indicates that interactivity, fan identity, diversion/entertainment, and personal utility are the factors for the uses and gratifications of the group watching, while interactivity, information seeking, fan identity, and diversion/entertainment are the factors for sports Twitter use. All motivational factors are gratified as a consequence of sports group watching and Twitter use while watching the game broadcasts. This is the meaningful implication of the study that sports media allow the audience to have an opportunity to fulfill their desire for social interaction, and indeed, it is gratified as a consequence of sports media use.
Temple University--Theses
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Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/19238/1/Angela_Betzien_Exegesis.pdf.
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My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative practice developed I came to understand the great complexity of Brechtian theory and the extreme difficulty of creating effective political theatre, that is, theatre that changes the world. Brecht’s theories have been so thoroughly absorbed into contemporary theatre practice that we no longer identify the techniques of Epic Theatre as necessarily political, nor do we acknowledge its radical origins. I have not yet seen a professional production of a Brechtian play but I’ve absorbed on countless occasions the brilliant reinterpretations of Brecht’s theories within the work of contemporary dramatists. My approach to creating political drama is eclectic and irreverent and I’m prepared to beg borrow and steal from the cannon of political theatre and popular media to create a drama that works, a drama that is both entertaining and provocative. Hoods is an adaptation for young audiences of my original play Kingswood Kids (2001). The process of re-purposing Kingwood Kids to Hoods has been a long and complex one. The process has triggered an analysis of my own creative practice and theory, and demanded an in-depth engagement with the theories and practice of key political theatre makers, most notably Brecht and Boal and more contemporary theatre makers such as Churchill, Kane, and Zeal Theatre. The focus of my exegesis is an inquiry into how the dramatist can create a theatre of currency that challenges the dominant culture and provokes critical thinking and political engagement in young audiences. It will particularly examine Brecht’s theory of alienation and argue its continued relevance, exploring how Brechtian techniques can be applied and re-interpreted through an in-depth analysis of my two works for young people, Hoods and Children of the Black Skirt. For the purposes of this short exegesis I have narrowed the inquiry by focusing on four key areas: Transformation, Structure, Pretext, Metatext.
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Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Queensland University of Technology, 2007. http://eprints.qut.edu.au/19238/.
Full textAbstract:
My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative practice developed I came to understand the great complexity of Brechtian theory and the extreme difficulty of creating effective political theatre, that is, theatre that changes the world. Brecht’s theories have been so thoroughly absorbed into contemporary theatre practice that we no longer identify the techniques of Epic Theatre as necessarily political, nor do we acknowledge its radical origins. I have not yet seen a professional production of a Brechtian play but I’ve absorbed on countless occasions the brilliant reinterpretations of Brecht’s theories within the work of contemporary dramatists. My approach to creating political drama is eclectic and irreverent and I’m prepared to beg borrow and steal from the cannon of political theatre and popular media to create a drama that works, a drama that is both entertaining and provocative. Hoods is an adaptation for young audiences of my original play Kingswood Kids (2001). The process of re-purposing Kingwood Kids to Hoods has been a long and complex one. The process has triggered an analysis of my own creative practice and theory, and demanded an in-depth engagement with the theories and practice of key political theatre makers, most notably Brecht and Boal and more contemporary theatre makers such as Churchill, Kane, and Zeal Theatre. The focus of my exegesis is an inquiry into how the dramatist can create a theatre of currency that challenges the dominant culture and provokes critical thinking and political engagement in young audiences. It will particularly examine Brecht’s theory of alienation and argue its continued relevance, exploring how Brechtian techniques can be applied and re-interpreted through an in-depth analysis of my two works for young people, Hoods and Children of the Black Skirt. For the purposes of this short exegesis I have narrowed the inquiry by focusing on four key areas: Transformation, Structure, Pretext, Metatext.
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Carter, Danielle Catherine. "Envisaged, invited and actual audiences: A new model to approach audience research in Australian community-engaged performance projects." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/127464/1/Danielle_Carter_Thesis.pdf.
