Academic literature on the topic 'Popular spectators'
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Journal articles on the topic "Popular spectators"
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Crossman, Jane E. "Spectators' Behavior at Minor League Hockey Games: An Exploratory Study." Perceptual and Motor Skills 63, no. 2 (October 1986): 803–12. http://dx.doi.org/10.2466/pms.1986.63.2.803.
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The purpose of this study was to assess the behavior of spectators viewing minor league hockey in Thunder Bay, Ontario, Canada. The behavior of 272 (142 men, 130 women) randomly selected spectators was assessed using a special code. Spectators were observed for 10-sec. time blocks and the predominant behavior they were emitting was recorded. During each observation session, three subjects were observed in serial order for the duration of the hockey game. Significant differences were found for some behaviors of the spectators when the level of the athletes in the competition, the importance of the contest, and the sex of the spectator were considered. Spectators viewing hockey played at older ages (Bantam, Midget) watched the game more and were more negative toward the athletes. Spectators seemed to be more attentive to the game during houseleague games than to tournament and play-off games. Males tended to watch the game more than females who interacted with other spectators. The findings did not support the popular notion that spectators viewing minor league hockey are a verbally abusive group.
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Kringstad, Morten, Tor-Eirik Olsen, Tor Georg Jakobsen, Rasmus K. Storm, and Nikolaj Schelde. "Match Experience at the Danish Women’s Soccer National A-Team Matches: An Explorative Study." Sustainability 13, no. 5 (March 2, 2021): 2642. http://dx.doi.org/10.3390/su13052642.
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Women’s soccer is more popular than ever, but match attendance is still relatively low. In order to develop sustainable revenue streams for women’s football, and help it grow further, it is necessary to understand what drives spectator’s overall demand. We explore factors that affect the overall match experience for spectators (i.e., spectator satisfaction) attending Danish women’s national soccer A-team games in the 2016 to 2019 period as a proxy for this. Using survey data gathered by the Danish Football Association (DBU) consisting of 4010 individuals and 13 matches, coupled with other match-specific data, we employ multilevel regression modelling. The results at the individual level suggest that female spectators are significantly more content with the overall match experience, while several additional factors are also important at the match-specific level, such as kick-off time and the result. Furthermore, there are indications that match significance and derby matches affect overall match experience. An important implication of these results is that they can aid national and international federations and other governing bodies in promoting women’s soccer in general, and women’s national A-team soccer specifically, in order to help the sport to become more financially viable. Although numerous initiatives have been designed to increase the attractiveness of women’s soccer, these are yet to materialize into long-term effects.
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Reynolds, Dee. "‘Glitz and Glamour’ or Atomic Rearrangement: What do Dance Audiences Want?" Dance Research 28, no. 1 (May 2010): 19–35. http://dx.doi.org/10.3366/drs.2010.0003.
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While popular dance shows on stage and screen frequently attract audiences seeking the ‘glitz and glamour’ of spectacle and celebrity, much contemporary, experimental work holds more appeal for spectators in search of challenge and even disorientation. However, a significant element of viewing pleasure which cuts across these distinctions is the spectator's feeling of involvement with the dancer and/or the kinesthetics of the choreography. Indeed, facilitating audiences’ sense of intimacy/involvement with dancers can impact dramatically on the effect of cutting-edge choreography which might otherwise be experienced as difficult and obscure. I shall discuss audiences’ response and attraction to popular shows such as Strictly Come Dancing and compare these with responses to William Forsythe's choreography as performed by the ‘Ballet Boyz’.
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Ullah, Farman, Yigang Wu, Khalid Mehmood, Fauzia Jabeen, Yaser Iftikhar, Ángel Acevedo-Duque, and Ho Kwong Kwan. "Impact of Spectators’ Perceptions of Corporate Social Responsibility on Regional Attachment in Sports: Three-Wave Indirect Effects of Spectators’ Pride and Team Identification." Sustainability 13, no. 2 (January 10, 2021): 597. http://dx.doi.org/10.3390/su13020597.
