Artykuły w czasopismach: „Audience studies”

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Lindlof, Thomas R., Lea P. Stewart, Stella Ting-Toomey, Doug R. Berdie i James U. McNeal. "Audience Studies". Communication Booknotes 18, nr 3-4 (marzec 1987): 32–34. http://dx.doi.org/10.1080/10948008709488177.

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Mayer, Vicki. "The Places Where Audience Studies and Production Studies Meet". Television & New Media 17, nr 8 (1.08.2016): 706–18. http://dx.doi.org/10.1177/1527476416652482.

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Audience studies and production studies have had largely separate trajectories in research, despite their shared grounded theory agendas and research methods. Drawing on a larger ethnography of media audiences and producers, this article shows how the human subjects of audience studies and production studies might be studied together to reveal the power relations involved in mass media production processes. In this particular case study, fans and extras for the television series Treme (2010–2013) shared a discourse around the place of viewing and making which strove to articulate a common culture despite the real hierarchical barriers between audiences and production personnel.

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Gray, Jonathan. "Reviving audience studies". Critical Studies in Media Communication 34, nr 1 (23.12.2016): 79–83. http://dx.doi.org/10.1080/15295036.2016.1266680.

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Quintas-Froufe, Natalia, i Ana González-Neira. "Active audiences: Social audience participation in television". Comunicar 22, nr 43 (1.07.2014): 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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Balfour, Virginia H. "Likes, comments, action! An examination of the Facebook audience engagement strategies used by strategic impact documentary". Media International Australia 176, nr 1 (23.02.2020): 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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Dhani, Kurnia Rahmad. "EMPTY BENCH IN INDONESIAN PERFORMING ARTS STUDIES: AUDIENCE". TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, nr 2 (13.09.2021): 83–91. http://dx.doi.org/10.24821/tnl.v18i2.5886.

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Many Indonesian performing art experts have stated that audience studies were conducted in minimal numbers. However, the exact number of research on performing art audiences in Indonesia remains unclear. The factors that influence it are still not known in detail. This paper used a literature review on seven nationally accredited performing arts journals from art institutes in Indonesia over the past ten years. The results showed that only 3 out of 1034 journal titles focusing on performing art audiences in the last ten years. From these findings, we can conclude that the study on the audiences is so scarce. This research theme is not interesting for performing art experts in Indonesia. Indonesian performing art experts and academicians have left the importance of audience studies. This paper also discusses the factors that influence the negligible of performing arts audience studies in Indonesia.

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Gillard, Patricia. "Shaping Audiences Online: Principles of Audience Development for Cultural Institutions". Media International Australia 94, nr 1 (luty 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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Heim, Caroline. "‘Argue with Us!’: Audience Co-creation through Post-Performance Discussions". New Theatre Quarterly 28, nr 2 (maj 2012): 189–97. http://dx.doi.org/10.1017/s0266464x12000279.

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In this article Caroline Heim explores an avenue for the audience's contribution to the theatrical event that has emerged as increasingly important over the past decade: postperformance discussions. With the exception of theatres that actively encourage argument such as the Staatstheater Stuttgart, most extant audience discussions in Western mainstream theatres privilege the voice of the theatre expert. Caroline Heim presents case studies of post-performance discussions held after performances of Anne of the Thousand Days and Who's Afraid of Virginia Woolf? which trialled a new model of audience co-creation. An audience text which informs the theatrical event was created, and a new role, that of audience critic, established in the process. Caroline Heim is a lecturer in Performance Studies at Queensland University of Technology. Her PhD examined the changing role of theatre audiences in recent years.

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Kjeldsen, Jens Elmelund. "Studying Rhetorical Audiences – a Call for Qualitative Reception Studies in Argumentation and Rhetoric". Informal Logic 36, nr 2 (14.07.2016): 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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Hermes, Joke, Annika van den Berg i Marloes Mol. "Sleeping with the enemy: Audience studies and critical literacy". International Journal of Cultural Studies 16, nr 5 (11.03.2013): 457–73. http://dx.doi.org/10.1177/1367877912474547.

