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Journal articles on the topic 'Audiences'
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Marron, Margaret G., and James E. Thompson. "Determining Audience for a Health Sciences Writing Course." Journal of Technical Writing and Communication 28, no. 1 (January 1998): 119–25. http://dx.doi.org/10.2190/hpw5-y4m3-u4pb-7hnd.
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The authors, co-instructors in a health sciences technical writing course, investigated the expectations and needs of audience in the health care professions. They desired to know if health care professionals had expectations significantly different from other audiences. Through interviews, they determined the audience's reading habits, the document qualities desired by the audience, and the audience's intended use of the documents. Some of the health care professionals' expectations are similar to those of all technical writing audiences, but some are specific to health care. The authors have applied this knowledge to the teaching of their course.
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Slantchev, Branislav L. "Audience Cost Theory and Its Audiences." Security Studies 21, no. 3 (July 2012): 376–82. http://dx.doi.org/10.1080/09636412.2012.706476.
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Pinelli, Federica, Lila Davachi, and E. Tory Higgins. "Shared Reality Effects of Tuning Messages to Multiple Audiences." Social Cognition 40, no. 2 (April 2022): 172–83. http://dx.doi.org/10.1521/soco.2022.40.2.172.
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Our study explores how communicating with audiences who hold opposite opinions about a target person can lead to a biased recall of the target's behaviors depending on whom a shared reality is created with. By extending the standard “saying-is-believing” paradigm to the case of two audiences with opposite attitudes toward a target person, we found that communicators evaluatively tune their message to the attitude of each audience. Still, their later recall of the target's behavior is biased toward the audience's attitude only for the audience with whom they created a shared reality. Shared reality creation was manipulated by receiving feedback that, based on the communicator's message, an audience was either able (success) or unable (failure) to successfully identify the target person, with the former creating a shared reality. These results highlight the importance of shared reality creation for subsequent recall when communicating with multiple audiences on a topic.
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Quintas-Froufe, Natalia, and Ana González-Neira. "Active audiences: Social audience participation in television." Comunicar 22, no. 43 (July 1, 2014): 83–90. http://dx.doi.org/10.3916/c43-2014-08.
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The combination of social networks, second screens and TV has given rise to a new relationship between viewers and their televisions, and the traditional roles in the communication paradigm have been altered irrevocably. Social television has spawned the social audience, a fragmentation of the real audience based on how they interact with social networks. This study is an attempt to analyze the factors which contribute to the success or failure of programs with a similar format in relation to their social audience. To do so, the study took as its subject three talent shows launched on the principal mainstream TV channels in Spain in September 2013. The study looked at the impact of these shows on the Twitter network, employing a control form [and developing a categorization and coding system for the analysis with the aim of collating all the data collected]. The results showed that the success of the shows was influenced by the activity in the social network accounts of the presenters and the judges. The conclusions reached in this analysis of the Spanish audience could be used as a development model for social audiences in other countries where social television is not so widespread. La combinación de redes sociales, segundas pantallas y televisión ha propiciado la aparición de una nueva relación de los espectadores con la televisión en la que los habituales roles del paradigma de la comunicación se han alterado. La televisión social ha dado pie al nacimiento de la audiencia social entendida como una fragmentación de la audiencia real en función de su interactividad en las redes sociales. Este trabajo pretende estudiar los elementos que contribuyen al éxito o fracaso de programas con un mismo formato en relación a la audiencia social. Para ello se han tomado como objeto de estudio los tres talent show que lanzaron las principales cadenas generalistas españolas en septiembre del año 2013. Se ha procedido a la observación del impacto de dichos programas en la red social Twitter empleando una ficha de elaboración propia y se desarrolló un sistema de categorías de análisis y códigos con el fin de recopilar toda la información recogida. Los resultados obtenidos indican que en el éxito de los programas analizados en audiencia social influye la actividad de la cuentas de los presentadores y del jurado. Las conclusiones alcanzadas tras este análisis de la experiencia española pueden servir como modelo de desarrollo de la audiencia social para otros países en los que esta no se encuentre tan extendida.
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Lim Xing Fei, Faye, and Ker Yuek Li. "A JOURNEY TO EXPLORE THE INFLUENCE OF YOUTUBER TO GENERATION Z." Asian Journal of Applied Communication 12, S2 (June 16, 2022): 19–31. http://dx.doi.org/10.47836/ajac.12.s2.02.
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The influence of YouTubers to young audiences is irresistible under the social media era, no matter in attitude or audience’s decision making. YouTubers carry with positive and negative impact in various studies. However, least attention has been paid on the influence from YouTubers to Generation Z audience. Focusing on the influence of YouTubers, this study intends to provide a new lens to look into the YouTuber’s personality and charisma, furthermore, to identify effect of them to audience decision making and language. Social Cognitive Theory (SCT) and Use and Gratification Theory are used in this study to explain the audiences’ behaviour in YouTube, specifically on their content selection. Qualitative research method is applied in this study, whereas in-depth interview is research design. There are five university students who represent as Generation Z involve into this study. Thematic analysis is implemented for data analysis. Result of this study discloses that university students receive positive influences from YouTubers base on their representation as role model in motivating the user to keep on learning. The YouTuber’s dramatic personality attract the audience to follow their channel in order to fulfill the entertainment needs. Besides, YouTubers also affect to user’s purchase intention as their experience on using a product has become a reliable source. However, educational level of Generation Z audience is highlighted in this study to relieve the audiences from overly online shopping behavior and this shows limitation in study of lower education level audiences. Overall, YouTubers shows their positive influence on Generation Z undergraduate students.
