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The Audience Experience by Jennifer Radbourne,Hilary Glow,Katya Johanson Pdf
The performing arts around the world need to develop their audiences, and arts marketing in the current mode has a limited ability to help. This book provides guidance about understanding and researching your audience. The book provides international best-practice case studies of projects that employ innovative methods to build knowledge of their audience. The collection presents internationally renowned scholars' current research on contemporary practices, framed by newly emerging theory. 'The Audience Experience' identifies a momentous change in what it means to be part of an audience for a live arts performance. Together, new communication technologies and new kinds of audiences have transformed the expectations of performance, and 'The Audience Experience' explores key trends in the contemporary presentation of performing arts.
The 1980s was a critical decade in shaping today’s art production. While newly visible work concerned with power and identity hinted at a shift toward multiculturalism, the ‘80s were also a time of social conservatism that resulted in substantial changes in arts funding. In Asking the Audience, Adair Rounthwaite uses this context to analyze the rising popularity of audience participation in American art during this important decade. Rounthwaite explores two seminal and interrelated art projects sponsored by the Dia Art Foundation in New York: Group Material’s Democracy and Martha Rosler’s If You Lived Here…. These projects married issues of social activism—such as homelessness and the AIDS crisis—with various forms of public participation, setting the precedent for the high-profile participatory practices currently dominating global contemporary art. Rounthwaite draws on diverse archival images, audio recordings, and more than thirty new interviews to analyze the live affective dynamics to which the projects gave rise. Seeking to foreground the audience experience in understanding the social context of participatory art, she argues that affect is key to the audience’s ability to exercise agency within the participatory artwork. From artists and audiences to institutions, funders, and critics, Asking the Audience traces the networks that participatory art creates between various agents, demonstrating how, since the 1980s, leftist political engagement has become a cornerstone of the institutionalized consumption of contemporary art.
Author : Peter Morgan Publisher : Dramatists Play Service, Inc. Page : 55 pages File Size : 50,5 Mb Release : 2015-05-15 Category : Performing Arts ISBN : 9780822232667
For sixty years, Queen Elizabeth II has met with each of her twelve Prime Ministers in a private weekly audience. The discussions are utterly secret, even to the royal and ministerial spouses. Peter Morgan imagines these meetings over the decades of the Queen’s remarkable reign, through Prime Ministers from Winston Churchill and Margaret Thatcher to the 2015 incumbent David Cameron. THE AUDIENCE is a glimpse into the woman behind the crown, and the moments that have shaped the modern monarchy.
Millions of people all over the world are avid members of the television audience. Yet, despite the central place television occupies in contemporary culture, our understanding of its complex and dynamic role in everyday life remains surprisingly limited. Focusing on the television audience, Ien Ang asks why we understand so little about its nature, and argues that our ignorance arises directly out of the biases inherent in prevailing official knowledge about it. She sets out to deconstruct the assumptions of this official knowledge by exploring the territory where it is mainly produced - the television institutions. Ang draws on Foucault's theory of power/knowledge to scrutinize television's desperate search for the audience, and to identify differences and similarities in the approaches of American commercial television and European public service television to their audiences. She looks carefully at recent developments in the field of ratings research, in particular the controversial introduction of the `people meter' as an instrument for measuring the television audience. By defining the limits and limitations of these institutional procedures of knowledge production, Ien Ang opens up new avenues for understanding television audiences. Her ethnographic perspective on the television audience gives new insights into our television culture, with the audience seen not as an object to be controlled, but as an active social subject, engaging with television in a variety of cultural and creative ways.
The Audience Studies Reader by Will Brooker,Deborah Jermyn Pdf
Key writings exploring questions of reception, interpretation and interactivity. The fan audience, the active audience, gender and audience, nation and ethnicity, internet audiences.
Audiences are not what they used to be. Munching crisps or snapping selfies, chatting loudly or charging phones onstage – bad behaviour in theatre is apparently on the rise. And lately some spectators have begun to fight back... The Reasonable Audience explores the recent trend of ‘theatre etiquette’: an audience-led crusade to bring ‘manners and respect’ back to the auditorium. This comes at a time when, around the world, arts institutions are working to balance the traditional pleasures of receptive quietness with the need to foster more inclusive experiences. Through investigating the rhetorics of morality underpinning both sides of the argument, this book examines how models of 'good' and 'bad' spectatorship are constructed and legitimised. Is theatre etiquette actually snobbish? Are audiences really more selfish? Who gets to decide what counts as ‘reasonable’ within public space?Using theatre etiquette to explore wider issues of social participation, cultural exclusion, and the politics of identity, Kirsty Sedgman asks what it means to police the behaviour of others.
