共查询到20条相似文献，搜索用时 196 毫秒
1.
Paul Elliott Johnson 《Critical Studies in Media Communication》2017,34(1):14-28
This essay situates the television show Breaking Bad (BB) and its critical reception in the context of American politics following the economic and political events of 2008. Reading the show as an allegory, I demonstrate that it offered a pathway for viewers to maintain investments and commitments to a toxic, white masculinity threatened by 2008’s economic and political dislocations. Taking the show up for its capacity to allegorize the human experience, Breaking Bad’s critically acclaimed status among viewers from widely divergent political positions suggests that the investment in raced and gendered ideas of individual freedom crosses partisan lines, indicating that American national identity and white masculinity share a mutually sustaining incoherence. Understanding the cultural roots of American victimage evident in post-2008 America helps explain how BB distinguished itself from similar masculine “anti-hero” dramas. 相似文献
2.
Dan Schill 《Mass Communication and Society》2014,17(5):754-775
The Colbert Report, an innovative American satirical news show, and the show's dedicated viewers, known as “the Colbert Nation,” redefined fan engagement through audience participation, mediated culture jamming, and ironic political spectacle. Yet very little is known about this fan group. This survey of The Colbert Report's devoted followers finds that the fans are distrustful of political and media elites, highly cynical, very politically involved, not apathetic, and moderately efficacious. Further analysis reveals that viewers have different motivations, some seeing the show as primarily entertainment, some mainly as a trusted source of political information, and others as a mix of entertainment and information. The fans are also found to be highly sophisticated consumers of satire and news, and watch the show as an alternative to mainstream media and as a form of comic relief from current events. Several implications are discussed. 相似文献
3.
Helen Morgan Parmett 《传播与批判/文化研究》2016,13(1):3-22
This paper contends with how postbroadcast television branding subsumes viewers’ affective interactivities with place to produce brand value. Focusing on the HBO series Treme, I argue that Treme engendered HBO's postbroadcast brand mutation by producing “passionate engagement,” where viewers were invited to interact with the show by touring New Orleans, thus adding place to online interactivity and multiscreen engagement as a means of constructing an “authentic” brand identity. The desire for viewers to connect to New Orleans’ culture is thus transformed into a vehicle for profit making for HBO and an assurance to shareholders that the brand still holds value. 相似文献
4.
Lauren Feldman 《Mass Communication and Society》2013,16(4):586-607
Although late-night comedy and satirical news programs like The Daily Show have been recognized as important sources of political information, prior research suggests that viewers gain only a limited amount of political knowledge from watching these programs. Drawing from uses and gratification theory and extant research on political information processing, this study examines whether learning from The Daily Show depends on whether viewers orient to the message as news or as entertainment. Results from an online experiment suggest that viewers who orient to a segment from The Daily Show as news or as a mix of news and entertainment invest more mental effort and subsequently learn more than viewers who have a purely entertainment orientation. Further, among viewers with a purely entertainment orientation, providing them with an explicit informational-processing goal increases the amount of mental effort and learning relative to viewers who are given no explicit viewing objective. 相似文献
5.
Franziska S. Roth Carina Weinmann Frank M. Schneider Frederic R. Hopp Peter Vorderer 《Mass Communication and Society》2014,17(3):379-399
This study's purpose is twofold: to introduce a new format into existing political entertainment research (“serious” political talk shows) and to establish a more specific definition of entertainment in a political context. To do so, the authors rely on a two-process-model of entertainment experiences. A telephone survey (N = 230) was conducted to analyze the antecedents and consequences of eudaimonic and hedonic entertainment experiences and to look into politically relevant variables and their distribution among viewers and nonviewers of such talk shows. The results highlight the importance of introducing new entertainment concepts and their relations to other relevant political and motivational variables into the research of political entertainment. More specifically, the findings demonstrate how entertainment experiences contribute to viewers' feeling of being informed and point out several differences between viewers and nonviewers concerning their internal political efficacy and political interest. Finally, looking at political talk shows from an audience perspective extends previous content-based taxonomies. 相似文献
6.