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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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Renfeng, Fan. "“The Medium is the Massage”: Exploring the Influential Role of Slow Variety Shows." SHS Web of Conferences 159 (2023): 02016. http://dx.doi.org/10.1051/shsconf/202315902016.
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“The Medium is the Massage”, first proposed by Marshall McLuhan, as another theory in communication science with an extraordinary vision, provides a new perspective for understanding the impact of slow variety shows on the emotional role of audiences in research. In recent years, slow variety shows such as “Welcome Back To Sound” and “Life to Live” have spurted on and won wide attention from audiences. In this paper, we will take the second season of “Welcome Back To Sound” as an example and analyse the influence of slow variety shows on audiences’ emotions from the perspective of “The Medium is the Massage”. Specifically, it takes sound as the entrance, “massaging” the audience’s sensory system from visual presentation, discourse and aesthetic performance, thus causing emotional resonance and reawakening the audience’s aspiration and pursuit of a better life. It is worth noting that while enjoying the “media massage” of slow variety shows, we also need to be wary of the excessive consumption of audience emotions by commercial capital and new media.
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Lukman Hakim, Agus Riyadi, and Ali Murtadho. "Konten Dakwah Penceramah Perempuan: Analisis Respon Audien pada 'Suara Muslimah' di Kanal NU Online." Jurnal Komunikasi Islam 13, no. 2 (December 21, 2023): 289–304. http://dx.doi.org/10.15642/jki.2023.13.2.289-304.
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This article aims to examine the audience's response to the da'wah content broadcasted by "Suara Muslimah" on the NU online YouTube channel. The research method used in this study was a qualitative text analysis. Through the examination of 162 netizen comments on four episodes of "Suara Muslimah" programs, the findings have shown that the majority of audiences have positive responses to da'wah content aired by the "Suara Muslimah" program, although some audiences have responded negatively and others made irrelevant comments to the content. Additionally, the audience also provided responses related to cognitive, affective, and conative aspects.
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Gillard, Patricia. "Shaping Audiences Online: Principles of Audience Development for Cultural Institutions." Media International Australia 94, no. 1 (February 2000): 117–30. http://dx.doi.org/10.1177/1329878x0009400112.
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Audience development is an applied form of audience analysis which reveals to an organisation the nature of its different audiences. With a clearer definition of how audiences interpret and use its programs and services, an organisation can develop those programs and communication strategies which are likely to engage audiences more effectively. This usually means an expansion of the audience base, and a clearer positioning of the organisation's work. Cultural institutions are increasingly using Websites to communicate with external audiences and incorporating new media into exhibitions onsite. The mix of communications with both onsite and online audiences challenges earlier ways of thinking about who are the audiences for cultural institutions and how they should be measured. Fundamental conceptual questions need to be answered, and an audience development strategy adopted which builds visitation across virtual and material sites.
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Balfour, Virginia H. "Likes, comments, action! An examination of the Facebook audience engagement strategies used by strategic impact documentary." Media International Australia 176, no. 1 (February 23, 2020): 34–51. http://dx.doi.org/10.1177/1329878x19897416.
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In the digital age, a new breed of strategic communications campaign has emerged which blurs boundaries between factual media, entertainment, marketing and advocacy. Strategic impact documentaries (SIDs) are social issue campaigns with a documentary text at their core. They invite the audience to join a cause as much as view a text, using both online and offline strategies to achieve their goals. The way audiences engage with media messages in this new ecosystem, and the implications for public deliberation of social issues, is not fully understood, however. In a mixed methods case study analysis, the Facebook audience engagement strategies used by SID were examined. The results highlight the temporal nature of social media audience engagement and the audience’s changing relationship with both the media text and its producers and provide insight into the way social issues are discussed and deliberated on by audiences in the online sphere.
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Buckingham, David. "Representing Audiences: Audience Research, Public Knowledge, and Policy." Communication Review 16, no. 1-2 (January 2013): 51–60. http://dx.doi.org/10.1080/10714421.2013.757487.
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Kirwan, Emily. "Performer/audience experience, performer perception and audience immersion." Virtual Creativity 12, no. 1 (March 20, 2023): 45–58. http://dx.doi.org/10.1386/vcr_00060_1.
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This article considers dance performances that utilize immersive technologies, in particular those that result in comparatively different experiences for the performer and the audience. The article proposes that with the incorporation of technology, creators and audiences may become so engrossed by the effects of technology and what can be achieved that we perhaps overlook what is omitted when technology takes centre stage. By analysing three aspects of technology-mediated dance performances, this article highlights how technology alters and extrapolates the dance experience for performers and audiences. The differing experiences of performer and audience, the dancer’s perception of their environment and the audience’s immersion are in some ways enhanced, but also arguably hindered, by the mediation of technology. The article aims to provoke questions about technology-mediated performances and proposes more theoretical discussions on the communication of dance through technology.
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Kirsch, Gesa. "Writing Up and Down the Social Ladder: A Study of Experienced Writers Composing for Contrasting Audiences." Research in the Teaching of English 25, no. 1 (February 1, 1991): 33–53. http://dx.doi.org/10.58680/rte199115474.