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Audience studies is not the vibrant field it was in its 1980s and early 1990s heyday. Cultural studies today has a more balanced interest in production, audiences and texts. A renewed focus in audience studies on everyday meaning production, identity and relations of power could benefit from recent developments. Theorization of power especially has benefited from recent work on governmentality. In accord with recent work on ‘affect’, there is an opportunity for renewed vitality and urgency. Was audience studies damaged beyond repair by the charge that it is a populist field that celebrates rather than interrogates everyday media culture? Could a concept such as cultural literacy provide a bridge to help re-establish the critical credibility of audience studies or would it burden this field with its implied notions of standards, distinction and cultural exclusion? The article discusses recent work with youth audiences to inquire into the possibilities of ‘critical literacy’. It proposes taking up questions and insights raised by affect theory, to merge appreciation, criticism and understanding of the forces that drive (the possibility of) change, and to embed critical literacy in cultural studies’ ongoing interest in the construction of (cultural) citizenship.

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PHILLIPS, D. Z. "LINDBECK'S AUDIENCE". Modern Theology 4, nr 2 (styczeń 1988): 133–54. http://dx.doi.org/10.1111/j.1468-0025.1988.tb00161.x.

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Huang, Tseng-Lung, i Yi-Mu Chen. "Young audiences’ emotional experience on smartphone film: an application of dual-coding theory". Young Consumers 15, nr 2 (10.06.2014): 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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Siudikienė, Daiva. "Auditorijos sampratos paradigmų kaita". Informacijos mokslai 61 (1.01.2012): 93–112. http://dx.doi.org/10.15388/im.2012.0.1068.

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Evoliucionuojant medijoms požiūriai į auditorijas nuolat kito. Auditorijos kaip kolektyvinės medijų pranešimų gavėjos savo esme yra itin dinamiškos ir kintančios struktūros. Kiekviena naujai atsirandanti medija darė įtaką auditorijų kaitos procesams ir skatino mokslininkus iš naujo įvertinti auditorijas formuojančius veiksnius bei persvarstyti jų sampratos aktualumą.Straipsnyje nagrinėjama, kaip kito auditorijų samprata per visą studijų laikotarpį, ir klausiama, kokios auditorijos koncepcijos gyvuoja šiandien, kai iškyla medijų auditorijos, veikiančios daugiakanalėje daugialypės terpės erdvėje.Reikšminiai žodžiai: publikos, minia, masės, auditorijos, masinė auditorija, naujosios medijos, konvergencija, medijų naudotojai, medijų auditorijos.Shifts of the audience’s paradigmsDaiva SiudikienėSummaryThis paper reveals the main theoretical approaches which influence the construction and shifts of the audience’s paradigms. The audience studies developed eventually under the influence of contradictory theoretical perspectives. It was stated that the significant processes had started long before the academic discipline formation, but intellectual discussions on the reflections of the massification processes were significant for developing the theoretical background for further audience studies. Contemplations on such concepts as public, crowd, mass, mass society, mass audience are closely related to the traditions of political theory, social philosophy and cultural history of the late 19th and the 20th centuries. Development of the communication sciences measures more than one hundred years, but the audience as an equivalent participator of the communication process had been recognized only at the end of the 20th century. For a long time, the audiences had been approached as unqualified and unable to evaluate the media production properly. Therefore, the conception of audience as the market dominated throught a couple of decades and formed the research traditions of the audience as a quantitatively measured object. The extent remains the most significant indicator in this research area, but the audience studies have generated much more concepts. Side by side with the citizens audience, there emerged the notions of the interpretive communities and lifestyle audiences. The recognition of the fact that the audience members differ in their socio-cultural and national characteristics, knowledge, experience in the use of media and other aspects, clarification of this notion remain a complicated matter. The most important facet should be the point that the individuals realize their role differently as an audience, but all together they are in the process of creating the cognitive schemes and the collective ideals as a certain united community. The rise of the new media has generated unprecedented processes in the post-modern societies and new notions applied for media users. It was stated that, despite the media explosion and the audience fragmentation, this term remains relevant. The new media environment is recasting the notion of audience for covering a wide range and multifaceted activities of media users. Therefore, the new roles of media users are under consideration. According to the author of this paper, as the most meaningful concepts should be recognized those that indicate the creative potential of the audience.