This study advances documentary film effects research by comparing the influence of a political documentary with a historical reenactment film on narrative engagement, affect, learning, and interest. Using the Rwandan genocide as a context of study, a documentary film, The Triumph of Evil, and the historical reenactment fictional film, Hotel Rwanda, were examined. Results revealed significant differences between documentary and historical reenactment film exposure for affective responses and issue knowledge gain. However, increased issue interest and narrative engagement were not significantly different for the two stimulus groups, suggesting that dramatic fictional reenactments of socio-political events lead to increased issue interest as much or more than the live footage and factual account of events offered in a documentary. The results of this study are discussed in terms of their importance for key democratic outcome variables (e.g., knowledge and participation), along with suggestions for future documentary film research. 相似文献
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8.
Kate Moomaw 《文物保护研究》2016,61(3):130-136
Participatory art is a contemporary movement requiring viewers to take an active part in the artwork, by means ranging from interaction with materials to creative contribution. Artistic developments in the twentieth and twenty-first centuries, such as political and social engagement, led to the rise of participatory practices. Concurrently, museums have reacted to falling attendance and cultural shifts by seeking to create more engaging experiences for visitors. At the Denver Art Museum, this has led to an increased interest in displaying and collecting participatory art. Through case studies of works in the collection of the Denver Art Museum, Walking in Venus Blue Cave (2001) by Ernesto Neto and ¿Being Home? (2009) by Rupprecht Matthies, this paper explores the conservation of participatory artworks in museum collections, including their maintenance on display, long-term preservation of their interactive nature, and the possibility of involving communities in conservation actions and decision-making. 相似文献
9.
Emily K. Vraga Courtney N. Johnson D. Jasun Carr Leticia Bode Mitchell T. Bard 《广播与电子媒介杂志》2013,57(1):131-150
Shows blending humor and information are on the rise, and many such shows incorporate live studio audiences. Using two separate experimental studies, we test whether audience laughter on humorous political talk shows affects audience perceptions. We find that the effects of audience laughter depend on context, boosting perceptions of host and program credibility when a host is unknown, while reminding viewers of the comedic intentions and appeal of a known comedic host. If humor allows the hosts of comedic political talk shows more freedom to pointedly question their guests without turning off viewers, it may better engage and inform audiences. 相似文献
10.
Adolfo R. Mora 《The Communication Review》2018,21(1):1-23
This survey-based study explored the mediated social attraction that a sample of Modern Family viewers had for Gloria Pritchett. Statistically speaking, viewers generally liked Gloria Pritchett, but her intersected social identity characterizations (e.g., harlot-spitfire prototype) guided her likability. Moreover, how viewers felt toward their ethnic, gender, and social class (not their membership in these groups) predicted viewer-character likability. Discussed are implications regarding the liking of Othered television characters and group identity, notions of intersectionality, and challenges associated with mainstream Latinidad. 相似文献
11.
Amy B. Becker 《Mass Communication and Society》2013,16(6):791-812
The current study assesses the effect of exposure to diverse comedy types, measuring the differential impact of other-directed hostile humor and self-ridicule on feelings toward John McCain. Specifically, the analyses use experimental data collected in 2009 to compare the differential impact of viewing a video clip of John McCain's playful self-satire on Saturday Night Live with the effects of exposure to the more aggressive, judgmental, other-directed hostile humor of Stephen Colbert. The results suggest that viewers cool toward McCain after exposure to Stephen Colbert's other-directed hostile humor. Additional analyses show that the effect of exposure to varied types of political humor is direct and relatively impervious to moderation by political partisanship. Implications of the findings and their ability to help researchers understand the differential influence of varied comedy message types on political evaluations and attitudes is discussed. 相似文献
12.
Several recent reports pointed out how the practice of using a “second screen” while following a television program is becoming an increasingly widespread phenomenon. When the secondary device is used to read or to comment about a watched program, most of the discussion takes place on popular social media such as Facebook and Twitter. Previous research has shown that the analysis of these contents could lead to a better understanding of the behavior of networked publics and of the structure of the show itself. Nevertheless most of the existing research is focused on the content only and focused on a single episode analysis or on big media events. Leveraging this background, this article presents instead a study focused on the relationships between content and users across an entire airing season of a TV program. Through a quantitative network analysis of the tweets produced during 25 episodes of the Italian political talks show Servizio Pubblico, we identified a small loyal group of viewers. Despite the differences in quantity of content produced, the loyal viewers do not show any sign of forming a community-like structure. We also performed a qualitative analysis of the tweets produced during one specific episode and discussed the elements of the TV show that generated the higher level of engagement on Twitter. 相似文献
13.