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This study investigates different approaches to theatre audience studies to develop a new practical model for examining the embedded and intrinsic audiences in community-engaged performance projects with social orientations. The practical model is empirically tested in two Australian case studies, and augmented and enhanced through its application in three key audience categories: Envisaged Audience, Invited Audience and Actual Audience. This study argues that the proposed model is a useful tool for industry, in particular, to locate, illuminate and disrupt different points of views on audiences held by community stakeholders, and to integrate perceptions on the audience with actual audience experiences.
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MacLeod, Kirsten. "Walter Pater, Oscar Wilde, and audiences of aestheticism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0002/MQ43909.pdf.
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Athique, Adrian Mabbott. "Non-resident cinema transnational audiences for Indian films /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.140513/index.html.
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MacLeod, Kirsten. "Walter Pater, Oscar Wilde, and audiences of aestheticism." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20442.
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By examining the process of production and reception of the works of Walter Pater and Oscar Wilde, this thesis explores the ways in which both conceptions of audience and actual audiences shaped these works. As proponents of "aestheticism," a philosophy which required the development of a highly specialised mode of perception and critical awareness, Pater and Wilde wrote with a fairly select audience in mind. Confronted, however, with actual readers who did not always meet the "aesthetic" criteria (even if they were supporters), they were forced to rethink their conceptions of audience. Pater's and Wilde's developing understandings of audience can be traced in their works, as they experiment with style and genre in an attempt to communicate effectively with their readers. Although at base Pater and Wilde advocated a similar "aesthetic" philosophy, their distinct conceptions of audience played a significant role in determining the nature of their particular versions of aestheticism.
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Stevenson, Lorna Rosemary Louise. "Fifteenth-century chastity and virginity : texts, contexts, audiences." Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262480.
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Law, Philippa. "Audiences' willingness to participate in Welsh-language media." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8554.
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Contemporary media audiences expect to be able to interact with content, but in a minority language context, audience participation presents challenges related to audiences’ linguistic confidence. This thesis focuses on Wales, where media producers have suggested that audiences are often reluctant to interact with broadcast and online content in Welsh. To begin to understand this unwillingness, and how it might be overcome, the concept of willingness to participate (WTP) is coined as an extension of willingness to communicate (McCroskey & Baer 1985). First, interviews with producers are analysed qualitatively to identify potential influences on audiences’ WTP. The analysis aims to assess the relative importance of various factors: audiences’ feelings of apprehension, self‐perceived competence, language background and Welsh language ability, as well as the modality of participation (oral/written) and the level of demand placed on the audience. Second, a questionnaire is designed and administered to 358 Welsh speakers, to examine audiences’ perceptions of different opportunities to participate in media content. A path model of WTP is proposed and tested using quantitative data from the survey. The results support the hypothesis that audiences’ apprehension and self‐perceived competence predict WTP and that audience response varies according to the media context. While audiences’ Welsh language skills are important in explaining their WTP, other aspects of language background, such as Welsh language acquisition context, are found to be less important. Third, the survey sample is grouped according to common patterns of WTP, to test whether the above effects are consistent across the population or whether different ‘types’ of audience exist. Using a combination of cluster analysis and thematic analysis of audience comments, four types of audience are proposed and described in detail. Finally, implications for sociolinguistic theory, language maintenance and media production practice are considered and recommendations made.
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Woods, Penelope. "Globe audiences : spectatorship and reconstruction at Shakespeare's Globe." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8299.