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This study explores audience awareness of writers as they compose for contrasting audiences. Experienced writers—all of them writing instructors at large public universities―composed aloud for two audiences which differed along the dimension of authority: incoming freshmen and a faculty committee. Protocols were analyzed for patterns of writing activities among all writers and for individual writers. Among all writers, two clear patterns emerged. Writers analyzed the faculty audience less frequently than the freshman audience, but they evaluated their text and writing goals more frequently when addressing the faculty. For individual writers, strong “interpretive frameworks” emerged, unique ways in which writersi nterpreted audiences and writing tasks, foregrounding quite different elements of the rhetorical situation. At times, interpretive frameworks overrode differences between the two audiences presented in the writing tasks; that is, writers attributed the same characteristics to both audiences despite the difference in these audiences’ social status within the university structure.
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Huang, Tseng-Lung, and Yi-Mu Chen. "Young audiences’ emotional experience on smartphone film: an application of dual-coding theory." Young Consumers 15, no. 2 (June 10, 2014): 193–208. http://dx.doi.org/10.1108/yc-07-2013-00384.
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Purpose – This study aims to determine whether smartphones create the best communication fit with a young audience. Design/methodology/approach – To validate the hypotheses, a task-based laboratory study was conducted. And smartphone film and television (TV) film were provided in the laboratory. Young respondents were recruited in the classroom and brief introduction and film were broadcasted. After watching the film, levels of respondent’s emotional experience was measured via questionnaire. Findings – The results indicate that when the text of the film matches the young audience’s schema, the young audience uses, mainly, imagery coding to interpret the text and achieve an emotional experience. Conversely, when the text and schema do not match, the young audience uses both proposition coding and imagery coding. Practical implications – Based on the results found in this study, companies should use different texts to match the different schema of young audiences to ensure that audiences can process coding and enjoy emotional experiences when using smartphone. Originality/value – Dual-coding theory is applied to determine which coding system the audience use to interpret the new-media text, such as smartphone films.
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Thamkulangkool, Piyawat. "Audience Development in Thai Contemporary Theatre and Dance: A Study of the Barriers to Audience-Building." MANUSYA: Journal of Humanities 24, no. 1 (June 14, 2021): 22–36. http://dx.doi.org/10.1163/26659077-02401009.
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Abstract This research article examines the current situation of audiences in Thailand who attend non-mainstream contemporary theatre and dance, focusing on the barriers to building audiences for this type of performance. Mixed methods were used to collect data from various target groups, including qualitative methods like in-depth interviews, and focus groups for contemporary theatre and dance companies and arts spaces, and quantitative data gathered from audience questionnaires and surveys. The study revealed that many theatre and dance companies or groups run by artists often put more emphasis on their performance-making than on their organization or management. Such a production-centered emphasis often neglects the importance of two-way interaction between artists and audiences and shows insufficient appreciation of audiences in developing their performances and programs. The inattention of many performance companies or groups to their current and potential audiences and to techniques to build and develop them is widespread, but not universal. However, a few groups have worked to create and manage their performances based on audiences’ perspectives, thus both removing barriers to performance participation as much as possible and motivating transactional relations with audiences. Audience responses from these companies has led to greater audience engagement and improved audience appreciation.
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Miranda, Pritta, and Reny Yuliati. "Eksistensi Radio Saat Ini : Studi Preferensi & Motivasi Khalayak Dalam Mendengarkan Radio." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 4, no. 3 (November 5, 2020): 735. http://dx.doi.org/10.25139/jsk.v4i3.2477.
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Radio is an audio medium used to fulfil the needs the audience's need, both for information and entertainment. Radio provides a variety of information content and a choice of music. Amid technological developments, the presence of many choices of media to access news, entertainment, music, and other information has become a challenge for radio broadcasting. Now people have various choices of media to get information and listen to music. This research aimed to look at the choice of media, especially radio, from the audience and find out what makes radio remains the audience's choice for information, entertainment and listening to music compared to other new media, including the reasons and motivations of audiences to listen to the radio. The results showed that audiences tended to prefer radio over other media because radio offered unique things, for example, the element of 'surprise' in selecting songs that give different sensations. In addition, the presence of radio broadcasters is also considered entertaining and can be a companion to the audience, especially when travelling. These results indicate that radio offers a uniqueness that cannot be found in other media, and the audience is free to choose the media based on their motivations, the greatest of which is listening to the radio for music, entertainment, and information.
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Silfia, Imamatul, and Irwansyah Irwansyah. "Science communication by scientists and influencers on social media." Jurnal Manajemen Komunikasi 7, no. 1 (October 30, 2022): 1. http://dx.doi.org/10.24198/jmk.v7i1.40508.
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This study analyzes the shift in the science communication landscape, which is starting to be influenced by the presence of influencers on social media. Influencers who influence to construct audience opinions allow the birth of different interpretations of scientific information among the audience, especially the lay audience. These can be seen in the discussion about wildlife care tweeted by veterinarian Nur Purba Priambada who criticized influencer Alshad Ahmad. The reaction to Purbo's tweet shows that not all audiences agree with the scientific information shared by Purbo, even though Purbo has a scientific background. On the other side, some audiences support the influencer Alshad Ahmad who keeps the wildlife on his own. This study uses the netnographic method. This study aims to examines how science communication that takes place on social media affects audience reactions to scientific information shared by scientists and influencers, in this case, Purbo and Alshad Ahmad. The study result shows that the audience does not necessarily believe the information shared by people with scientific backgrounds in a scientific discussion on social media. Although some audiences believe the scientists' scientific information, other audiences trust the influencer more. This finding can be a consideration for scientists to develop an effective communication style on social media regarding scientific information to audiences, especially lay audiences.
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Ding, Daniel D. "Introducing China's First Comprehensive Technical Writing Book: On Technological Subjects by Song Yingxing." Journal of Technical Writing and Communication 40, no. 2 (April 2010): 161–77. http://dx.doi.org/10.2190/tw.40.2.d.