The Audience in Everyday Life by S. Elizabeth Bird Pdf
The Audience in Everyday Life argues that a media audience cannot be studied in front of the television alone--their interaction with media does not simply end when the set is turned off. Instead, we must study the daily lives of audiences to find the undercurrents of media influence in everyday life. Bird provides a host of useful tools and methods for scholars and students interested in the ways media is consumed in everyday life.
White Spot, a popular BC restaurant chain, solicits hamburger concepts from third and fourth grade students and one of the student’s ideas becomes a feature on the kids’ menu. Home Depot donates playground equipment to an elementary school, and the ribbon-cutting ceremony culminates in a community swathed in corporate swag, temporary tattoos, and a new “Home Depot song” written by a teacher and sung by the children. Kindergarten students return home with a school district-prescribed dental hygiene flyer featuring a maze leading to a tube of Crest toothpaste. Schools receive five cents for each flyer handed to a student. While commercialism has existed in our schools for over a century, the corporate invasion of our schools reached unprecedented heights in the 1990s and 2000s after two decades of federal funding cuts and an increasing tendency to apply business models to the education system. Constant cutbacks have left school trustees, administrators, teachers, and parents with difficult decisions about how to finance programs and support students. Meanwhile, studies on the impact of advertising and consumer culture on children make clear that the effects are harmful both to the individual child and the broader culture. Captive Audience explores this compelling history of branding the classroom in Canada.
Whether we are watching TV, surfing the Internet, listening to our iPods, or reading a novel, we all engage with media as an audience. . Despite the widespread use of this term in our popular culture, the meaning of "audience" is complex, and it has undergone significant historical shifts as new forms of mediated communication have developed from print, telegraphy, and radio to film, television, and the Internet. Media Audiences: Effects, Users, Institutions, and Power 2nd Edition explores the concept of media audiences from four broad perspectives: as "victims" of mass media, as market constructions and commodities, as users of media, and as producers and subcultures of mass media. The goal of the text is for students to be able to think critically about the role and status of media audiences in contemporary society, reflecting on their relative power in relation to institutional media producers.
In this innovative book, Julian Hanich explores the subjectively lived experience of watching films together, to discover a fuller understanding of cinema as an art form and a social institution that matters to millions of people worldwide.
The Audience in the News by Dwight DeWerth-Pallmeyer Pdf
In recent years, communication scholars have taken a renewed interest in analyzing the audience and its impact on the communication process. Similarly, news editors and producers have often turned toward a marketing orientation which seeks to give new readers and viewers what they want, or at least what they say they want. Yet, there has still been little written about just how the audience factors into the news which is produced. Seeking to fill that niche, this book argues that audience images are quite important in the construction of news, but not easily detected. That is because journalists are not principally interested in their audience; they are interested in the news. USE THIS PARAGRAPH ONLY FOR GENERAL CATALOGS... This volume argues that although journalistic images of the audience may be "incomplete," they do exist and powerfully help shape the work of journalists in producing journalistic texts. Using a case study of news workers and news texts at two Chicago newsgathering organizations, the Chicago Tribune and WGN-TV, this book: * examines notions of audience and how they have been treated by academicians, * presents a detailed description of the ways in which audience is embedded within the news construction process, * presents a very representative set of journalistic news values, * presents differing ideas of audience at three key levels of the news organizations -- reporters and news gatherers, editors and producers, and senior editors, producers, and news directors, and * seeks to summarize and position this study within the larger body of mass communication research.