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The professional sports events industry is becoming immensely popular due to a global social shift toward larger numbers of spectators at sports events and an ever-increasing variety of such events. This study aimed to investigate the impact of spectators’ perception of corporate social responsibility on regional attachment by applying social identity theory. The present study introduces two mediators, namely, spectators’ pride and team identification, to enlighten the relationship between spectators’ perception of corporate social responsibility and regional attachment, thus contributing to the literature on corporate social responsibility in sports. This quantitative study used a time-lagged approach to collect data in three waves at a time interval of one week and the final sample consisted of 511 respondents (i.e., spectators). Hierarchical regression analysis bootstrapping approach was utilized to analyze the hypothesis. We found that the spectators’ perceptions of corporate social responsibility positively influenced their team identification, and this relationship was mediated by spectators’ pride. In addition, spectators’ pride positively influences regional attachment, and this relationship is mediated by team identification. These findings provide new directions for understanding corporate social responsibility, team identification, spectators’ pride, and regional attachment in sports contexts. The practical and theoretical implications are discussed.
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Ullah, Farman, Yigang Wu, Khalid Mehmood, Fauzia Jabeen, Yaser Iftikhar, Ángel Acevedo-Duque, and Ho Kwong Kwan. "Impact of Spectators’ Perceptions of Corporate Social Responsibility on Regional Attachment in Sports: Three-Wave Indirect Effects of Spectators’ Pride and Team Identification." Sustainability 13, no. 2 (January 10, 2021): 597. http://dx.doi.org/10.3390/su13020597.
Full textAbstract:
The professional sports events industry is becoming immensely popular due to a global social shift toward larger numbers of spectators at sports events and an ever-increasing variety of such events. This study aimed to investigate the impact of spectators’ perception of corporate social responsibility on regional attachment by applying social identity theory. The present study introduces two mediators, namely, spectators’ pride and team identification, to enlighten the relationship between spectators’ perception of corporate social responsibility and regional attachment, thus contributing to the literature on corporate social responsibility in sports. This quantitative study used a time-lagged approach to collect data in three waves at a time interval of one week and the final sample consisted of 511 respondents (i.e., spectators). Hierarchical regression analysis bootstrapping approach was utilized to analyze the hypothesis. We found that the spectators’ perceptions of corporate social responsibility positively influenced their team identification, and this relationship was mediated by spectators’ pride. In addition, spectators’ pride positively influences regional attachment, and this relationship is mediated by team identification. These findings provide new directions for understanding corporate social responsibility, team identification, spectators’ pride, and regional attachment in sports contexts. The practical and theoretical implications are discussed.
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Fernández, Carolina Ramos. "El ánima sola : Enrique Buenaventura adapta a Tomás Carrasquilla." Acta Hispanica 15 (January 1, 2010): 69–81. http://dx.doi.org/10.14232/actahisp.2010.15.69-81.
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The Colombian playwright Enrique Buenaventura adapted for the scene the story of qualified Tomás Carrasquilla “The alone soul”. It is not the first time that the first one adapts to the second one so his pieces: In the God's righthand side father, The Guariconga (inspired by the work Palonegro); San Antoñito also they inspired also by the work of the novelist, taking it as a point of item for his theatrical theory. In all the cases, Enrique Buenaventura searches, in Tomás Carrasquilla's work, the popular voice, the autochthonous speech, the known topic and the direct communication with the spectators and spectators of his epoch. Ingredients with which it re-elaborates the popular history opening new points of view, renewing prominent figures and introducing new characters without interferences.
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Guneratne, Anthony R. "Religious conflict, popular culture and the troubled spectators of recent Indian film." Contemporary South Asia 6, no. 2 (July 1997): 177–89. http://dx.doi.org/10.1080/09584939708719812.
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Ruvalcaba, Omar, Jeffrey Shulze, Angela Kim, Sara R. Berzenski, and Mark P. Otten. "Women’s Experiences in eSports: Gendered Differences in Peer and Spectator Feedback During Competitive Video Game Play." Journal of Sport and Social Issues 42, no. 4 (May 15, 2018): 295–311. http://dx.doi.org/10.1177/0193723518773287.