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
14.
Michael L. Wayne 《The Communication Review》2014,17(3):183-201
This analysis explores the relation between class-stratified White masculinities and moral ambiguity in FX crime drama. Conflicts between morally ambiguous White men in The Shield (2002–2008), Sons of Anarchy (2008–present), and Justified (2010–present) support colorblind racial ideology by positioning a central antiheroic protagonist in opposition to overtly racist characters who embody stereotypes associated with the White underclass. In comparison with traditional crime dramas, these juxtapositions provide realistic depictions of contemporary America by acknowledging the existence of racial prejudice while the antihero’s ultimate victory stands as a rejection of anachronistic racial sensibilities drawing attention away from issues related to systemic inequality. 相似文献
15.
Sangwon Lee 《亚洲交流杂志》2019,29(2):111-127
This study sheds light on the recent use of social media for protests, with the 2016 South Korean candle light vigils as the case study. An extensive amount of literature has explored social media’s potential for informing and mobilizing the public to engage in protest activities. Previous research has mainly focused on the direct effect of social media on protest engagement. Moving beyond the direct effect, this paper sought a better understanding of social media’s role in the democratic process by examining how social media affects political knowledge and protest participation, depending on an individual’s political interest level. To test these relationships, this study used survey data collected in South Korea during the mass candlelight vigils in South Korea in 2016 (N?=?922). Findings suggest that the knowledge gap narrowed amongst those with high social media use, mainly due to a greater knowledge drop for those with high political interest. On the other hand, when it comes to participation, the participation gap widened amongst those with high social media use, largely due to a greater increase in participation for those with high political interest. Implications and directions for future research are discussed. 相似文献
16.
Antonio C. La Pastina 《Critical Studies in Media Communication》2013,30(2):162-181
In The Cattle King, a Brazilian telenovela, melodramatic elements of class ascension, love and betrayal, adultery, and pre‐marital sex played a central role in the lives of the main characters. This ethnographic study of viewers in Macambira, a small rural community in the backlands of northeast Brazil, discusses how these rural viewers appropriated telenovelas in their daily lives and how the meanings assigned to the texts were interpreted according to their own values and beliefs about gender roles, relationships, and sexuality. I argue that the geographical isolation and the local patriarchal culture mediated the process of reception, interpretation, and appropriation of telenovelas. The isolation in which Macambira is located in relation to the urban representations in the telenovela narratives intensified the perceived gap between the local patriarchal culture and the urban reality constructed in the television text. 相似文献
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Azmat Rasul 《The Communication Review》2017,20(4):225-245
Through the lens of political economy of communication and sports, this article examines the role of Bollywood’s sports movies in promoting patriotism and constructing an Indian national identity. Focusing on three popular movies premiered in the last decade, Dil Bole Hadippa (2009), Chak De! India (2007), and Lahore (2010), we explicate how Bollywood mobilized patriotic codes through these films in ways that are advantageous for the Indian government and the economic goals of the industry. 相似文献
19.
Kristin M. Barton Ph.D. 《广播与电子媒介杂志》2013,57(3):460-476
The study explores how competition-based reality shows with different thematic content influence gratifications obtained by viewers. Participants completed surveys regarding their reasons for watching reality programs in general and their reasons for watching specific reality shows (The Apprentice, The Bachelor/Bachelorette, and Survivor). Results identified a new gratification dimension not previously observed in other gratifications research (personal utility), and that correlations exist between the specific content of reality-based programs and the gratifications obtained by the viewers. 相似文献
20.
Christina S. Beck 《Communication Studies》2013,64(2):152-171
In this article, I advance an explanation to account for the exceptionally vested nature of soap opera viewers in “their stories.” After reviewing relevant literature on soap operas and fan contemporary media, I highlight the complex, co-constructed narrative intersections that contribute to powerful and multilayered experiences related to daytime dramas. In particular, I contend that soap operas matter to viewers because the multigenerational nature of audiences and mediated texts foster interconnections between viewer and textual narratives. Second, I argue that soap operas resonate so deeply with viewers due to increasingly blurred boundaries between ever-emergent personal, public, and mediated narratives. As such, the crossing of these narrative paths over time necessarily results in the very real and powerful interrelationships between the show, viewers, and actors in each other's emergent life narratives. 相似文献