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On Technological Subjects, written and completed by Song Yingxing in 1628, is China's first comprehensive technical writing book intended for a general audience. Its 18 chapters cover nearly all the major technological subjects of its time, such as growing grains, weaving clothes, making sugar and salt, and building ships. The book accommodates various audiences' information needs by combining equipment and material descriptions, process explanations, and task instructions. To help audiences understand his descriptions and to follow his instructions more effectively, the author integrates 100 full-page detailed drawings. Another mechanism that the author uses to help his audiences complete the described tasks is using names (nouns) instead of action-oriented phrases for most of the chapter titles. Song's book embodies several important features in modern technical communication, especially in China's modern technical communication. The book should help international technical communicators understand China's modern technical communication from the perspectives of audience's awareness, organization of information, and use of visuals.
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CHEN, L., and R. Khynevych. "EMOTIONAL DESIGN OF CHINESE ANIMATION IMAGE BASED ON AUDIENCE'S PSYCHOLOGICAL LEVEL." Art and Design, no. 4 (December 24, 2023): 33–44. http://dx.doi.org/10.30857/2617-0272.2023.4.3.
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Рurpose. Study the underlying logic of shaping the image of Chinese animation with the help of emotional design, on the basis of respecting and understanding the transformation of audience's psychological needs. Starting from the psychological level of Chinese animation audience, analyze the aesthetic tendency and characteristics of Chinese animation image-building.
Methodology. In the way of combining theory with demonstration, the relationship between the psychological transformation of animation audience and animation image is deeply discussed. It includes case analysis and comparative analysis.
Results. Animation creation is deeply influenced by the audience's psychology and emotion. On the basis of understanding the audience's aesthetic experience, have been analyzed the different emotional needs of Chinese animation images in the audience's instinctive level, behavioral level and reflective level, which are embodied in the tendency of "popularization", the combination of realism and freehand brushwork. By comparing the successful and classic animation images, have been researched the internal emotional connection between the audience and the animation images, indicating a tendency for future creation of animated images.
Scientific novelty. In terms of studying the image of Chinese animation, this paper proposes to correspond the three levels of emotional design theory to different levels of emotional needs of animation audiences, and focuses on summarizing new phenomena in animation image from the perspective of audience psychology.
Practical significance. Relying on the emotional design of animation images caused by the psychological needs of the audience, this paper makes an in-depth analysis of Chinese animation image design, providing new ideas for the design and creation of animation images, opening up a new situation for the animation market in China and creating new animation images for more audiences.
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Mata, André, and Gün R. Semin. "Multiple Shared Realities: The Context Sensitivity of the Saying-Is-Believing Effect." Social Cognition 38, no. 4 (August 2020): 354–66. http://dx.doi.org/10.1521/soco.2020.38.4.354.
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People adjust how they talk about someone depending on whether their audience likes or dislikes that person. When they do so, they end up recalling the person more positively or negatively afterwards. This is known as the saying-is-believing effect, and it shows how tuning communication to an audience's attitudes and beliefs shapes one's memories. But people navigate a rich social world where they talk about the same person to different audiences with different attitudes. The current research shows that people's representations change as they do so, thus demonstrating the context sensitivity of the saying-is-believing effect. The typical saying-is-believing procedure—read about a person, describe her to others who like/dislike her, and then recall the original information—was adapted to fit multiple audiences with opposing attitudes. Results show that the same communicators recall the same person differently as a function of the audience context.
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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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Bar-Isaac, Heski, and Joyee Deb. "(Good and Bad) Reputation for a Servant of Two Masters." American Economic Journal: Microeconomics 6, no. 4 (November 1, 2014): 293–325. http://dx.doi.org/10.1257/mic.6.4.293.
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We present a model in which an agent takes actions to affect her reputation with two audiences with diverse preferences. This contrasts with standard reputation models that consider a homogeneous audience. A new aspect that arises is that different audiences may observe outcomes commonly or separately. We show that, if all audiences commonly observe outcomes, reputation concerns are necessarily efficient—the agent's per-period payoff in the long run is higher than in one-shot play. However, when audiences separately observe different outcomes, the result is the opposite. Therefore, the agent would prefer to deal with audiences commonly. If this is not possible, the second-best solution may be to forgo reputation with one audience and focus entirely on the other. (JEL D11, D82)
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Brown, Vincent J. "Facing Multiple Audiences in Engineering and R&D Writing: The Social Contexts of a Technical Report." Journal of Technical Writing and Communication 24, no. 1 (January 1994): 67–75. http://dx.doi.org/10.2190/75vb-kwex-turf-h8a4.
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The customary approach to classifying multiple audiences for written discourse is to recognize primary, secondary, and immediate audiences, and, in some cases, gatekeeping audiences. Based on findings from an ethnographic case study of engineering authors in an R&D setting, this article suggests that authors should also attend to watchdog audiences as they write. A watchdog audience pays close attention to the written transaction between the author and the primary audience. Authors must direct their discourse toward the primary audience, but they must also keep the motives and purposes of the watchdog audience in mind as they write and revise. The watchdog audience in my case study, while it had no direct leverage or other organizational power over the authors, still influenced the authors extensively as they revised their text. Evidence indicates that, beyond the apparent and traditional sources of power, there are more contextual, hidden, socially mediated power relationships equally capable of shaping written discourse.