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This thesis uses evidence gathered from conversations with audiences carried out before and after performances at Shakespeare’s Globe 2009-10, and contextualized through interviews with performers and creatives, archival data and critical scholarship to establish new understandings of current spectatorship at the Globe Theatre. This exploratory and inductive research into current audiences at the reconstructed Globe establishes new areas of inquiry for both current and early modern audience research. In cultural terms the position of Shakespeare's Globe is contested, it is read and used (sometimes simultaneously) by audiences as: theatre, tourist site, reconstruction and experiment. In academic terms the reconstruction is also contested, for its capacity to uncover new insights into early modern performance and reception or not. The significance of the physical conditions of performance and reception at the Globe, being a shared-lighting performance space, almost in-the-round, open-air and seasonal, are made apparent through reconstruction. These material and cultural conditions combine to produce a porous and contingent site of interaction between performer, building, weather, play and audience. These conditions alter and subvert current norms of audience passivity and quiescence today and illuminate new areas of consideration in early modern audience research. The four chapters of this thesis use four Shakespeare’s Globe productions as case studies: Chapter 1 draws on Troilus and Cressida (dir. Dunster, 2009) to consider issues of history and space for audiences; Chapter 2 considers Romeo and Juliet (dir. Dromgoole, 2009) and the place of audience work in performance; Chapter 3 takes Macbeth (dir. Bailey, 2010) to examine the production of illusion and audience affect, and Chapter 4 employs The Frontline (dir. Dunster, 2009) in a consideration of community-formation amongst audience. Themes of intimacy, hospitality, antagonism, the face-to-face encounter and laughter comprise sites of sustained critical concern with current spectatorship throughout the thesis. These areas receive some consideration in relationship to evidence of early modern spectatorship from plays and other primary sources.
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Barbosa, Maria Belém Conceição Ferreira. "Open Day Events Developing Audiences In Art Museums." Master's thesis, Faculdade de Economia da Universidade do Porto, 2007. http://hdl.handle.net/10216/7398.
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Bjur, Jakob. "Transforming audiences : patterns of individualization in television viewing /." Göteborg : Department of Journalism, Media and Communication, University of Gothenburg, 2009. http://gupea.ub.gu.se/dspace/bitstream/2077/21544/1/gupea_2077_21544_1.pdf.
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Barbosa, Maria Belém Conceição Ferreira. "Open Day Events Developing Audiences In Art Museums." Dissertação, Faculdade de Economia da Universidade do Porto, 2007. http://hdl.handle.net/10216/7398.
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Lankford, Kimberly Elaine. "Frederick Douglass's Intended Audiences for His Antebellum Autobiographies." W&M ScholarWorks, 1992. https://scholarworks.wm.edu/etd/1539625716.
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Roberts, Jessie. "Communication of statistical uncertainty to non-expert audiences." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/130786/1/Jessie_Roberts_Thesis.pdf.
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This study contributes to a growing body of literature on uncertainty communication. It uses quantitative and qualitative methods to explore a user-centred framework for uncertainty communication design for the non-expert audience, and a user study investigating how uncertainty representation methods influence behaviour of non-expert audiences in an online game.
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Morris, Derek John. "Listening to the listener audience feedback as a resource for relevant biblical preaching /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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Reist, William H. "Audience analysis and adaptation responding to the challenge of preaching in multiple settings /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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Tedd, Andrew. "Audience at the gates : how the BBC is using social media to identify talent and involve audiences in programme production." Thesis, Bournemouth University, 2018. http://eprints.bournemouth.ac.uk/31066/.