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Stoltenberg, Daniela, Barbara Pfetsch, Alexa Keinert i 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, nr 3 (lipiec 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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Starkey, Guy. "Estimating audiences: sampling in television and radio audience research". Cultural Trends 13, nr 1 (marzec 2004): 3–25. http://dx.doi.org/10.1080/0954896042000216428.

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Carter, Marcus, i Ben Egliston. "The work of watching Twitch: Audience labour in livestreaming and esports". Journal of Gaming & Virtual Worlds 13, nr 1 (1.03.2021): 3–20. http://dx.doi.org/10.1386/jgvw_00025_1.

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This article focuses on the interactivity afforded to audiences by the video game livestreaming platform twitch.tv. Drawing on theories of audience labour, we explore what audience interactivity on Twitch might mean within the context of the contemporary digital economy. Specifically, and inspired by a range of existing work in media and cultural studies research on audiences, we argue that interactive audience practices on Twitch can be read as a site of ‘audience work’. Our contention is that the various kinds of interactive, audience practices on Twitch generate considerable economic value for the platform and its broadcasters. In the context of growing academic interest in livestreaming platforms like Twitch, this article contributes a new perspective towards the role that the interactivity of Twitch plays in creating commodified and commercially desirable experiences via the labour of audience activity.

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Carter, Marcus, i Ben Egliston. "The work of watching Twitch: Audience labour in livestreaming and esports". Journal of Gaming & Virtual Worlds 13, nr 1 (1.03.2021): 3–20. http://dx.doi.org/10.1386/jgvw_00025_1.

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This article focuses on the interactivity afforded to audiences by the video game livestreaming platform twitch.tv. Drawing on theories of audience labour, we explore what audience interactivity on Twitch might mean within the context of the contemporary digital economy. Specifically, and inspired by a range of existing work in media and cultural studies research on audiences, we argue that interactive audience practices on Twitch can be read as a site of ‘audience work’. Our contention is that the various kinds of interactive, audience practices on Twitch generate considerable economic value for the platform and its broadcasters. In the context of growing academic interest in livestreaming platforms like Twitch, this article contributes a new perspective towards the role that the interactivity of Twitch plays in creating commodified and commercially desirable experiences via the labour of audience activity.

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Mikosza, Janine. "In Search of the ‘Mysterious’ Australian Male: Editorial Practices in Men's Lifestyle Magazines". Media International Australia 107, nr 1 (maj 2003): 134–44. http://dx.doi.org/10.1177/1329878x0310700113.

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The men's lifestyle magazines FHM (For Him Magazine) and Ralph are a significant presence in the Australian market, and both target a specific readership of young, heterosexual men. My central research question concerns how desired audiences are constructed or imagined at the ‘front end’ of magazine production. One of the major tasks of the editors and publishers of these magazines is to access, and compete for, an audience. This paper aims to examine the contradictions apparent in the editorial practices of defining or envisioning an audience for Ralph and FHM. To understand the process of how they produce the magazines, I examine the editorial staffs' conceptions of the ‘audience’; the ways in which it is created and for what purposes, as well as the terms used to describe this integral part of the industry. How the audience is defined and constructed highlights how contradictions, creativity and constraint operate in defining the audience.

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Lim Xing Fei, Faye, i Ker Yuek Li. "A JOURNEY TO EXPLORE THE INFLUENCE OF YOUTUBER TO GENERATION Z". Asian Journal of Applied Communication 12, S2 (16.06.2022): 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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Pack, Sam. "Television's unintended audience". Visual Anthropology 14, nr 2 (czerwiec 2001): 155–71. http://dx.doi.org/10.1080/08949468.2001.9966823.