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Despite the growing popularity of eSports, the poor representation of women players points to a need to understand the experiences of female players during competitive gaming online. The present study focuses on female gamers’ experiences with positive and negative feedback and sexual harassment in the male-dominated space of eSports. In Study 1, gender differences were analyzed in online gamers’ experience with feedback from other players and spectators during online play. In Study 2, gender differences were analyzed in observations of real gameplay that focused on the types of comments spectators directed toward female and male gamers on Twitch (a popular video game streaming website). The findings suggest a mixed experience for women that includes more sexual harassment in online gaming compared with men.
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Király, Hajnal. "Arrested and Arresting: Intermedial Images and the Self-Reflexive Spectator of Contemporary Cinema." Acta Universitatis Sapientiae, Film and Media Studies 18, no. 1 (October 1, 2020): 57–71. http://dx.doi.org/10.2478/ausfm-2020-0003.
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AbstractThe paper departs from the assumption that while the analysis of the systematic effect that popular cinema (genres like melodrama, horror or action movies) has on its spectators has been largely discussed by film theorists, little has been written on the affective dimensions of arthouse cinema. The lasting effect of visually compelling films on the individual spectator’s emotions has been addressed only sporadically by cognitive film theory, film phenomenology and aesthetics. Therefore, the author proposes to bring together terms and concepts from different discourses (film and literary theory, intermediality studies and empirical psychological research of the literary effect) in order to elucidate how intermedial, painterly references in midcult and arthouse films mobilize the associative dimensions of film viewing and may have an impact on spectatorial self-reflexion and emotional growth. Moreover, films that rely on the associative power of still(ed) images, painterly references bring into play the personal and cultural experiences of the viewer. As such, they can be effectively used in professional and cultural sensitivization.
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Holman, Brett. "The meaning of Hendon: the Royal Air Force Display, aerial theatre and the technological sublime, 1920–37*." Historical Research 93, no. 259 (January 14, 2020): 131–52. http://dx.doi.org/10.1093/hisres/htz001.
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Abstract The annual Royal Air Force Display at Hendon was a hugely popular form of aerial theatre, with attendance peaking at 195,000. Most discussions of Hendon have understood it as ‘a manifestation of popular imperialism’, focusing on the climactic set-pieces which portrayed the bombing of a Middle Eastern village or desert fortress. However, scenarios of this kind were a small minority of Hendon’s set-pieces: most depicted warfare against other industrialized states. Hendon should rather be seen as an attempt to persuade spectators that future wars could be won through the use of airpower rather than large armies or expensive navies.
Dissertations / Theses on the topic "Popular spectators"
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Glynn, John Charles. "Kathakali: A study of the aesthetic processes of popular spectators and elitist appreciators engaging with performances in Kerala." University of Sydney. Performance Studies, 2001. http://hdl.handle.net/2123/834.
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This thesis looks at the diverse aesthetic approaches of onlookers to Kathakali, a traditional dance-drama extant in Kerala, India. Its particular contribution is based on fieldwork undertaken in the period 1991-93, especially in the districts of Trichur and Palghat, and distinguishes a continuum of two over-lapping broad groups: popular spectators and elitist appreciators who provide different, contesting voices in the interviews. The aesthetic processes of individuals within these groups of onlookers and the ways in which they may gradually change form the primary focus of this work. Respondents to interviews provide diverse descriptions of their interactions with performances according to their perceived membership to groups of popular spectators or elitist appreciators. They also identify dimensions of performance that may contribute to the development of their own performance competence and their subsequent transition from one group of onlookers to another. The influences that shape the diverse approaches of these groups and have been examined here include traditional Hindu aesthetics, religion, politics, caste structures and the changing shape of patronage, which is itself also a reflection of historical factors of governance. Kathakali is first presented as vignettes of performance that reflect different locations, venues, patronage and program choices. It is then situated in relation to extant, contiguous performance genres that have contributed to its development and/or often share its billing in traditional settings. The politics and aesthetics of the worlds of Kathakali are looked at not only in terms of their traditional, folkloric and classical development but also in contrast to more contemporary, secular and controversial dynamics that are impacting upon Kathakali today.