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Chen, Rui, and Yi Liu. "A Study on Chinese Audience’s Receptive Behavior towards Chinese and Western Cultural Hybridity Films Based on Grounded Theory—Taking Disney’s Animated Film Turning Red as an Example." Behavioral Sciences 13, no. 2 (February 6, 2023): 135. http://dx.doi.org/10.3390/bs13020135.
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For a long time, Chinese audiences have not had a high opinion of hybrid Chinese and Western movies. However, the unanimous praise for Turning Red in China se ems to have reversed this situation. In order to verify whether the attitudinal behavior of Chinese audiences toward the film’s hybridization of Chinese and Western cultures has changed, this study collected textual materials reflecting the Chinese audience’s receptive attitudes toward the film: Douban reviews, short reviews, questionnaires and Mtime.com reviews. Through a grounded study of 664,312 words, a total of 16 initial categories and four main categories were obtained. Finally, a cognitive–emotional–attitudinal mechanism model was formed to explain the audience’s receptive behavior process. The study found that Chinese audiences’ positive reception of Turning Red comes more from the fact that the film touches on personal emotions and focuses on a series of issues such as growing up, family, and gender, with intergenerational conflict as the core. The audience achieves self-projection and empathy while watching the film, rather than recognizing the Chinese culture presented therein. On this basis, the research further found that the internal structure of the current cultural hybridity has not changed greatly. The reason audiences do not give a high evaluation of cultural hybridity films lies in the lack of conscious distinction between the hybridity culture and the local culture. At the same time, in terms of cross-cultural creation, we should abandon the blind pursuit of cultural symbols, take root in cultural soil and then pay attention to more specific problems. This study reveals that the key factor affecting the audience’s receptive behavior toward cultural hybridity films is not necessarily the performance of local culture, which is of great significance for establishing new evaluation criteria.
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Potter, Charlotte. "Shakespeare’s reading audiences: early modern books and audience interpretation." Textual Practice 32, no. 4 (March 7, 2018): 729–32. http://dx.doi.org/10.1080/0950236x.2018.1447426.
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Starkey, Guy. "Estimating audiences: sampling in television and radio audience research." Cultural Trends 13, no. 1 (March 2004): 3–25. http://dx.doi.org/10.1080/0954896042000216428.
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Kim, Seungbae, Xiusi Chen, Jyun-Yu Jiang, Jinyoung Han, and Wei Wang. "Evaluating Audience Loyalty and Authenticity in Influencer Marketing via Multi-task Multi-relational Learning." Proceedings of the International AAAI Conference on Web and Social Media 15 (May 22, 2021): 278–89. http://dx.doi.org/10.1609/icwsm.v15i1.18060.
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Since influencer marketing has become an essential marketing method, influencer fraud behavior such as buying fake followers and engagements to manipulate the popularity is under the spotlight. To address this issue, we propose a multi-task audience evaluation model that can assess both the loyalty and authenticity of influencers’ audiences. More specifically, the proposed model takes engagement information of an influencer’s audience, including likes and comments on social media posts, and predicts (i) the retention rate of the audience of the influencer and (ii) how the influencer is associated with fake audiences (or engagement bots). To learn the social interaction between influencers and their audiences, we build multi-relational networks based on the diverse engagement behavior such as commenting. Our model further utilizes the contextualized information captured in user comments to learn distinct engagement behavior of genuine and fake users. Based on the predicted loyalty and authenticity scores, we rank influencers to find those who are followed by loyal and authentic audiences. By using a large-scale Instagram influencer-audience dataset which contains 14,221 influencers, 9,290,895 audiences, and 65,848,717 engagements, we evaluate ranking performance, and show that the proposed framework outperforms other baseline methods.
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DUNCAN-JONES, K. "AUDIENCES." Essays in Criticism XLVI, no. 2 (April 1, 1996): 153–58. http://dx.doi.org/10.1093/eic/xlvi.2.153.
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Ramirez-Brisson, Elsa. "Audiences." Journal of Nutrition Education and Behavior 52, no. 6 (June 2020): 666. http://dx.doi.org/10.1016/j.jneb.2019.06.026.
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Mero, Neal P., Rebecca M. Guidice, and Amy L. Brownlee. "Accountability in a Performance Appraisal Context: The Effect of Audience and Form of Accounting on Rater Response and Behavior." Journal of Management 33, no. 2 (April 2007): 223–52. http://dx.doi.org/10.1177/0149206306297633.
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This study explored how context influences accountability in a performance appraisal context. Results demonstrate that audience characteristics influence rating quality, as raters accountable to higher status or mixed-status audiences provided more accurate ratings, whereas those accountable to a lower status audience provided more inflated ratings. Participant note taking also mediated the relationship between accountability to higher status or mixed-status audiences and rating accuracy. Raters required to account for ratings in person as opposed to in writing were more accurate when accountable to higher status or mixed audiences and provided more positive indicators of behavior when accountable to a lower status audience.
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Pandya, Jessica Zacher, and David E. Low. "Theorizing the Addressive Audience in Children’s Digital Video Production." Written Communication 37, no. 1 (October 14, 2019): 41–68. http://dx.doi.org/10.1177/0741088319880509.
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In this article, we examine how children ages 8 to 10 characterized the audiences of digital videos they made in school. Children’s perceptions of their viewers reflected, and in many cases complicated, current theorizing about the vast potential audiences of digital texts. Our analysis of videos and interview data surfaces several findings pertaining to how children characterized their audiences. Children discussed their desire to inform viewers, their deliberate choices about language use vis-à-vis their viewers, ways they predicted and steered audience emotions, and the affective dimensions of sharing one’s video with different audiences. These findings suggest that educators and researchers ought to foreground issues of addressivity when theorizing the question of audience for children’s digital products. They also raise questions concerning authentic audience in an age of increasing concern about children’s safety and security in online worlds.