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Hefner, Philip. "BROAD EXPERIENCE? GREAT AUDIENCE?" Zygon® 42, nr 1 (27.02.2007): 3–6. http://dx.doi.org/10.1111/j.1467-9744.2006.00800.x.

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Antonioni, Stefania, Luca Barra i Chiara Checcaglini. "‘SKAM Italia did it again’. The multiple lives of a format adaptation from production to audience experience". Critical Studies in Television: The International Journal of Television Studies 16, nr 4 (grudzień 2021): 433–54. http://dx.doi.org/10.1177/17496020211049363.

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SKAM Italia, the Italian version of the Norwegian SKAM format, was first released in Spring 2018 and has reached its fourth season in May 2020, overcoming several industrial struggles and slowly engaging an increasing, young and local audience. This article aims to integrate a production–distribution and reception perspective, showing how they mutually reinforce the series’ identity: the peculiarity of SKAM’s distribution system fostered the audience’s engagement, until its complicated production history brought the series to a more conventional circulation. Mutual exchanges between professionals and audiences on a global level are always counterbalanced by national negotiations, influencing the series’ life cycle.

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Dahlén, Micael, Henrik Sjödin, Helge Thorbjørnsen, Håvard Hansen, Johanna Linander i Camilla Thunell. "“What will ‘they’ think?”". European Journal of Marketing 47, nr 11/12 (11.11.2013): 1825–40. http://dx.doi.org/10.1108/ejm-10-2011-0597.

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Purpose – This paper aims to investigate how marketing leakage to undesired audiences, a common phenomenon in today's globally connected world of consumers, impacts on the target audience, and how marketers can mitigate the negative effects of leaked marketing. Design/methodology/approach – The authors conduct three studies in line with research on the third-person effect (TPE). The studies feature experimental designs with participants from neighbouring countries. Findings – The first study finds that people in the intended target audience expect and overestimate a (negative) reaction in the undesired audience to marketing leakage, and this impacts negatively on their own reactions. The second study replicates and extends the findings, showing that explicit information that marketing has leaked to an undesired audience impacts negatively on both the attitudes and behaviors of the intended, target audience. The third study tests potential strategies to mitigate the negative effects of leaked marketing and finds that the most important thing is to inform the intended target audience that the undesired audience has accepted the marketer's actions. Research limitations/implications – Extending the TPE to marketing, this is, to the authors' knowledge, a first investigation of the previously neglected phenomenon of marketing leakage and the impact of undesired audiences on marketing effectiveness. It hopes to stimulate further research on consequences of marketing leakage and enrich research on international advertising and crisis management. Originality/value – This is, to the authors' knowledge, the first inquiry into how and why marketing leakage to undesired audiences impacts on the intended target audience, and how negative effects can be mitigated. The original use of a third-person approach in this setting helps explain marketing effectiveness and assess managerial strategies.

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Cavalcante, Andre, Andrea Press i Katherine Sender. "Feminist reception studies in a post-audience age: returning to audiences and everyday life". Feminist Media Studies 17, nr 1 (2.01.2017): 1–13. http://dx.doi.org/10.1080/14680777.2017.1261822.

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Wu, Lin. "Multimodal Opera Performance Form Based on Human-Computer Interaction Technology". International Transactions on Electrical Energy Systems 2022 (8.10.2022): 1–13. http://dx.doi.org/10.1155/2022/4003245.

