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1.
The present paper argues that audience reception studies have tended to be ahistorical, neglecting consideration of the ways in which audiences’ orientation to media may have changed over the decades. The paper explores the potential of combining oral history methods with reception studies, and addresses some of the difficulties which arise. An apparently simple way to introduce a historical perspective is attempted by including audience age as a central part of an empirical research design. By analysing a series of focus group discussions in which people respond to crime media from different points over the postwar period, the concept of age is unpacked in terms of generation and life course factors, and these are shown to influence reception of crime media from both the present and the past. Generation and life course, together with gender, also affect people's positioning in society in relation to real‐world crime, and this too affects the reception of crime media. The paper concludes by suggesting three ways in which audiences may have changed over the postwar period in terms of their interpretive frames for making sense of crime media, namely the frames of personal relevance, realism and moral relativism. 相似文献
2.
Tanya Muscat 《Journalism Practice》2018,12(2):220-235
When considering the role of local journalism in a networked media environment, it is crucial to examine how audiences attribute news with the power to define social knowledge. In particular, television news programs need to appeal to audiences by reinforcing a sense of local journalistic authority to assert the parameters of who and what is worthy of coverage. This article presents the findings from interviews with a range of commercial television news viewers in Sydney, Australia. It positions viewership in the context of people’s wider engagement with news, and in relation to their interpersonal and digital social interactions. The paper argues that local audiences have conflicting attitudes to the role of television news, both contesting and re-inscribing the programs with the power to demarcate social, political, and cultural knowledge. It traces how local audiences challenge the ability of news to convey boundaries within the community through processes of exclusion, connecting the contestations to the lived experiences of the individuals. It identifies that television news programs nurture journalistic authority in terms of their local relevance, and it contributes insights on the significance of local news by engaging with the means by which audiences themselves attach social power to journalism. 相似文献
3.
One Hundred Strong: A Colloquium on Transforming Natural History Museums in the Twenty‐first Century
In February 2012, the Smithsonian's National Museum of Natural History (NMNH) convened 100 colleagues from 43 organizations to initiate a collaborative learning research agenda focused on examining important areas for innovation to better serve twenty‐first‐century audiences. The conference organizers anticipated that scientists, educators, exhibit professionals, and other members of the natural history community would identify and prioritize research questions about what, how, why, when, and where people learn about natural history. We prepared to engage in a conversation about how natural history museums could change what they do. The participants' overwhelming passion for their work, and for natural history museums and their transformative potential for society, quickly turned the conversation toward how natural history museums should change what they are. The result was an emergent learning research agenda situated within a broader vision for natural history museums. 相似文献
4.
Marouf Hasian 《Critical Studies in Media Communication》2013,30(3):338-358
–This essay focuses attention on some of the polysemic and polyvalent dimensions of Spielberg's Saving Private Ryan. The author argues that this film needs to be viewed as an intertextual fragment, where audiences, rhetors, and critics co-produce their interpretations of the rhetorical meaning of D-Day and the “Good War.” The essay advances the argument that critical memory studies help us understand how various representations and absences in the film allow for a number of different nostalgic and oppositional readings of the film. Because of the ambiguous nature of this cinematic representation, both supporters and detractors could claim that this was a realistic film that supported their own views on warfare. 相似文献
5.
Farooq Sulehria 《亚洲交流杂志》2017,27(1):97-112
Mainstream discourses on the globalisation of media that delineate the emergence of privately owned television channels in the periphery country as evening out metropolitan domination are belied by concrete evidence. This essay argues that the rise of southern players has undermined state broadcasting rather than dismantling ‘media imperialism’. Based on two case studies, Pakistan Television (PTV) and Doordarshan (DD), this study demonstrates that the actual, if inadvertent, victim of globalisation has been state broadcasting and an associated developmentist model of television. As a result the decline of state-led television channels has radically transformed television systems in India and Pakistan. While DD and PTV view their audiences as citizens, the globalisation of media has resulted in a commodification of television audiences. Instead of public interest, audience maximisation has become the dominant logic of television systems in both these countries. In the process, developmentist television systems have been replaced by the commercially driven systems. 相似文献
6.
《Journal of Radio & Audio Media》2013,20(1):90-101
Popular recountings of radio's past tend to begin with KDKA's November 2, 1920 broadcast of the Coolidge-Harding election returns, in effect deligitimizing the complex pre-commercial period in American broadcasting. The effects of this are apparent in the neglect of the pre-commercial period in popular and scholarly histories of radio. In contributing to the bourgeoning body of revisionist work in radio scholarship, this essay reexamines the historical role of KDKA, Pittsburgh. Primarily, I focus on the maintenance and reinforcement of what I call “the KDKA myth” to examine how KDKA has managed its primacy claim throughout the station's history. 相似文献
7.