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The rise of social media has changed the way the BBC broadcasts. Previous studies have examined the way major broadcasters use social media and social network tools, such as YouTube and Twitter, to supplement their existing channels (Burgess and Green 2009), and to augment newsgathering (Wardle and Williams 2008). But, so far, none have looked at how the new ways the BBC has used social media to engage non programme-making staff and audiences in its programme-making activities – to invite them right inside “Fortress Journalism” (Horrocks 2009). To that aim, this study analyses three BBC projects; moo.gateway, an internal social platform with the aim of identifying new programme-making talent within the BBC; The Virtual Revolution, a BBC2 documentary series which used social media to aid content development; and World Have Your Say, a BBC World Service radio programme which uses social media to include the audience in the development of its running order. Through qualitative interviews with a mixture of senior BBC staff, frontline programme producers, and participants in the programmes, these new uses of social media are critically examined. The analysis of the interviews shows that the reasons given for initiating new ways of working were often emancipatory in nature, consistent with the social constructivist rhetoric of digital utopian literature such as We Think (Leadbeater 2008) and Here Comes Everybody (Shirky 2009). Interview responses were also consistent with other forms of rhetoric such as ‘digital natives’ (Prensky 2001), the ‘rhetorics of creativity’ (Banaji, Burn, and Buckingham, 2006) and ‘open innovation’ (Chesburgh 2003). The study finds that the success of the initiatives depended on an intersection between the everyday lives and motivations of both the participants and the project sponsors, and that external audiences were less interested in the mechanics of programme production and journalism than was assumed by BBC staff. This meant that numbers of participants were limited to those with considerable interest in the stories being developed, or with an interest in developing a career in the media. The success of participants in the moo.gateway case in obtaining programme commissions and film funding, both inside and outside the BBC, demonstrates the usefulness of social media in identifying new programme-making talent. Critical reviews of the narratives of the winning and losing finalists of a BBC3 competition ran using moo.gateway indicates that a prior knowledge of the BBC ‘rules of the game’ and participants’ location within the BBC habitus (Bourdieu 1984) could be considered to be determining factors in their success at the BBC. Succinctly, I have been able to show that social media can provide effective ways for BBC programme makers to identify new talent, but a significant insight and caveat is that care should be taken to ensure projects are framed in terms of the audience’s motivation, rather than that of the BBC. Additionally, where participants are from outside of the BBC, mentoring and coaching has a significant role to play in helping people understand the internal mechanics of the BBC, and particularly any unwritten ‘rules of the game’. I enjoyed unique access in the qualitative interviews for this PhD, at a unique moment in the BBC’s evolution. As a result, these observations have been embraced and welcomed by policymakers within the organisation and by interested parties outside.
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Xu, Xia Ying. "Chinese audiences & US sitcoms : the case of friends." Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b1874204.
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Groschel, Uwe. "Audiences and participants : researching theatre users at Contact, Manchester." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/audiences-and-participants-researching-theatre-users-at-contact-manchester(ed0dbc91-5fc5-44ea-a7c8-627691ab8e1e).html.
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When people 'go to the theatre' we know that they are audiences. When young people go to Contact, however, they might be audiences, performers and/or theatre makers - they might play all three or more roles. Contact's users blur existing concepts and terminology. When we want to know more about theatre audiences, audience research offers models based on the distinction between audiences and theatre makers. If we want to know more about Contact's users, however, a model reflecting the blending of audiences and theatre makers' roles has yet to be developed. This thesis engages with Contact's users. It maps some of their multiple roles and experiences by asking two main questions: What are the practices of the people attending Contact and how can these practices be researched? A range of qualitative methods is necessary in order to investigate the wide variety of Contact's users' roles and experiences. Individual and group interviews are drawn from audience research, creative workshops are drawn from communication studies, and participant observation and visual research from the social sciences. Finally, a new method, Walking Fieldwork, is adapted for the use in theatre. A number of case studies are employed to investigate Contact's users. These case studies involve the observation of young actors during rehearsals and performances, the observation of participants in an outreach project, the investigation of audiences' experiences of two productions, and several short post-show interviews with general Contact audiences. This study found evidence that the relationship between theatre makers and audiences is changing. The term 'theatre user' is introduced as it opens up an area of overlap between the two and fits contemporary practices at Contact more closely. Contact's users function as communities, participants and co-creators. The descriptions of these roles and experiences contained in this thesis are understood as an initial exploration into practices of contemporary theatre users. However, further research is needed to build a more detailed understanding of these practices. In terms of research methods, this study found that the academic field of audience research needs to develop methods which are sensitive to both the backgrounds of theatre users and the theatrical context. The argument is put forward that audience research should become more aware of methods for the investigation of human experience and should enter into a 'methods-dialogue' with other academic fields of study.