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“Audience Engagement (AE)” describes how a stage performance affects the audience’s thoughts, provokes a bodily response, and spurs cognitive growth. With little audience involvement, theatre performing arts like opera typically have difficulty keeping audiences’ attention. The brain-computer interaction (BCI) technology could be used in opera performances to alter the audience’s emotional experience. Nevertheless, for such BCI systems to function, they must accurately identify their participants’ present emotional states. Although difficult to evaluate, audience participation is a vital sign of how well an opera performs. Practical methodological approaches for real-time perception and comprehension of audience emotions include psychological and physiological assessments. Hence, a multimodal emotional state detection technique (MESDT) for enhancing the AE in opera performance using BCI has been proposed. Three essential steps make up a conceptual MESDT architecture. An electroencephalogram (EEG) and other biological signs from the audience are first captured. Second, the acquired signals are processed, and the BCI tries to determine the user’s present psychological response. Third, an adaptive performance stimulus (APS) is triggered to enhance AE in opera performance, as determined by a rule base. To give the opera audience a high-quality viewing experience, the immersive theatre performance has been simulated. Fifty individuals have been used in the experimental assessment and performance studies. The findings demonstrated that the proposed technology had been able to accurately identify the decline in AE and that performing stimuli had a good impact on enhancing AE during an opera performance. It has been further shown that the suggested design improves the overall performance of AE by 5.8% when compared to a typical BCI design (one that uses EEG characteristics solely) for the proposed MESDT framework with BCI.

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Hermes, Joke. "Audience Studies 2.0. On the theory, politics and method of qualitative audience research". Interactions: Studies in Communication & Culture 1, nr 1 (wrzesień 2009): 111–27. http://dx.doi.org/10.1386/iscc.1.1.111_1.

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Lahey, Michael. "The framing of value". Convergence: The International Journal of Research into New Media Technologies 22, nr 6 (8.07.2016): 633–46. http://dx.doi.org/10.1177/1354856514563903.

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This article investigates the relationship between the television industry and participatory audiences through a rhetoric of empowerment that frames audience engagement in particular ways. I focus on how contests based on the creation of user-generated content are utilized in the industry–audience relationship; here my primary case studies are the use of user-generated video contests for Late Night with Jimmy Fallon and The Office. I explore how these shows try to produce and harness the activity of participatory audiences. Further, I argue that an emphasis on understanding the regimes of value for participants is key to understanding these experiments in digital audience retention.

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Bratich, Jack Z. "Amassing the Multitude: Revisiting Early Audience Studies". Communication Theory 15, nr 3 (sierpień 2005): 242–65. http://dx.doi.org/10.1111/j.1468-2885.2005.tb00335.x.

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Levy, Jack S. "Coercive Threats, Audience Costs, and Case Studies". Security Studies 21, nr 3 (lipiec 2012): 383–90. http://dx.doi.org/10.1080/09636412.2012.706477.

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Nomikos, William G., i Nicholas Sambanis. "What is the mechanism underlying audience costs? Incompetence, belligerence, and inconsistency". Journal of Peace Research 56, nr 4 (11.06.2019): 575–88. http://dx.doi.org/10.1177/0022343319839456.

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Audience cost theory posits that concern over the nation’s reputation pushes voters to sanction leaders who make empty threats because they tarnish the nation’s honor. We question the empirical support for that theory. We show that survey vignettes in the previous experimental literature conflate audience costs generated by inconsistency and belligerence with approval losses arising from the perception that the leader is incompetent. These ‘incompetence costs’ are due to leaders not achieving audiences’ preferred outcomes. Our article contributes to the literature on audience costs by disentangling inconsistency and belligerence costs from incompetence costs, which we find are the larger component of audience costs. We also make a methodological contribution: we show that experimental designs in previous studies cannot test the different mechanisms; that previous estimates of audience costs are biased because treatments affect respondents’ beliefs about the likely outcome of policy actions; and we suggest a new experimental framework to estimate audience costs. Our results are consistent with arguments that audiences care more about policy outcomes than about leaders’ inconsistency or belligerence during a crisis.

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te Walvaart, Marleen, Alexander Dhoest i Hilde Van den Bulck. "Production perspectives on audience participation in television: On, beyond and behind the screen". Convergence: The International Journal of Research into New Media Technologies 25, nr 5-6 (11.01.2018): 1140–54. http://dx.doi.org/10.1177/1354856517750362.