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Glynn, John. "Kathakali a study of the aesthetic processes of popular spectators and elitist appreciators engaging with performances in Kerala /." Connect to full text, 2001. http://hdl.handle.net/2123/834.
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Thesis (Ph. D.)--University of Sydney, 2002.Title from title screen (viewed Apr. 24, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Performance Studies, Faculty of Arts. Degree awarded 2002; thesis submitted 2001. Includes bibliography. Also available in print form.
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McCabe, Janet. "Addicted to distractions : imagined female spectator-participants and the early German popular cinema as discourse, 1910-1919." Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369685.
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Beaujeault, Camille. "Histoire culturelle d'une star de cinéma en France : Gérard Philipe, «le» jeune premier de l'après-Seconde Guerre mondiale (1946-1958)." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H048/document.
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Après la Seconde Guerre mondiale, Gérard Philipe est le seul acteur de sa génération, celle émergée à la Libération, à avoir acquis le rang de star. L'objectif de cette thèse est de comprendre l'ampleur du phénomène, comment et pourquoi, lui et pas les autres acteurs. En me référant au contexte de l'époque et inspirée par l'Histoire culturelle et les star studies, je propose l'analyse de sa persona cinématographique, sa construction médiatique, son image d'homme à la ville. Par la suite, j'émets donc l'hypothèse que Gérard Philipe est devenu une star car il a offert une figure nouvelle de masculinité juvénile et engagée, en opposition avec les normes genrées dominantes dans la société et le star-système en FranceAfter World War II, Gerard Philipe is the only actor of the young generation emerged after the war to become a star. The aim of this thesis is to understand why and how the process took place. Exploring the historic context and inspired by «Histoire culturelle» and the star studies, I try to examine his cinematographic persona, his representation in media, the image of the man in the city. I submit the hypothesis that Gerard Philipe became a star because he offered a figure of young manliness opposed to dominant gender standards in French society and star system
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Marko, Leslie Evelyn Ruth. "Dramaturgia cênica na empresa: do trabalhador anônimo ao ser visível." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-25102010-163520/.
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Este trabalho busca analisar uma experiência de teatro realizada durante 22 anos com funcionários de uma empresa e refletir sobre a relação possível entre o teatro e a empresa por meio de uma proposta de Dramaturgia Cênica. Para tanto, apresenta-se o resgate histórico do percurso através do levantamento e análise crítica de materiais significativos relativos às diversas encenações realizadas. Estabelece- se, também, um diálogo entre a experiência e alguns referenciais teóricos na perspectiva de um teatro brechtiano para a construção de um modelo que contribua para um processo de humanização, favorecendo transformações pessoais e interferências no ambiente de trabalho e na realidade social em geral.This dissertation sets out to analyse a theatre work experience developed with employees of one company over the course of 22 years. In it, I seek to reflect on the possible relationship between theatre and the company through a proposal for stage dramaturgy. To achieve this objective, it rebuilts the whole history line of this experience, through a selection and critical analisys of some relevant material about the groups theater productions. It also stabilishes a dialogue between the experience and some theoretical work, particularly about Brechtian theater, aiming to develop a model capable of contributing to the process of humanisation, encouraging personal transformation and changes in the workplace environment and in the broader social reality.
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Bernier, Catherine. "Vers une poétique de la narration : films populaires et romance au cinéma bollywoodien des années 1990." Thèse, 2010. http://hdl.handle.net/1866/4453.
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Dans ce mémoire, nous étudions les productions bollywoodiennes issues de la foisonnante industrie du film de Mumbai. Nous explorons la forme populaire que ce cinéma propose et la nouvelle tendance qui émerge dans les années 1990, à travers laquelle se développent des représentations liées à la nouvelle classe moyenne indienne.