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Soulstein, Seth Koozel. "Macbeth as Avatar : fandom in British Romantic theatre audiences." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/41995.
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This study aims to place two previously disconnected areas of academic inquiry, Romantic theatre studies and fandom studies, in dialogue with one another, to the mutual benefit of both fields. Towards this end, I focus on a particular manifestation of fan behavior, the deployment of popular iconography and mythology as a protest strategy – a mode of fandom recently codified as “Avatar activism” by Henry Jenkins, a leading fan scholar – and look for its existence in a specific moment in time in Romantic London: the 1809 Old Price Riots. Fandom studies, as a discipline, looks at active media audiences, and the ways in which they build upon source media texts. In the first chapter, I give an overview as to the history of this relatively young branch of scholarship, which brings us to the current moment, in which Avatar activism can be considered a mode of fan behavior. Following that, I focus on the Romantic period for the remainder of the thesis. In the second chapter, I choose three various case studies of engaged audiences – Sarah Siddons as celebrity icon; hippodrama and genre fandom; and intertextuality, transmedia, and what David A. Brewer has called “imaginative expansion” - which set the stage for the idea that fan behavior was alive and well in the early nineteenth century. In the final chapter, I focus on the Old Price Riots, and the rioters’ use of Shakespeare-as-icon and Shakespearean mythology as a Romantic manifestation of Avatar activism. With this study, I aim to provide a larger historical context for modern conceptions of fandom, as well as to offer greater insight into audience/text dynamics that existed in Romantic London.
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Hastie, Alexander. "Postcolonial popcorn : contemporary Maghrebi-French cinema and its audiences." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/21268/.
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This thesis is a study of popular contemporary postcolonial cinema, through readings of three recent Maghrebi-French films. The research is comprised of the films Days of Glory (2006), Outside the Law (2010) and Free Men (2011), which narrate unfamiliar colonial stories in familiar ways. The films are a significant part of a cultural and commercial ‘shift’ toward more mainstream filmmaking in France, and therefore provide a fascinating and complex point of entry into the study of popular postcolonial cinema. By incorporating the popular into the postcolonial, the primary contribution of this thesis is that it extends the scope of postcolonial cultural criticism, in order to highlight how such an engagement functions to interrupt hegemonic imaginaries of colonial space, memory and gender. Informed by a postcolonial critique, this thesis deploys textual analysis in order to investigate how the films are textually constituted across and through different cultural frameworks, questioning what this means for conceptualising postcolonialism. Primarily investigating the ways in which the films rewrite colonial histories using the genre conventions of Hollywood, this thesis attends to issues pertinent to postcolonial France. The thesis therefore identifies some of the key relationships to space that are narrated throughout the films, in which geographies of belonging and exclusion for Maghrebi-French people are articulated through popular aesthetics. An important part of articulating place is memory, and so this thesis also examines how occluded memories are mobilised and energised at the intersection with more familiar historical imaginaries, showing how this multidirectional relationship works to situate colonial histories in ways that are disruptive of World War Two imaginaries. This thesis also makes contributions to understandings of masculinity, by offering readings of Maghrebi-French male characters through which emerge popular postcolonial masculinities that draw upon masculinist Hollywood types, to produce new hybrid types of anti-colonial gangster, infantilised colonial soldier and Muslim spy. This thesis also examines how contemporary English-speaking Western audiences engage with the films in online reception spaces, and thus what is at stake in making postcolonial film more accessible. Using discourse analysis, this thesis attends to the different ways audiences respond to, reproduce and transform the meanings of the films in particular social and political settings. In doing so, it will be seen that the films are important sites of consumption and identity contestation, particularly around issues of geopolitics, masculinity, and whiteness, and a point of encounter through which the power relations in watching and consuming foreign-language films in ‘the West’ will be scrutinised. Therefore, in the course of this study, contemporary Maghrebi-French filmmaking is framed in terms of its appeal to popular audiences, and it will be seen that it is beginning to carve out new space for itself in world cinema, with audiences playing an important role in what that space will look like in the future.