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This article adds an empirical production perspective to the widely discussed concept of audience participation. It studies how audiences are integrated in the production of television and what motivations producers have to do so. Increased opportunities for audiences to produce or contribute to media content may change the way television is produced, as audience perspectives can be more easily integrated. Theoretically, the notions of corporate and political participation are discussed as a basis for a qualitative content analysis, focusing on a range of nonfictional television programs in Flanders, combined with in-depth interviews with editors-in-chief to study their motivations, looking at audience participation on screen, beyond the screen and behind the screen. Results show that producers mostly integrate the audience in the production process within a corporate understanding of participation, although some producers have integrated political forms of participation as well. However, rather than focusing on participation, a central motivation for producers is to engage the audience.

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Côté, Adam. "Agents without agency: Assessing the role of the audience in securitization theory". Security Dialogue 47, nr 6 (25.10.2016): 541–58. http://dx.doi.org/10.1177/0967010616672150.

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This article assesses the role of the audience in securitization theory. The main argument is that in order to accurately capture the role of the securitization audience, it must be theorized as an active agent, capable of having a meaningful effect on the intersubjective construction of security values. Through a meta-synthesis of 32 empirical studies of securitization, this article focuses on two central questions: (1) Who is the audience? (2) How does the audience engage in the construction of security? When assessed against the theoretical works on securitization, this analysis reveals that the manner in which the audience is defined and characterized within securitization theory differs with the empirical literature that investigates securitization processes. Where the empirical literature suggests securitization is a highly intersubjective process involving active audiences, securitization theory characterizes audiences as agents without agency, thereby marginalizing the theory’s intersubjective nature. This article sketches a new characterization of the securitization audience and outlines a framework for securitizing actor–audience interaction that better accounts for securitization theory’s linguistic and intersubjective character, addresses this theoretical/empirical conflict, and improves our understanding of how groups select and justify security priorities and costly security policies.

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García-Muñoz, Núria, i Luisa del Carmen Martínez-García. "The positive representation of the image of women in the media". Comunicar 16, nr 32 (1.03.2009): 209–14. http://dx.doi.org/10.3916/c32-2009-03-002.

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This article aims to outline the positive assessments made by the public, through the service of the Catalan Women’s Institute (ICD) on speeches containing media representations of gender. It is a way to illustrate how the products of cultural industries are part of the audience’s social imaginary and how it is able to identify and assess constructive representations of gender. The media and audience as agents of social change suggest ways of teaching on gender issues. Finally, the text encourages us to think about the possibility of creating and enhancing educational strategies to form a critical audience that generates proposals, guidelines, a discourse on gender according to social reality.Este trabajo tiene como objetivo describir las valoraciones positivas realizadas por la ciudadanía a través del servicio del Instituto Catalán de las Mujeres (ICD) sobre los discursos mediáticos que contienen representaciones de género. Es una forma de ilustrar cómo los productos de las industrias culturales forman parte del imaginario social de la audiencia y cómo ésta es capaz de identificar, valorar, las representaciones constructivas de género. Los medios de comunicación y la audiencia como agentes sociales de cambio sugieren vías pedagógicas sobre cuestiones de género. Finalmente, el texto nos anima a pensar en la posibilidad de crear y potenciar estrategias educativas para formar una audiencia crítica que genere propuestas, pautas, sobre un discurso de género acorde a la realidad social.

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Sullivan, John L. "Modelling the audience marketplace". International Journal of Media & Cultural Politics 1, nr 1 (1.02.2005): 153–56. http://dx.doi.org/10.1386/macp.1.1.153/4.

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Gruenbaum, Ellen. "Positioning medical anthropology's audience". Reviews in Anthropology 23, nr 4 (grudzień 1994): 257–67. http://dx.doi.org/10.1080/00988157.1994.9978101.

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Lealand, Geoff. "Review: Mobilising the Audience". Media International Australia 105, nr 1 (listopad 2002): 166–67. http://dx.doi.org/10.1177/1329878x0210500121.

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Zhong, Luxiong. "Media Happiness of the Audience of “Mukbang”". Learning & Education 9, nr 3 (29.12.2020): 32. http://dx.doi.org/10.18282/l-e.v9i3.1567.