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Gutiérrez-Rentería, María-Elena, Cristina Eccius-Wellmann, and Alfonso Vara-Miguel. "Classification of Mexican audiences by their interest in digital news content and socioeconomic characteristics." Communication & Society 37, no. 1 (January 9, 2024): 205–18. http://dx.doi.org/10.15581/003.37.1.205-218.
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The news industry faces challenges due to the global macro and microeconomic environment. The current digital situation leads to the study of the characteristics of the audience interested in news content products. The central aim of this research is to classify the main attribute interest in digital news content in Mexico of the audience’s market by the attributes of age group, education level, and income level. This research is based on a survey of 2,005 digital news consumers in Mexico, directed in 2022 by the Reuters Institute for the Study of Journalism at the University of Oxford for the annual Digital News Report Study. The statistical method used is data mining with decision trees that classify the audience by the attribute of interest in the news as the dependent variable and attributes of age groups, education level, and income level as independent variables. These findings confirm the segmentation of digital news consumers’ audiences. The classification in which the attributes of age groups, level of education, and income level are considered simultaneously concerning audiences’ interests indicates that some of the predictions made show that some attributes may not be significant in some subsets, except for age group. The lowest average interest in the news is between 18 and 24 years, and the highest average interest in the news, which is nearly very interested, has audiences over 35 years.
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Stoltenberg, Daniela, Barbara Pfetsch, Alexa Keinert, and Annie Waldherr. "Who Are They and Where? Insights Into the Social and Spatial Dimensions of Imagined Audiences From a Mobile Diary Study of Twitter Users." Social Media + Society 8, no. 3 (July 2022): 205630512211230. http://dx.doi.org/10.1177/20563051221123032.
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Social media users hardly know who is reading their posts, but they form ideas about their readership. Researchers have coined the term imagined audience for the social groups that actors imagine seeing their public communication. However, social groups are not the only aspect that requires imagination: In the potentially borderless online environment, the geographical scope and locations of one’s audience are also unknown. Furthermore, research has demonstrated that imagined audiences vary between people and situations, but what explains these variations is unclear. In this article, we address these two gaps—the geographical scope and predictors of imagined audiences—using data from a mobile experience sampling method study of 105 active Twitter users from Berlin, Germany. Our results show that respondents mostly think of a geographically broad audience, which is spread out across the country or even globally. The imagined geographical scope and social groups depend on both the communicator and the usage situation. While the audience’s social composition especially depends on tweet content and respondents’ sociodemographic characteristics, the geographical scope is best explained by respondents’ biography and personal mobility, including their experience of living in other countries and local residential duration.
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Litos, Ioannis, and Eirini Papadaki. "‘If you play some good music, people immediately understand it’: Audience response to busking." International Journal of Community Music 16, no. 2 (July 1, 2023): 135–53. http://dx.doi.org/10.1386/ijcm_00079_1.
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Busking is part of the daily urban life of citizens worldwide. Every street music performance can affect buskers or passers-by in different ways because the people, the conditions, the terms and the reasons for music-making is unique every single time. This article aims to deliver social insights from the Greek busking community of Thessaloniki. Specifically, we examine the relationship between street musicians and their audience, according to their attitudes and practices during a street performance. For this study, a mix-methods approach was followed where quantitative and qualitative data was collected from 146 participants (82 were members of the audience and 64 were buskers). Our methodology relied on semi-structured interviews to collect buskers’ and audiences’ views on their experiences, as well as field notes and observation to document their relationship and reactions first-hand. The main findings indicate that buskers and audiences sustain a healthy relationship between them while buskers are thankful for the audience’s reaction to their performance and tend to make a series of performative choices, according to audience preferences. Furthermore, all audience members actively approve of the existence of street music and show their appreciation of being part of this community, by donating money and participating through various ways (singing, dancing, taking photos).
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Salsabila, Khansa. "NETFLIX: CULTURAL DIVERSITY OR CULTURAL IMPERIALISM?" Rubikon : Journal of Transnational American Studies 8, no. 1 (April 26, 2021): 15. http://dx.doi.org/10.22146/rubikon.v8i1.65480.
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The global rise of Netflix as subscription video-on-demand (SVOD) has emerged along with its capitalization of film, television, and technology industry for the audience's convenience. It replaces the interest of local television with its claim of 'a global TV network' with cultural diversity in its contents. However, the term cultural diversity itself should be questioned whether it means to leave the American cultural power or it is only to claim themselves as a global company where global identity is represented in their identity to attract a wider audience. By using transnational approach, this study finds the use of cultural diversity merely to fulfill the demand of the American audience, with several globalization consequences in Netflix Original series, especially in non-American series. Those consequences are the homogenization in European-made Netflix series, where they appear to be fully Americanized with American lifestyle or American perspective, and heterogenization in Asian-made Netflix series with its collaboration of Asian culture and American popular culture. The claim of a 'global TV network' itself does not leave the American cultural power. Instead, they are taking advantage of the cultural power to retain the existing audiences and to fascinate more audiences. Therefore, the dependency of non-American producers in relying on Netflix platform as a way to reach global audience, even the use of Americanization to their works for global audience's satisfaction, confirms the cultural power of America in its ability to bring economic advancement to other countries.
