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1.
Phil Chidester 《Mass Communication and Society》2013,16(1):98-114
An impressive body of research on the subject suggests that the seeds of the sublime experience are rooted either in the aesthetic qualities of the viewed object or in the cultural and contextual characteristics of the viewing subject. In this article, I contend that sublimity is, rather, the product of the relationship between subject and object, a relationship that defies representation and therefore provides the “excess of experience” that is the hallmark of the sublime encounter. Turning to ESPN's Streetball: The AND 1 Mix Tape Tour as evidence, I conclude that mediation as a process invites sublimity in audiences by immersing the viewer in the “transcendent simultaneity” of subjectivity and objectivity. 相似文献
2.
S. Katherine Cooper 《The Communication Review》2019,22(2):91-116
In this paper, I discuss audience reactions to stand-up clips by Amy Schumer, Wanda Sykes, and Margaret Cho. Women’s comedy is arguably at the height of its popularity, but there is a seeming lack of research on audience interpretations of humor produced by women. This research builds on and extends current notions of “referential viewing” in audience research. Utilizing focus group analysis, I elaborate audience decoding practices and the role of identity in layers of referential viewing. Audiences in this research centered their discussions on identification of the comedians, identification of the targets of jokes, and identification of whom they perceive to be the intended audience. Discussed are implications for how audiences understand various power dynamics through humor and distinctions created between comedy that “laughs with” or that “laughs at.” 相似文献
3.
Phillip J. Mohr 《Communication Studies》2013,64(4):342-351
This article examines two implicit assumptions on which the family viewing concept appears to be based: (1) children's viewing will subside after the end of the family viewing period, and children will be less likely to be exposed to later, more “mature” programming; (2) broadcasters can and do provide programs toward which children and parents share preferences and which are “appropriate” for the family viewing period (6:00‐8:00 p.m. CST, 7:00‐9:00 in other time zones). Data gathered in a 1976 survey confirmed the first assumption. However, while the peak period of children's viewing occurred between 6:30 and 8:00 p.m., substantial numbers of the children continued to view television beyond the family viewing period. Less consistent support was found for the second assumption. Above‐average percentages of both parents and children considered thirty‐one of sixty‐eight programs listed on the questionnaires to be “favorites” or “all right,” and nineteen of the thirty‐one were broadcast during the family viewing period. While parents and children may share attitudes toward certain programs, however, it does not necessarily follow that parents consider those programs appropriate for their children. The results of the survey suggest the need for further study of what constitutes “appropriate” programming for family viewing. 相似文献
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5.
Brenda Cooper 《Critical Studies in Media Communication》2013,30(4):416-435
–This essay examines how the narrative structure of the Fox primetime television hit Ally McBeal opens the text to a feminist reading. Despite critics' charges to the contrary, I argue that producer/screenwriter David E. Kelley's teleplays construct a preferred feminine spectator position that appropriates dominant male gazes in three ways: the feminine setting of the law firm, the refusal of women characters to yield to the male gaze, and the “comic spectacle of maleness.” Ally McBeal's preferred feminine spectatorship stance is articulated through comic strategies in which gender ideals are questioned through mockery, thus opening a safe space for viewers to reject dominant patriarchal meanings and to experience a feminist epistemology. 相似文献
6.
This article discusses producer practices and the reasons why they engage their audience in the production process. In a digitised media context, audiences have become more visible, mainly through social media, and have more means to participate. Our research deconstructs the production process of a particular television programme by means of the “hierarchy of influences” model, which separates micro and macro levels that influence production. It draws on in-depth interviews with all editors of Flemish current affairs programme De Afspraak (The Appointment) and on a three-month participatory observation. We conclude that immersive ways of engaging the audience are applied in our specific case. More broadly, we argue that although practices change, pre-existing norms and values about the television audience remain central to how producers engage their audience through digital and social media. 相似文献
7.
Harold Niven 《广播与电子媒介杂志》2013,57(4):353-380
The possibility that one mass medium might be used to stimulate another has been only imperfectly explored. For instance, a campaign by radio personality Jean Shepherd some years ago led to the birth of the monumental spoof that was the novel I, Libertine by “Frederick R. Ewing.” The delight of Shepherd's “night people” at being able to demonstrate their numbers was matched by the consternation of booksellers all over the city who impotently thumbed through their catalogs . . . until Shepherd took pity on them and arranged for the book to be written and published. In another instance, a participant on a late‐evening network program casually commented on a book that had caught his eye—and it was a national best‐seller within 24 hours. The research reported in the following article attempts to discover whether this “touting” function of the broadcast media can be used systematically. A number of informal observations following “book review” or “library” programs on both radio and television would tend to support this idea. However, the following study was specifically designed to generate data that would demonstrate to broadcaster and librarian alike whether radio programs could be used by librarians (and presumably booksellers as well) to promote selection by the audience of pre‐determined books. 相似文献
8.