This essay proposes the notion of the “jazz vernacular” as a tool specific to the Creole culture in New Orleans for understanding racial discourses of disposability both geographically and historically. We argue that the jazz vernacular is a discourse structured by musical repertoire. The jazz vernacular provides a channel for the historical pain of the black diaspora by playing in the background, both literally and figuratively, of communication in and about New Orleans. This essay considers Spike Lee's documentary When The Levees Broke to understand how the jazz vernacular frames hurricane Katrina as well as how it frames Lee's film as an intervention into “neoliberal” racial discourses. We argue that Lee's film utilizes the jazz vernacular as a metadiscourse to reinforce the ways in which residents used jazz to restructure cultural memory around the rhetoric of the dispossessed in New Orleans after Katrina. When the Levees Broke uses testimonials and affective communication to structure the narrative of Katrina through elements of the jazz vernacular like: displacement, embodiment, brashness, and improvisation to connect contemporary Creole New Orleanians to a long history of structural oppression and violence. By harnessing performative elements, Lee's film performs a jazz intervention into neoliberal discourses about freedom, defense, safety, and heroism that contrasts these discourses with the despair and the resistance of black America. Consequently, Lee's use of the jazz vernacular relies on native musical culture to recontextualize what neoliberalism had erased. 相似文献
8.
Susan Evans 《Curator: The Museum Journal》2013,56(2):189-197
How does what we remember about history relate to true historical understanding, and how can the museum become a location for these conversations? During the summer of 2011, the National Museum of American History challenged audiences to consider issues of historical memory and national history through the performance of an interactive museum theater program, The Time Trial of John Brown. Using the Time Trial approach as a case study, this article reveals that interactive theater in museums can provide a platform from which audiences assert their own historical understanding while learning firsthand about their role in creating a shared knowledge of American history. As the role of museums evolves in the twenty‐first century, new attention must be paid to this personal process of examining and creating history and memory through performance. It is through performance and participation that history and memory are both examined and created by the audience. 相似文献
9.
Anders Olof Larsson 《Journalism Practice》2017,11(4):438-457
While previous research has focused on the uses of a variety of online services—such as Web pages and, more recently, Twitter—by media organizations and their audiences, a rather limited amount of empirical inquiry has been directed towards the often more and broadly used Facebook platform. The current paper contributes to the research field by providing a longitudinal study of journalist and audience engagement on the Facebook pages of Sweden's four major newspapers—Aftonbladet, Dagens Nyheter, Expressen and Svenska Dagbladet. Employing state-of-the-art methods for data collection, the results indicate that while audiences appear to be increasing their engagement with news organizations on Facebook—albeit mostly through so-called “likes”—the media organizations themselves are decreasing their engagement with audiences. 相似文献
10.
Mary Irwin 《Media History》2013,19(2):162-177
Wednesday Magazine (1958–1963) was an innovative BBC television afternoon arts and culture strand produced by the specialist BBC women's programme unit, which had been built up and nurtured by the first dedicated head of women's programmes Doreen Stephens, who was appointed in 1953. Stephens was responsible for the development of a diverse and extensive range of women's programming; highly ambitious in the offering that it presented to its female viewers. This article will examine the series Wednesday Magazine exploring the wealth of arts and culture items broadcast, whilst considering the programme's significance in critical histories of both women's programming and arts television. The article will also make an intervention into historical debates around what constituted women's television in Britain. 相似文献
11.
Alexandra Hendriks 《Critical Studies in Media Communication》2013,30(1):106-123
Although the media effects literature was precocious in its development, appearing almost as soon as the object of its study, researchers have focused on a relatively narrow array of effects. Examples include the effects of violent, pornographic, and sexual content in the media and minority stereotyping. This review demonstrates the need for researchers to construct stronger theories and conduct more programmatic research on another important, yet often ignored, media effect–the effect of ideal televised images on females' perceptions of, and satisfaction with, their own bodies. To accomplish its purposes, the paper begins with a review of the body image literature, including a discussion of current televised representations of female bodies and their effects on body satisfaction. Next, the paper argues that researchers should refer to two prominent media effects theories (cultivation theory and social cognitive theory) to better understand the process by which television influences body image. This latter review leads to ethical considerations and conclusions regarding probable effects of television on women's body satisfaction. 相似文献
12.
Inger L. Stole 《The Communication Review》2013,16(3):349-371
For many practitioners, jurists, and free speech scholars, there are few jurisprudential quagmires that can rival the abyss created by obscenity rules and regulations. This historical essay claims that by using the Besant‐Bradlaugh trial as a case study, scholars can combine legal and cultural perspectives in order to understand some of the religious, class, and gender dimensions of obscenity. The essay traces the development of the history of “obscene libel” from Curll's Case in the eighteenth century to the passage of Lord Campbell's Act and the application of the Hicklin test in the Besant‐Bradlaugh trial of the nineteenth century. 相似文献
13.
《Journalism Practice》2013,7(4):502-516
This study examines how politicians act as sources on Dutch television news. It argues that due to the mediatization of politics and a shift towards more interpretive forms of journalism, journalists use politicians' quotes and sound bites first and foremost to support their interpretation of news events. Previous research has shown that because of the growing importance of media logic, journalists are more autonomous and powerful in their relations with sources. This case study shows, however, how the format of news items, especially the use of interviews and quotes, supports the interpretive nature of television news. While there is less on-screen interaction between journalists and politicians on television news, interviews are cut into short sound bites of politicians without the context of the actual interview. Detached reporting of what politicians say because of its newsworthiness has become less important than fitting suitable quotes into predetermined news frames. The analysis is based on a case study of the 2010 local council election coverage by the two major Dutch television news programs, NOS Eight O'Clock News (NOS Achtuurjournaal) and RTL News (RTL Nieuws). 相似文献
14.