Audience of One: Donald Trump, Television, and the Fracturing of America by James Poniewozik Pdf
One of the Top 10 Politics and Current Events Books of Fall 2019 (Publishers Weekly) An incisive cultural history that captures a fractious nation through the prism of television and the rattled mind of a celebrity president. Television has entertained America, television has ensorcelled America, and with the election of Donald J. Trump, television has conquered America. In Audience of One, New York Times chief television critic James Poniewozik traces the history of TV and mass media from the Reagan era to today, explaining how a volcanic, camera-hogging antihero merged with America’s most powerful medium to become our forty-fifth president. In the tradition of Neil Postman’s masterpiece Amusing Ourselves to Death, Audience of One shows how American media have shaped American society and politics, by interweaving two crucial stories. The first story follows the evolution of television from the three-network era of the 20th century, which joined millions of Americans in a shared monoculture, into today’s zillion-channel, Internet-atomized universe, which sliced and diced them into fractious, alienated subcultures. The second story is a cultural critique of Donald Trump, the chameleonic celebrity who courted fame, achieved a mind-meld with the media beast, and rode it to ultimate power. Braiding together these disparate threads, Poniewozik combines a cultural history of modern America with a revelatory portrait of the most public American who has ever lived. Reaching back to the 1940s, when Trump and commercial television were born, Poniewozik illustrates how Donald became “a character that wrote itself, a brand mascot that jumped off the cereal box and entered the world, a simulacrum that replaced the thing it represented.” Viscerally attuned to the media, Trump shape-shifted into a boastful tabloid playboy in the 1980s; a self-parodic sitcom fixture in the 1990s; a reality-TV “You’re Fired” machine in the 2000s; and finally, the biggest role of his career, a Fox News–obsessed, Twitter-mad, culture-warring demagogue in the White House. Poniewozik deconstructs the chaotic Age of Trump as the 24-hour TV production that it is, decoding an era when politics has become pop culture, and vice versa. Trenchant and often slyly hilarious, Audience of One is a penetrating and sobering review of the raucous, raging, farcical reality show—performed for the benefit of an insomniac, cable-news-junkie “audience of one”—that we all came to live in, whether we liked it or not.
'Actors always talk about what the audience does. I don’t understand, we are just sitting here.' Audience as Performer proposes that in the theatre, there are two troupes of performers: the actors and the audience. Although academics have scrutinised how audiences respond, make meaning and co-create while watching a performance, little research has considered the behaviour of the theatre audience as a performance in and of itself. This insightful book describes how an audience performs through its myriad gestural, vocal and paralingual actions, and considers the following questions: If the audience are performers, who are their audiences? How have audiences’ roles changed throughout history? How do talkbacks and technology influence the audience’s role as critics? What influence does the audience have on the creation of community in theatre? How can the audience function as both consumer and co-creator? Drawing from over 140 interviews with audience members, actors and ushers in the UK, USA and Austrialia, Heim reveals the lived experience of audience members at the theatrical event. It is a fresh reading of mainstream audiences’ activities, bringing their voices to the fore and exploring their emerging new roles in the theatre of the Twenty-First Century.
This book offers a major reconceptualization of the term audience, one which involves a landscape, including the landscape of a given audiencesituated and territorializing features of any way of seeing and defining the world. It acknowledges, in the face of conventional discourse analysis, the contextual features of discourse, to produce complex and textured understanding of the concept of audience. The book will speak to students of rhetoric, mass communication, cultural studies, anthropology, and sociology alike. This book offers a major reconceptualization of the term audience, including the landscape of a given audiencethe situated and territorializing features of any way of seeing and defining the world. Given de Certeaus hypothesis that listening, watching, and reading all occur in places and result in produce transformed paths or spaces, the contributors to this landmark volume have provided innovative essays analyzing the transformations that take place in the geography between sender and receiver. The book acknowledges, in the face of conventional discourse analysis, the contextual features of discourse, to produce a complex and textured understanding of the concept of audience. The Audience and Its Landscape, presents the work of a vital cross-section of international scholars including Swedens Karl Erik Rosengren, the UKs Jay G. Blumler and Roger Silverstone, Australias Tony Bennett, Israels Elihu Katz, Canadas Martin Allor, and the United Statess Janice Radway, Byron Reeves, and John Fisk, to name a few. This book is truly groundbreaking in its depth and scope, and will speak to students of rhetoric, mass communication, cultural studies, anthropology, and sociology alike.
With stories of hysterical teenagers and obsessive fans killing for their heroes, fans and fandom get a bad press. The Adoring Audience looks deeper into fan culture, particularly as it relates to identity, sexuality and textual production.