《Journalism Practice》2013,7(4):478-491
This paper examines the reporter–source interview in television news production. The starting point is that the interview as part of news production is largely ignored as a subject of research, especially considering its central importance in journalism. The interview is usually looked at as a method to gain information from interviewees. This study looks at the interview in a more constructivist way. The central claim is that the interview functions as a “news-generating machine” that compels replies from interviewees that can be used as raw material for news stories. The article brings forth the importance of the “pre-interview”, it examines and exemplifies standard question strategies, such as negative questions, and how the interviewee replies are edited and represented as news. In doing so, the article also shows how certain questions’ strategies are linked with the making of such common news frames as “the problem frame”, “the attraction” and “psychological news narratives”. 相似文献
9.
Charles J. G. Griffin 《Communication Studies》2013,64(2):196-210
Eyes on the Prize: America's Civil Rights Years ranks as one of the most successful public television documentaries ever produced. Although it originally aired in 1987, the series has since been shown widely in school and college classrooms, where it arguably has influenced many students’ understanding of the civil rights struggle and, more fundamentally, of the nature and form of “social movement” itself This essay draws upon Kenneth Burke's concept of “significant form” to examine how the documentary's design works to shape public memory of the civil rights struggle as a social movement. In addition to yielding insight into the rhetorical structure of a landmark television documentary, the analysis of form in Eyes on the Prize illumines how public consciousness of “social movement” can be created and perpetuated through narrative form. 相似文献
10.
The potential of television to both reflect and shape cultural understandings of gender roles has long been the subject of social scientific inquiry. The present study employed survey methodology with 420 emerging adult respondents (18–25 years old) in a national U.S. sample to explore associations between amount of time spent viewing television and views about “ideal” masculine gender roles. The viewing of particular television genres was explored in addition to (and controlling for) overall amount of time spent with the medium, using cultivation theory as the theoretical foundation. Results showed significant statistical associations between viewing sitcoms, police and detective programs, sports, and reality television and scores on the Masculine Roles Norms Inventory–Revised scale. Biological sex of respondent (which very closely approximated gender identity in the sample) moderated a number of these relationships, with positive associations between viewing some genres and endorsement of traditional masculine gender roles stronger for biological male compared to biological female respondents. 相似文献
11.
Television entertainment plays an important role in the development of political orientations concerning authority, order, freedom and equality. This article shows that viewers have “limited autonomy” in constructing meaning from television entertainment. Q‐method was employed to determine viewer's subjective reactions to an episode of Law and Order that fictionalized a racial incident that took place in Brooklyn, New York in 1991. The analysis revealed that there were at least seven distinct readings of the program. While there was consensus about some aspects of the story, viewers obviously had some autonomy regarding interpretation. We argue for a synthesis of theories that emphasize “closed” and “open” meanings of television programs. Entertainment is politically relevant and the most useful way to examine its impact is through intensive methods. 相似文献
12.
This study focuses on the expanding trend of marathon (“binge”) television viewing. It examines the personality antecedents of such media consumption (attachment style, depression, and self-regulation deficiency) as well as the psychological experiences of marathon viewers relative to the narrative (transportation, enjoyment) and its characters (parasocial relationship, identification). In a two-study design, theoretical models of media use and involvement, on one hand, and models of media addiction, on the other hand, are applied to predict the extent of marathon viewing and to compare it with “traditional” viewing. Results advance understanding of enjoyment and involvement theory and support cognitive theories of media addiction. At the same time, the study’s findings reveal that marathon television viewers are active both cognitively and emotionally during and after the media exposure, thus alleviating some concerns about the “problematic” nature of the “binge” viewing phenomenon. 相似文献
13.
Cara Wallis 《传播与批判/文化研究》2013,10(4):341-358
This article presents an ethnography of a group of young women from rural China who attended a three-month computer-training course and then were placed in a data input company in China. Building upon scholarship on “Chinese governmentality,” I argue that although the training emphasized individual “quality” (suzhi) and the attainment of “useful” skills, once the women were employed their choices as autonomous individuals were severely limited through workplace disciplines that problematize notions of self government. I show how multiple modes of power were deployed to produce rural women as low-tech laboring subjects necessary for China's domestic development and participation in global capitalism. 相似文献
14.
–The DVD format has emerged as the dominant digital means of repackaging films for home consumption. In this essay, we theorize this new viewing experience and identify some of the challenges it poses for the media critic. We argue that the additional material DVDs typically offer, coupled with the format's interactivity, constitute a rhetorically powerful means of directing the consumer's viewing experience and protecting the commercial viability of the product. To illustrate, we offer a critical analysis of the DVD release of the controversial film Fight Club. Our analysis suggests that Fight Club's DVD “extra text” dissuades the viewer from acknowledging the film's homoerotic elements as representing homosexual experience. 相似文献
15.