Cette étude cherche à interroger les films les plus populaires des années 1990 afin de
comprendre comment ils déploient leurs narratifs et leur narration. En procédant à des analyses descriptives et poétiques des récits, l’étude est principalement préoccupée par le traitement de la romance, un thème majeur de cette décennie. À travers ce thème, nous analysons les motifs narratifs, les procédés stylistiques, les détours de l’expression des sentiments ainsi que les dynamiques entre les sphères privée, publique et familiale. Essentiellement, nous mettons en lumière comment la distribution des informations narratives place le spectateur dans une position privilégiée organisant les plaisirs de sa participation aux films bollywoodiens.In this dissertation, we study Bollywood productions from the prolific Mumbai film industry. We explore this popular cinema’s form and the new trend that appears in the 1990s, through which representations related to the new Indian middle-class are developed. In this study, we interrogate the most successful films of the 1990s in order to understand how they deploy their narratives and their storytelling. Proceeding to descriptive and poetical analysis of their narratives, this study is mainly concerned with the treatment of romance, a major theme of this decade. Through this theme, we analyze narrative patterns, stylistic processes, obliquely expressed feelings and the dynamics of the private, public and family spheres. Essentially, we illustrate how the distribution of narrative information situates the spectator in a privileged position organizing the pleasures of his participation in Bollywood movies.
Books on the topic "Popular spectators"
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Fuseli's Milton gallery: 'turning readers into spectators'. Oxford: Clarendon Press, 2006.
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Pohl, Frederik. Chasing science: Science as spectator sport. New York, NY: Tor, 2000.
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Pohl, Frederik. Chasing science: Science as spectator sport. New York: TOR/Tom Doherty Associates Book, 2003.
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Lewis, Jerry M. Sports fan violence in North America. Lanham, MD: Rowman & Littlefield, 2007.
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Sports fans, identity, and socialization exploring the fandemonium. Lanham, Md: Lexington Books, 2011.
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The spectator and the spectacle: Audiences in modernity and postmodernity. New York: Cambridge University Press, 2009.
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Rowan, Arthur Blennerhassett. " Newman's popular fallacies": Considered in six letters; reprinted, with introduction and notes, from the Spectator journal. London: British Library, 1986.
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Chowdhury, Arjun. Suffering Spectators of Development. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190686710.003.0007.
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This chapter offers an alternative view of the incidence and duration of insurgencies in the postcolonial world. Insurgencies and civil wars are seen as the primary symptom of state weakness, the inability of the central government to monopolize violence. Challenging extant explanations that identify poverty and low state capacity as the cause of insurgencies, the chapter shows that colonial insurgencies, also occurring in the context of poverty and state weakness, were shorter and ended in regime victories, while contemporary insurgencies are longer and states are less successful at subduing them. The reason for this is the development of exclusive identities—based on ethnicity, religion, tribe—in the colonial period. These identities serve as bases for mobilization to challenge state power and demand services from the state. Either way, such mobilization means that popular demands for services exceed the willingness to disarm and/or pay taxes, that is, to supply the state.
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Kibler, M. Alison. Women at Play in Popular Culture. Edited by Ellen Hartigan-O'Connor and Lisa G. Materson. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190222628.013.24.
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The story of women’s participation in popular culture is more complex than the struggle to be included. Feminist activists have fought for legislation to end discrimination in leisure, sports, and popular culture. At the same time, advertisers have coopted feminism to sell a variety of products as symbols of emancipation for women, substituting purchasing power for political power. Gaining visibility in the media and as target audiences, and breaking into male spheres have not been the end of these feminist struggles; rather, women who gained opportunities in sport and leisure were often stereotyped as “mannish” or cast in reassuring feminine roles—beauty icons or heterosexual romantic heroines. It is important to trace women’s pathbreaking roles as spectators, fans, performers, and athletes as well as show how sport and popular culture are fundamentally gendered.