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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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Law, Jon, Rich Masters, Steven R. Bray, Frank Eves, and Isabella Bardswell. "Motor Performance as a Function of Audience Affability and Metaknowledge." Journal of Sport and Exercise Psychology 25, no. 4 (December 2003): 484–500. http://dx.doi.org/10.1123/jsep.25.4.484.
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Butler and Baumeister (1998) suggested that performance decrement of a difficult skill-based task occurring only in the presence of a supportive audience could be explained by “a cautious performance style” (p. 1226). A potential alternative explanation stems from Masters’ (1992) contention that skill failure under pressure occurs when performers attempt to control motor performance using explicit knowledge. It was proposed that a skill acquired with minimal metaknowledge (i.e., a limited explicit knowledge base) would remain robust regardless of audience type. To test this hypothesis, a table tennis shot was learned with either a greater or a lesser bank of explicit task knowledge. Performance was subsequently assessed in the presence of observation-only audiences, supportive audiences, and adversarial audiences. Consistent with hypotheses, supportive audiences induced performance decrement in the explicit-learning group only. It was argued that supportive audiences engender higher levels of internally focused attention than do adversarial or observation-only audiences, increasing the chance of disruption to skill execution when performance characteristics involve a large amount of explicit processing.
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Heo, Jeakang, Yongjune Kim, and Jinzhe Yan. "Sustainability of Live Video Streamer’s Strategies: Live Streaming Video Platform and Audience’s Social Capital in South Korea." Sustainability 12, no. 5 (March 4, 2020): 1969. http://dx.doi.org/10.3390/su12051969.
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Live streamers’ power and attraction influence consumer behavior. This study focuses on streamer-central formed social capital and the relationship between streamers and audiences on live streaming video platforms (LSVP). First, we explored the impact of trust, norm of reciprocity, and network on social capital formation. Second, we investigated the effect of social capital on streamers’ attributes (attractiveness, expertise, and trustworthiness) and on the audience’s social capital formation. The main findings show that trust and network positively affect social capital. Social capital increases the level of streamers’ attractiveness, expertise, and trustworthiness perceived by the audience, which facilitates sustainable development of the LSVP and the streamer. Perceived streamers’ attractiveness negatively affects social capital formation, while perceived expertise positively affects it. To promote social capital development, streamers and operators of LSVPs should continuously emphasize social capital formation. Moreover, LSVPs should provide audiences with novel and interesting content to enable active networking. For sustainable development of LSVPs, when providing live streaming video services, streamers should deliver content that the audience perceives as based on their expertise rather than on their physical attractiveness.
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Ceron, Andrea, and Sergio Splendore. "From contents to comments: Social TV and perceived pluralism in political talk shows." New Media & Society 20, no. 2 (September 12, 2016): 659–75. http://dx.doi.org/10.1177/1461444816668187.
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Going beyond source and content pluralism, we propose a two-dimensional audience-based measure of perceived pluralism by exploiting the practice of “social TV”. For this purpose, 135,228 tweets related to 30 episodes of prime time political talk shows broadcast in Italy in 2014 have been analyzed through supervised sentiment analysis. The findings suggest that the two main TV networks compete by addressing generalist audiences. The public television offers a plural set of talk shows but ignores the anti-political audience. The ideological background of the anchorman shapes the audience’s perception, while the gender of the guests does not seem to matter.
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Banta, Emily. "Agonistic Audiences: Comic Play in the Early National Theater." American Literature 92, no. 3 (September 1, 2020): 429–55. http://dx.doi.org/10.1215/00029831-8616139.
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Abstract This essay considers how rowdy theater audiences contributed to a broader cultural understanding of democratic politics in the early United States, showing how raucous and occasionally riotous theater patrons enacted a form of popular rule that was predicated on the paying audience’s sovereign right to pleasure. Agonistic audiences thrived on the conflictual dynamics of disorder and dissidence, but their unruly practices only rarely devolved into mob violence, precisely because theatergoers largely understood themselves to be at play. I examine various accounts of theatrical disturbance, including Washington Irving’s famous depiction of a disorderly audience, to demonstrate how patrons cultivated a comic mode of sociality, one that foregrounded and maintained the essential playfulness of social contest. Such comic play acknowledged a horizon of popular enjoyment that stood in excess of rational-critical public discourse. The comic mode has long been undertheorized in literary and cultural studies of the early United States, yet it holds key insight into the practices of both early national theater and early national politics. By way of example, I offer a comic reading of Royall Tyler’s The Contrast (1787) that reveals the imprint of the agonistic audience on the repertoire of the period, shedding new light on nineteenth-century genealogies of performance.
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Yousry, Mustafa. "Effects of Editing Style on the Perceived Meaning." International Journal of Art, Culture and Design Technologies 3, no. 2 (July 2013): 14–26. http://dx.doi.org/10.4018/ijacdt.2013070102.
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Since 1980s, classic editing conventions have been modifying into new forms characterized mostly by quickly changing images. Within the Egyptian context, this study has examined the effects of those newer video editing styles on audiences' perception of television. Six short videos edited following the conventions of those newer editing styles were presented to two sample groups of Egyptian audiences, these two groups of participants represented two generational audiences: elderly television audience (aged between 50 and 60 years old), and young television audience (aged between 18 and 22 years old). Data regarding the nature of the meanings constructed by different audiences were collected and compared. The results confirmed that those newer editing styles have produced a new generation of Egyptian spectators who interact with the television medium in a different way than previous generations.
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Edwards, Paul J. "Catering to White Audiences." TDR: The Drama Review 65, no. 2 (June 2021): 173–78. http://dx.doi.org/10.1017/s1054204321000150.