This essay examines Frank Mechau's infamous mural Dangers of the Mail as an opportunity to theorize the force of memories contingent upon immediate sensual encounters that operate largely irrespective of actual historical occurrences. Through an analysis of public documents, archival material from the 1930s and early 2000s, and two separate tours of the William Jefferson Clinton Federal Building in 2015 and 2016, we argue Mechau's Dangers of the Mail triggers a form of traumatic sense memory that positions audiences within a trauma economy in which sensation functions as epistemological grounding for political struggle. 相似文献
15.
Michelle I. Seelig 《The Communication Review》2019,22(1):45-83
The present essay comparatively explores and reflects on popularizing the environment in a changing media ecology wherein content is no longer exclusive to traditional television viewing or distributed for cinematic release. Specifically, the aim of this essay is to illustrate how screened presentations such as film, television, and recently digital media, promote environmentalist ideals in the hopes that if audiences are entertained, then perhaps these narratives can subtly influence thinking and behavior. This review also draws from research on mediating the environment in television and film studies as well as scholarly literature on entertainment-education. The implications of this essay indicate that whether real or fictional, eco-friendly content is growing in popular media and no longer the backdrop to the story being told. As this essay shows, media professionals have started embracing entertaining content infused with content of value so that audiences can “see” why the environment is important. 相似文献
16.
Stephanie E. Bor 《Media History》2013,19(4):464-478
This historical research describes the strategies used by the New York Times, Los Angeles Times, and several other periodicals to discuss the incorporation of Lucille Ball's pregnancy into her television sitcom, I Love Lucy. This important media event occurred in the early 1950s and marked the first time that an image of pregnancy and childbirth would be depicted on national television. Although the inclusion of sexual content in the mass media was highly controversial at the time of Ball's pregnancy, this analysis concluded that the press was generally favorable in its treatment of the topic. Journalists highlighted the popularity of the event, praised I Love Lucy creators for their sensitive treatment of the topic, and drew comparisons between characters' on-screen and off-screen lives. This research elucidates the emergence of representations of pregnancy and childbirth on television that are now commonly featured in modern broadcast programming. 相似文献
17.
18.
张媛媛 《自然科学博物馆研究》2018,(4):5-10
本文首先列举了高速建设背景下的博物馆在展览内容设计上暴露的一些严重影响科学教育效果的问题,并分析其原因。随后提出引入核心概念是解决上述问题并全面达成科学教育目标的保证。核心概念的定义和特点决定了其能够整合现象和知识点、构建知识框架,促进形成科学思维。核心概念需要依据特定标准,结合主题和具体展教范围提出。博物馆科学教育实践就是实现核心概念理解的过程,通过情境创设可以更好地实现这一过程。自然博物馆应当发挥展品和展览在教育情境创设上的独特优势,充分挖掘展品蕴含的信息,帮助观众构建一个以核心概念为主干、其他概念和事实为枝叶的知识树,在此过程中,发展观众对于展品、核心概念乃至跨学科概念的深层理解。 相似文献
19.
Framed by the technology acceptance and customer-based brand equity (CBBE) models, this study investigated how audiences intend to use broadcast television network Web sites. Drawing upon the results of a survey (N = 178), this research found that perceived ease of use and perceived enjoyment significantly influence intent to use broadcast Web sites. Findings also reveal that CBBE plays a significant role as a mediator between motivations and behavioral intention to use broadcast networks' Web sites. It is concluded that as the medium of television evolves, networks' Web sites should be conduits for sustained brand allegiance and broadcasters should make more strategic use of their Web sites. 相似文献
20.
Eugene W. Dillenburg 《Curator: The Museum Journal》2000,43(4):356-365
Abstract As museums enter a new century, they are challenged to demonstrate their relevance to society. Increasingly, institutions have recognized that in order to thrive, they must ensure that mission‐related activities—exhibits and programs, collections and research—are meaningful to the public they rely on for support. Numerous deeply‐ingrained habits of practice and of thought have prevented object‐based exhibits from responding effectively to visitor interests. For museums to be truly relevant to their audiences, this paper argues for a fundamental shift in how they think about and organize exhibits. Exhibits need to become more topical and issue‐oriented, rather than generalized and systematic. Furthermore, a successful topical exhibit program needs to operate on two separate, yet integrated, levels: long‐term exhibits providing context on broadly relevant, interdisciplinary themes shorter‐term exhibits on specific, current issues embedded within the longterm exhibits, linking that broad content to visitors' lives Beyond the crucial role of increasing the museum's relevance to its audience, such an exhibits program would have numerous ancillary benefits, including more evenly distributed costs, greater creativity, lessened job burnout, and new funding opportunities. Though specifically addressing natural history museums, aspects of this paper should be relevant to museums of all kinds. 相似文献