Ted Striphas 《Critical Studies in Media Communication》2013,30(3):295-316
This essay explores the cultural politics of television talk-show host Oprah Winfrey's Book Club. Because women constitute both the primary Oprah television audience and the largest United States book buying public, it focuses specifically on women's involvement in the club and their modes of engagement with its selections. The Book Club's astonishing success was attributable in part to the carefully considered communication strategies through which participants, Winfrey, and Oprah producers collectively articulated the value of books and reading specifically for women. Their de-emphasizing of purely literary considerations, I contend, enabled women to strategize how to use Book Club selections simultaneously to distance themselves from and to engage more intensively with the demands of living in a patriarchal and otherwise socioeconomically stratified society – a relationship I call a “dialectic with the everyday.” This essay thus traces the communicative processes/practices through which those involved in Oprah's Book Club articulated a highly sophisticated economy of cultural value around books and reading and the implications of that economy to a possible feminist cultural politics. 相似文献
16.
Ellen Quintelier 《Mass Communication and Society》2013,16(5):620-642
Although sweeping statements about the effect of television viewing on political participation could still be found in the literature in the 1990s, it is now commonly held that the effect of television should be studied as a multidimensional phenomenon. Not only the time spent watching television but also the kinds of programs being watched and even the preference for particular stations are assumed to have an effect. In this article, we report on a survey among 6,330 Belgian adolescents allowing for a comprehensive analysis of the relationship between various dimensions of television viewing and political participation. We focus on adolescents, because research suggests that the decline in participation levels clearly manifests itself in this age group. The results of the analysis confirm a negative impact of the amount of television viewing, which is partly counterbalanced by a positive impact of a preference for information and for public broadcasting. We discuss the implications of these findings among adolescents for adult participation behavior. 相似文献
17.
This study explores the uses of Islamic television content in bridging the gap between Javanese and Malay identity among the Malay women of Javanese descent in Malaysia. Malaysian religious television programmes have constantly promoted the Islamic identifications of Malayness, enabling the Malay audience to reconstruct the culturally religious identity. While the reconstruction of Islamic identity through television viewing simply represents a lived experience for the majority of the Malay society, it has some cultural meanings for certain Malay sub-ethnic communities, such as the Javanese. This ethnographic study on a Malaysian Javanese community reveals that the interpretive engagement of this particular community in Islamic television viewing serves the purpose of negotiating Malay identity. The results of this study suggest that religious content can serve as an engaging platform to construct multi-ethnic identities beside popular and ethnic-related contents. 相似文献
18.
Despite the use of television program advisories for more than 15 years, viewer understanding of these advisories remains problematic. This article summarizes 2 studies demonstrating the effectiveness of alternate graphic advisories in attracting viewer attention and more effectively communicating their intended meaning. Results indicated that younger viewers were more likely to correctly interpret the meaning of graphic advisories relative to the current text advisories. Eye-tracking data revealed that viewers also allocated greater attention to graphic advisories. Although participants interpreted graphic advisories as more restrictive than text advisories, viewers failed to demonstrate so-called “forbidden fruit” effects. 相似文献
19.
Michele Rosenthal 《The Communication Review》2013,16(3):347-371
Throughout American history that form of Protestantism that designates itself and is publicly conceived as “old‐time religion” has regularly been the innovator in the area of media. In stark contrast, its more staid establishment counterpart has tended to be antagonistic to these new media, dismissing them with harsh theological and aesthetic judgments. In this process, the self‐proclaimed theological conservatives actually behaved in remarkably adaptive and imaginative ways, while the self‐proclaimed liberal establishment often acted as the cultural conservator, pressing for the preservation of the status quo. This article seeks to understand why those Protestants who define themselves as “modernist” and “adaptive” have been far less successful in using the media than their conservative “anti‐modernist” counterparts. The focus is upon a case study—the reception of television by the Broadcast and Film Commission of the National Council of Churches. The conclusion is ironic: those Protestants who depended upon “modern,” “social scientific” criterion to guide their television policies fundamentally misunderstood the power of television and its impact upon society. 相似文献
20.
Bryce T. McIntyre 《Communication Research Reports》2013,30(1):61-70
The VCR has long been viewed as a potential threat to conventional broadcast television and movie attendance, but research findings on this issue are somewhat mixed, A growing body of research suggests that a “complementarity principle” is at work—that is to say, the VCR is an extension and a reflection of older audio‐visual media—and this study seeks to explore that role in Southeast Asia. Hong Kong was considered an appropriate site for the study because Hong Kong is typical of many small, developing nations with a rapidly growing middle class and a new‐found prosperity. Its differences from Western nations notwithstanding, Hong Kong bears many similarities to the West, especially in terms of economic and social indicators. Research from the West is thus used as a starting point for the formulation of hypotheses in this study. Data were collected as part of Hong Kong's 1990 Indicators of Social Development study. This study confirms research in Western nations indicating that he VCR does not compete with cinema‐going and TV viewing, but complements these activities. In other words, the “complementarity principle” was sustained. On the other hand, some interesting deviations from Western patterns of VCR use also are noted. 相似文献