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Jackie Sibblies Drury’s Fairview attempts to implicate white audience members in spectating Black life in order to make room for audiences of color to imagine a story built outside narratives of overcoming. Yet Fairview expects and operates under the assumption that there is a white audience to respond to the work, and leaves audience members of color exposed once more to the white gaze.
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Schieber, Danica L., and Vincent D. Robles. "Using Reflections to Gauge Audience Awareness in Business and Professional Communication Courses." Business and Professional Communication Quarterly 82, no. 3 (June 4, 2019): 297–316. http://dx.doi.org/10.1177/2329490619851120.
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This study describes how reflections allowed students to express their audience awareness as they wrote a multiaudience messages packet. We present an analysis of 27 reflections in which students described their experience when responding to the various audiences. Students’ reflective depth varied, though deeper reflections demonstrate sophistication in considering audience constraints and values. Students reported difficulty with negative and persuasive messages and indicated concern about their credibility. Reflections can help instructors understand how students are considering audiences for business documents, which instructors can use to improve their instruction and assess how well students consider business audiences.
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Kemp, Elyria, and Sonja Martin Poole. "Arts Audiences: Establishing a Gateway to Audience Development and Engagement." Journal of Arts Management, Law, and Society 46, no. 2 (March 14, 2016): 53–62. http://dx.doi.org/10.1080/10632921.2016.1150929.
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Havens, Timothy J. "Algorithmic Audience Modeling and the Fate of African American Audiences." JCMS: Journal of Cinema and Media Studies 60, no. 1 (2020): 158–62. http://dx.doi.org/10.1353/cj.2020.0071.
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Chambers, Todd. "Audience evolution: New technologies and the transformation of media audiences." Journal of Communication 61, no. 4 (August 2011): E1—E4. http://dx.doi.org/10.1111/j.1460-2466.2011.01572.x.
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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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Randazzo, Chalice. "About Face: Reflexively Considering “Audience” in Hiring Situations." Journal of Business and Technical Communication 33, no. 2 (December 9, 2018): 203–32. http://dx.doi.org/10.1177/1050651918816355.
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Using data from 88 students, 20 advisers, and 24 hirers about U.S. résumés, this article focuses on face of the company, the concept of employers' evaluating how well applicants might represent a company. The results of applying rhetorical listening’s identification–disidentification to “face” suggested two outcomes and their implications. First, primary audiences invoked secondary audiences to the point in which they conflated, suggesting that résumés should incorporate secondary audiences. Second, hirers sometimes violated their own beliefs about diversity hiring because of audiences they invoked, suggesting that because invoking audience can perpetuate inequitable hiring practices, hirers should be more nuanced about the audiences they choose.
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Febriyanti, Syafrida Nurrachmi. "THE EXPLOITATION OF AUDIENCE AS DIGITAL LABOUR IN INDONESIAN YOUTUBE PLATFORM." Profetik: Jurnal Komunikasi 14, no. 1 (August 18, 2021): 21. http://dx.doi.org/10.14421/pjk.v14i1.1876.
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Abstract. In today's digital era, the internet is present in new media and has eliminated the boundaries between production and consumption space. Audiences are no longer just consumers but also actively participate in producing digital content that is uploaded and shared with other audiences. YouTube as one of the most consumed platforms by the audience has driven cultural change in the digital society. YouTube audiences are no longer simply enjoying content produced by the media as in the era of Television but they are watching content produced by other YouTube audiences. The YouTube audience is no longer the role of consumers but also as digital labours who are exploited above economic interests. This study aims to determine the role of the audience as digital labours in the YouTube industry in Indonesia. The research method used is digital discourse which will help researchers to uncover the motivations behind a text. The research results show that the YouTube audience is exploited in the accumulation of capital owners because their activities in producing culture and their attention to cultural content that generates data to attract advertisers' attention have resulted in profits for capital.
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Li, Xi, Runzhe Yu, and Xinwei Su. "Environmental Beliefs and Pro-Environmental Behavioral Intention of an Environmentally Themed Exhibition Audience: The Mediation Role of Exhibition Attachment." SAGE Open 11, no. 2 (April 2021): 215824402110279. http://dx.doi.org/10.1177/21582440211027966.
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Many scholars have focused on the role of exhibitions in business promotion, and numerous studies have been conducted. The exhibition may influence the audience’s behaviors through the dissemination of information and ideas, but few researchers have looked into this further. There is a distinct lack of research on the process of exhibition influencing people’s behavioral intentions. Based on the belief–emotion–norm theoretical model, this study integrates environmental beliefs, exhibition attachment, and an audience’s environmental behavior intentions into a research model to explain how the exhibition affects the audience. The Macau International Environmental Cooperation Forum & Exhibition attendees served as the research object in the current empirical study. The study’s findings suggest that audiences’ environmental beliefs may have a significant and positive impact on their attachment to environmentally themed exhibitions as well as their environmental behavioral intentions. This study also confirmed that attachment to exhibitions, a temporary space, can play an important mediating role between environmental beliefs and intentions to engage in pro-environmental behavior. The exhibition dependency, in particular, acts as a mediator between environmental beliefs and pro-environmental behavior intentions. Although the mediating effect of exhibition identity is insignificant, exhibition dependence–exhibition identity as a whole has a partial mediating effect in the process of influencing exhibition audiences’ environmental behavior. This research helps to improve our understanding of how environmentally themed exhibitions influence audience behavior. It also has implications for exhibition organizers in terms of better exhibition planning, more effective information transmission, and influencing audience behavior.