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Pett, Emma. "A contested category : British audiences and Asian Extreme films." Thesis, Aberystwyth University, 2014. http://hdl.handle.net/2160/ae95cc3a-5b49-4072-b5d2-f917f1854439.
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This thesis explores the reception and fandom of Asian Extreme films in the UK over the last twelve years. It draws on the findings of a research project undertaken in collaboration with the British Board of Film classification (BBFC) and the Arts and Humanities Research Council (AHRC). The twenty-first century has seen an explosion in the popularity of Asian cult cinema in the West; it is within this evolving landscape that, for a number of years, the BBFC encountered difficulties when classifying many Asian Extreme films. This research draws on Annette Kuhn’s model of censorship as an on-going and provisional process that arises out of the interaction between a number of institutions, discourses and practices; in this case, the competing discourses generated by Tartan’s controversial marketing strategies, the regulatory activity of the BBFC, the response of the British ‘mainstream’ press and the practices and cultures generated by fan communities have all contributed to the discursive frameworks influencing the reception of these films in the UK. As a mixed-method, multi-stage research project this thesis combines archival research, a small-scale reception study, a survey of online fan activity, twelve semi-structured interviews and an online quali-quantitative questionnaire. Using these research tools, it sets out to capture a portrait of the pleasures, enjoyments and meanings that British audiences derive from Asian Extreme films. As a contested category, the Asian Extreme genre acts as important site for investigating a range of academic debates that have evolved in the overlapping fields of film censorship, fan studies, cult cinema, genre studies and East Asian cinema. In these ways, this study contributes to a number of academic debates and, in particular, offers new insights into the practices of film regulation in contemporary British culture.
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Field, Martin Stanley. "Television advertising and television audiences in contemporary South Africa." Master's thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/21144.
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Bibliography: pages 116-117.The three television channels provided by the South African Broadcasting Corporation target different demographic sectors of the South African population. A survey was conducted quantifying advertisements shown on SABC 1, which caters for a mainly black audience, and on SABC3, which caters for a mainly white audience. The semiotic codes employed to engage the viewers were recorded, tabulated and measured. The differences between the codes used on each channel were compared and tested for statistical significance. Significant differences were observed in the type of speech used by the advertisements, the race of the characters, the types of products advertised, the lifestyles portrayed and the type of rhetoric used. Specific examples were subjected to textual analysis to gauge where the approaches to the audiences differed or converged. A number of strategies were observed, reflecting the advertisers' perceptions of the audiences' relationships with the economic and political establishments. Corporate advertisements often represent the diversity of South African society, establishing a corporate identity as a unifying feature. Advertisements for financial services either exploit white anxieties, or black optimism, encouraging investment or credit purchases respectively. A stereotype representing South African isolation and backwardness is often presented as a negative identity, implying a progressive alternative to which the product is integral. Allegories of societal transformation also feature, with varying moods of anxiety or excitement depending on the audience.
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Algers, Maria. "Museums on Instagram - Engagement with audiences on social media." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22904.
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This thesis will explore the engagement modes of museums on Instagram by looking at the content of 1230 posts published by forty museums in Sweden and New Zealand over a three month time period. The analysis will focus specifically on the museums intention behind each post, with the use of an analytical grid developed by Lotina and Lepik. The museums’ invitations for engagement and participation with their audience will be the main focus of the study, drawing on concepts of civic engagement and the role of public institutions as democratic forums where collaboration is championed. The results indicate a trend of a low number of invitations for the public to collaborate and engage with the museum, while marketing is instead the most common engagement mode, in particular among art museums. The concluding discussion reflects on these results, as well as the initial assumption that museums should be places for democratic collaboration.
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Estes, Sharon Lynn. "Inverted Audiences: Transatlantic Readers and International Bestsellers, 1851-1891." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1376042728.
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Benjarongkij, Yubol Chandruang. "Life events, need salience and audiences' use of television /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487260135356719.
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