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author, Black Jason Edward, ed. Mascot nation: The controversy over Native American representations in sports. University of Illinois Press, 2018.
Find full textBook chapters on the topic "Popular spectators"
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Atay, Simber. "On Seduction." In Seduction in Popular Culture, Psychology, and Philosophy, 58–75. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0525-9.ch003.
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Seduction is a sexual act, a sex instinct expression, a love practice, a body performance, a psychoanalytical problematic, a philosophical issue, a creative strategy full of phantasies from art to politics, from advertising to entertainment, from personal intimacy to mass-media. Seduction is basis of strip-tease profession, of course! But it is also a cultural metaphor. Seduction is an indispensable part of acting in performing arts. In cinema, actors and actress seduce spectators. In photography, photographer and photographed one, they seduce reciprocally. Seduction has very strong mythological origins. On the other hand, superman of Nietzsche, gaze of Bataille, objet petit a of Lacan are some adequate contemporary parameters to discuss the seduction concept. In this context, Le Samura? (1967) of Jean-Pierre Melville, Magic Mike (2012) of Steven Soderbergh, Jupiter Ascending (2015) of Lana and Andy (Lilly) Wachowski are our cinematographic examples. Eikoh Hosoe's project ‘Barakei' (1961), Duane Michals' project ‘Questions without Answers' (2001), Mehmet Turgut's self-portrait series (2000's) are our photographic examples. Within the text, we evaluate all these popular culture examples by using the mentioned parameters to describe what the seduction is.
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Lewis, Robert W. "‘A civic tool of modern times’: politics, mass society and the stadium." In The Stadium Century. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9781526106247.003.0003.
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This chapter explores how the stadium became central to a mode of political spectacle in France, from the mid-1920s up through the end of the Second World War, at a moment when it was also critical to politics elsewhere in Europe. A range of political luminaries and groups, from the anti-fascist Popular Front coalition to the Vichy regime, promoted stadium-based spectacles as a visible manifestation of political vitality, mass support and masculine citizenship. The stadium gave politicians a vast spectator space that proved ideal for staging political rallies, political plays or religious ceremonies that both aspired to transform spectators into active participants and that entailed efforts to discipline the public. But while the crowd may have been disciplined and mobilized inside the stadium, it also eluded those constraints and often disappointed those politicians seeking to create a unified public. In the years after the Second World War, the French stadium gradually disappeared as a pre-eminent staging-ground for mass politics, as the stadium crowd itself became progressively depoliticized.
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Hein, Robert James, and Jason A. Engerman. "Knowledge Production in E-Sports Culture." In Examining the Evolution of Gaming and Its Impact on Social, Cultural, and Political Perspectives, 238–57. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0261-6.ch011.
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Competitive video games, commonly referred to as “e-sports,” are becoming increasingly popular among young adults (van Ditmarsch, 2013). However, unlike more traditional, physical sports, these video games blur the lines between their participants and spectators (Cheung & Huang, 2011), encouraging veterans and newcomers alike to become contributing members evolving, digital affinity spaces. Bolstered by the affordances of live-streaming technology, e-sports culture constantly gathers its experts and novices together to play, compete, and discuss in real time. These inclusive practices help to facilitate the rapid knowledge and skill acquisition of all of its community members. Consequently, this chapter will explore how and why e-sports culture successfully champions participation and mastery learning. Likewise, the authors will discuss what teachers can learn and apply from this culture's values.
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Davies, Rachel Bryant. "Fish, Firemen, and Prize Fighters." In Epic Performances from the Middle Ages into the Twenty-First Century, 540–57. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0036.