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This paper studies the media happiness of live broadcast audiences in the process of communication from the We media live broadcasting platform. Through the analysis of the live broadcast platform “Mukbang” cases, we find that “Mukbang” has the effect of Mood switching utility, Interpersonal utility and Self confirmation utility on the audiences, which can alleviate the loneliness of the audiences, meet the expectations of the audience, and have a positive impact on the audiences’media happiness.

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Carah, Nicholas, i Eric Louw. "Inundated by the Audience: Journalism, Audience Participation and the 2011 Brisbane Flood". Media International Australia 144, nr 1 (sierpień 2012): 137–45. http://dx.doi.org/10.1177/1329878x1214400118.

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Following the Brisbane flood in 2011, Seven's breakfast television program Sunrise launched a partnership with the Queensland government called ‘Operation Bounce Back’. The initiative called on skilled tradespeople to volunteer for the rebuilding effort, and extended Sunrise's representations of audience participation. In this article, we examine Operation Bounce Back in relation to different accounts of audience participation. We look at the interaction between Sunrise and the government in the management of Operation Bounce Back, and draw on both Sunrise's representations of the program and documents obtained under Right to Information provisions. The case provides the basis for considering the role of journalism in managing representations of public and audience participation.

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Jensen, Klaus Bruhn. "The Double Hermeneutics of Audience Research". Television & New Media 20, nr 2 (14.11.2018): 142–54. http://dx.doi.org/10.1177/1527476418811103.

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Audience research interprets a lived reality that has already been interpreted by the recipients of media, and which may be reinterpreted through the intervention of research. This article explores the interplay between changing media environments and changing conceptions of audiences. In the digital media environment, audiences are active users of media, and media actively use the bit trail that users leave behind. To account for the reconfigured roles of media and audiences, I propose a renewed emphasis on the diverse flows of communication on digital platforms, specifically the metacommunication that yields metadata. Metacommunication is key to reinterpreting what audiences do with digital media and what digital media, in turn, do to audiences.

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Wilson, Tony. "Global Constructions of ‘Korupsi’ in a Local Public Sphere: A Cross-Cultural Malaysian Reception Study". Media International Australia 102, nr 1 (luty 2002): 113–25. http://dx.doi.org/10.1177/1329878x0210200112.

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Audience responses to television are at the heart of sense-making in the public sphere. Research on viewers' readings of economic, political and social events in news programs, invariably constructed around the activities of ‘significant’ individuals, is of particular consequence for understanding the functioning of a democracy. This paper is a cross-cultural reception study of how audiences come to interpret the program genre of television news. In a process of comprehension characterised by fusing/feuding horizons of understanding the world, viewers playfully accommodate the meaning of programs in their everyday lives. Analysis of television's reception should be tested against audience activity. Theory must be corroborated. Drawing from a significant literature discussing the phenomenology of ludic experience, the article theorises trans-cultural reception of Western (British) television by Asian (Malaysian) viewers as seriously ‘playful’. Academic assertions are assessed as illuminating audience response.

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Cavalcante, Andre. "Affect, emotion, and media audiences: the case of resilient reception". Media, Culture & Society 40, nr 8 (12.06.2018): 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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Li, Xi, Runzhe Yu i Xinwei Su. "Environmental Beliefs and Pro-Environmental Behavioral Intention of an Environmentally Themed Exhibition Audience: The Mediation Role of Exhibition Attachment". SAGE Open 11, nr 2 (kwiecień 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.

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Lotz, Amanda D., i Sharon Marie Ross. "Toward Ethical Cyberspace Audience Research: Strategies for Using the Internet for Television Audience Studies". Journal of Broadcasting & Electronic Media 48, nr 3 (październik 2004): 501–12. http://dx.doi.org/10.1207/s15506878jobem4803_9.

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Schiappa, Edward, i Emanuelle Wessels. "Listening to Audiences: A Brief Rationale and History of Audience Research in Popular Media Studies". International Journal of Listening 21, nr 1 (kwiecień 2007): 14–23. http://dx.doi.org/10.1080/10904010709336843.

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Balnaves, Mark, i Duane Varan. "Beyond Exposure: Interactive Television and the New Media Currency". Media International Australia 105, nr 1 (listopad 2002): 95–104. http://dx.doi.org/10.1177/1329878x0210500114.