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Burlesque drama—arguably the most widespread form of theatrical entertainment in nineteenth-century Britain—brought the Iliad and Aeneid to a wider range of spectators than those who traditionally encountered ancient literature and mythology at school. These entertainments both exploited contemporary performance culture and enacted the tensions between their composite ancient and modern sources. This chapter focuses on four successful examples of epic repackaged for the London stage, by renowned playwrights at leading theatres, who particularly revelled in negotiating the transformation of classical epic into popular drama: Thomas Dibdin’s Melodrama Mad! or, The Siege of Troy (1819, Surrey Theatre), Charles Selby’s Judgment of Paris; or, The Pas de Pippins (1856, Adelphi), Francis Cowley Burnand’s Dido (1860, St James’s), and his Paris, or Vive Lemprière! (1866, Strand). Analysis of these burlesques reveals deliberate anachronistic juxtapositions which turned the epic performances into complex games of identifying—or overlooking—their varied references.
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Sayan, Anıl, and Gunes Ekin Aksan. "Fan Culture in the Digital Age." In Handbook of Research on the Impact of Fandom in Society and Consumerism, 357–77. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1048-3.ch017.
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This article seeks to examine the impact of the stadium and its emotional references on spectators' virtual presence and experience. Specifically, the transfer of such practices to the online fan forum Ali-Sami-Yen.net, one of the largest unofficial fan forums founded by supporters of the Turkish popular football team Galatasaray in 1999, is inspected and the significance of spatiality for the football fan cultures is scrutinized with Maffesoli's concept of the “neo-tribe” in this chapter. The notion of neo-tribe helps to discuss the role of shared ambiance and emotions for the construction of the virtual experience in a fan forum. Methodologically, content and interaction among the users on Ali-Sami-Yen.net is analyzed through the primary sources including in-depth interviews and participant observation. It is concluded that the stadium attendance with its specific terrace culture practices constitutes a distinctive source of identity among the Galatasaray fans and their online forum is the replica of this experience.
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Wagner, Bryan. "The Trial of Romeo Rosebud." In Looking for Law in All the Wrong Places, 287–98. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823283712.003.0016.
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Theatricality was essential to the legal process in late nineteenth-century police courts. Structured to dispatch their dockets quickly and inexpensively, police courts had no pretense to due process, and their outcomes were left to the discretion of the mayor or magistrate, leaving a lot of room for improvisation. After the format for blackface theater was standardized in the 1840s, the afterpiece of many shows was set in a police court, and these burlesque courtroom scenes betray a surprisingly robust understanding of the mechanics of the minor judiciary. Combined readings of a blackface theater script and of late nineteenth-century reporting on these tribunals show how representations of police courts, which were viewed as a form of entertainment, derived from the standard minstrel repertoire. Spectators of the play as well as readers of newspapers experienced the courtroom as popular theater, where people whose rights were rarely respected experienced the theater of law.
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Benger Alaluf, Yaara. "Learning to consume emotional experiences." In The Emotional Economy of Holidaymaking, 124–54. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198866152.003.0006.
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This chapter focuses on the construction of the holidaymaker as an emotional subject by exploring vacationers’ expectations and experiences and examining how they actively shaped and were shaped by Victorian and Edwardian holiday culture. Drawing on popular stories and poems, vacationers’ accounts, and advice literature, it analyses the reciprocal relations between emotion knowledge, consumption, and subjectivity, emphasizing the various roles individuals played in the emotional economy of holidaymaking: as agents in the negotiation of the value ascribed to emotional experiences, as spectators and performers in the experience, and as co-producers of emotion knowledge. Homing in on moments of disappointment and boredom, the chapter demonstrates that holidaymakers of different genders and classes were aware of the medical view of holidaymaking, even though they did not always experience what was promised. Furthermore, the chapter explores the performative nature of holidaymaking, exposing the ways in which holidaymakers ‘learned how to feel’ by taking a disciplinary view of themselves and others during the holiday experience and by producing and consuming advice and popular literature that provided knowledge on what the emotional experience of holidays was supposed to be like. In contrast to frequent carnivalesque theorizations of holiday tourism, the resorts did not supply only change or contrast; they also provided a sense of normality, security, and familiarity. Tracing the development of the holidaymaker as a self-reflective consumer, the chapter also analyses the affinity between holidaymaking and authenticity.