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Significant effort in advertising is directed towards maximising exposure — to ensure that, for example, a broadcast audience is exposed to an optimum number of messages in a media planning schedule. ‘Interactivity’ as it is emerging, however, has a dramatic effect on traditional assumptions about frequency and reach (how many times the message is repeated and how extensively it is received). Interactivity potentially shifts choice back to the audience, allowing a ‘bypassing’ of attempts to repeat messages. Audiences, given the choice, simply will avoid advertisements that are designed primarily for exposure. Audiences in an environment where they can personalise and customise a medium according to their preferences — and indeed become ‘producers' of content themselves — will be looking for content that is designed for elaboration, rather than only repetition. There is a background to this emerging trend and it is explored in this paper.

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Haw, Ashleigh L. "‘Manufactured hysteria’: audience perceptions of sensationalism and moral panic in Australian news representations of asylum seekers". Media International Australia 174, nr 1 (16.09.2019): 125–39. http://dx.doi.org/10.1177/1329878x19876093.

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Seeking asylum is a highly polarising topic, exacerbated by news discourses that construct asylum seekers as threats to the nation. National and international news coverage has been said to incite ‘moral panics’ via the use of sensationalised depictions of asylum seekers, however, few studies have examined audience responses. This article discusses the findings of research utilising Critical Discourse Analysis alongside an Audience Reception framework to examine how 24 Western Australians perceive news coverage of asylum seekers. All participants critiqued news constructions of the issue, with many emphasising sensationalism and the incitement of fear as central concerns affecting their trust and engagement with Australian coverage. Analysed with consideration of the ‘moral panic’ and ‘media panic’ literature, these findings demonstrate that sensationalist depictions of asylum seekers are being resisted by audiences. This inclination towards ‘media panics’ over ‘moral panics’ is discussed in terms of its implications for democracy and audience reception scholarship.

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Gould, Liz. "Beyond Media ‘Platforms’? Talkback, Radio, Technolgy and Audience". Media International Australia 131, nr 1 (maj 2009): 95–105. http://dx.doi.org/10.1177/1329878x0913100111.

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Technology has had an important influence on the constitution and participation of the commercial metropolitan radio audience. The introduction of ‘open-line’ radio from the 1960s was heralded as a novelty for audience participation in radio programming, but was hindered by technical impediments to the quality of telephone and radio recording technologies. In the 1990s, the advent of mobile telephony liberated talkback listeners from their anchoring in the domestic sphere. This article examines how successive media technologies have influenced the experience of commercial radio audiences from the 1960s through to the present. Acknowledging the increasing convergence between traditional media platforms and content, it considers whether newer technologies such as the internet are fundamentally altering the shape and function of listener participation in commercial metropolitan radio programs.

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McNeill, David. "Speech-gesture mimicry in performance: an actor → audience, author → actor, audience → actor triangle". Journal for Cultural Research 19, nr 1 (lipiec 2014): 15–29. http://dx.doi.org/10.1080/14797585.2014.920184.

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Boon, Jan, Koen Verhoest i Jan Wynen. "What determines the audiences that public service organisations target for reputation management?" Policy & Politics 48, nr 2 (1.04.2020): 295–314. http://dx.doi.org/10.1332/030557319x15613697611542.

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Why do public sector organisations target different stakeholder audiences in their reputation management? Despite the recognition that reputation management is an audience-based exercise, the field lacks studies that systematically analyse which audiences matter for reputation management by different public service organisations. This article examines reputation management by public service organisation in a multi-audience framework. The relevance of different audiences is surveyed at public service organisations that differ in formal-legal distance from government, task, size and environmental turbulence. The strongest and broadest effects are found for more autonomous organisations, who focus their reputation management more on politicians in general and the media and less on their directly responsible Minister.

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Maxwell, Richard. "Picturing the Audience". Television & New Media 1, nr 2 (maj 2000): 135–57. http://dx.doi.org/10.1177/152747640000100202.

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