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Dunn, Christopher. "Experience the Experimental." In Contracultura. University of North Carolina Press, 2016. http://dx.doi.org/10.5149/northcarolina/9781469628516.003.0003.
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Chapter 2 explores the connections between the artistic avantgarde and the counterculture. A small, but influential group of artists sometimes identified as “marginal” or “underground” coalesced in the aftermath of Tropicália. Cultura marginal may be located at the intersection of two cultural phenomenon: On one hand it had deep affinities with the emergent counterculture. On the other hand, cultura marginal was indebted to the mid-century constructivist avant-garde, especially neo-concretism. The author discusses the work of experimental artist, Hélio Oiticica and Lygia Clark, who developed a series of environmental and performative works that demanded the active participation of spectators to create meaning. The author explores Oiticica’s dialogue with experimental writer and songwriter, Waly Salomão, whose work circulated within the rarified field of experimental writing, while also finding a mass audience through popular music, notably in the performances of Gal Costa. The author devotes a section to the journalist and artist Torquato Neto, who promoted cultura marginal and also performed in “Nosferato no Brasil,” a celebrated example of Super 8 film. Finally, the author analyzes the publication Navilouca, a graphic and textual project that brought together key figures of cultura marginal and the avantgarde.
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Cruz, Ariane. "Techno-Kink." In The Color of Kink. NYU Press, 2016. http://dx.doi.org/10.18574/nyu/9781479809288.003.0005.
Full textAbstract:
Chapter 4 interrogates the simultaneity of the “technologies” of sexuality, race, gender, pleasure, and visuality. Focusing my analysis on one popular contemporary U.S. hard-core BDSM pornography website, kink.com, and its use of fucking machines, I analyze performances of racialized sexuality staged through multimodal intimate points of encounter—between human and machine; black and white; “man,” “woman,” and cyborg; self and other. I examine the collaborative laboring of technologies—sexuality, race, gender, pleasure, and visuality—as they delineate the material and symbolic ontological boundaries of the black female body and black women’s erotic subjectivity. While the machines most explicitly labor as technologies of pleasure, they also operate as technologies of race that reveal race as a technology. I read the fucking-machine performances as imbricated technologies of racialization, sexualization, gendering, visuality, and pleasure in the context of theories of race and/as technology and “new media” discourses of race in cyberspace. Fuckingmachines.com exhibits complex technologies of racialization performed at multiple, overlapping sites: machines, performers, and spectators. Illuminating the racialized and gendered corporealization of sex and sexual pleasure, these fucking machines and their sexual performances reveal the interlocking systems of race, gender, and sexuality as not only mechanized but also as mechanisms of power.
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Wyke, Maria. "Word and Image." In The Novel of Neronian Rome and its Multimedial Transformations, 143–64. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198867531.003.0009.
Full textAbstract:
The pioneering Italian film Quo vadis? (1913, dir. Enrico Guazzoni) is widely recognized as a turning point in both film history and the popular reception of the ancient world. Its feature-length adaptation of the Polish novel sought to nationalize the Italian public through the presentation of a common cultural heritage in the Roman past, to raise the commercial prestige of the Italian film industry in global markets, and to increase the artistic status of cinema and legitimate it as a respectable form of entertainment. Its use of nineteenth-century historical fiction also provided a radically new way of experiencing Neronian Rome, related to but distinct from the reconstruction of the Roman past in other high cultural forms. The film achieved substantial success, reaching spectators of all classes throughout Italy and across the world. Yet when it was first released, some critics deplored it as cheap, facile ‘wordless images’—a harbinger of a ‘cinema age’ that would threaten the survival of theatre, the book, and even literacy itself. This chapter draws on recent work in adaptation studies to reconceptualize the relationship between the Italian film and the Polish novel as more complex than image to word. And, through its analysis of the afterlife of Sienkiewicz’s novel on screen, this chapter explores cinema more broadly as a mode of expression that is not inferior to the book but more varied, and in possession of extensive ideological and aesthetic, as well as mass-market, reach.