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1.
ABSTRACT The authors deploy a critical cultural critique that extends the work of monstrosity scholars and other researchers who are interested in the application of zombie apocalypse analyses to critiques of contemporary nationalistic and social controversies. World War Z sets in motion a series of cinematic dynamics that invite audiences to consider how Israeli securitization of Jerusalem might serve as the world's best hope for containing the zombie apocalypse. By decoding the “monstering” features World War Z, the authors note the heuristic value of understanding how the rhetoric of autoimmunity influences mediated perceptions of Israeli and Palestinian conflicts. 相似文献
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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
3.
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
4.
Dannagal Goldthwaite Young 《The Communication Review》2013,16(1):27-52
This paper explores the themes of sacrifice and consumption in World War II advertising, including content analyses of advertisements and editorials in the Saturday Evening Post as well as a textual analysis of articles in the advertising trade publications Printer’s Ink and Industrial Marketing in 1942 and 1943. Results are discussed in terms of Cohen’s (2003) concepts of “citizen consumer,” “purchaser consumer,” and the ultimate American postwar dual-identity: “purchaser as citizen.” 相似文献
5.
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
6.
Diana Dixon 《Media History》2013,19(1):79-89
Television history channels and programming have seen considerable growth in recent years, yet empirical research on television history audiences remains limited. This essay argues that media history scholars need better to understand what happens when audiences consume television history, examining the critical debates concerning the genre's specific modalities of rendering the past on screen before exploring what opportunities and problems it affords viewers. The essay draws on original qualitative, empirical research on audiences of historical reality television through a specific, small-scale case study of BBC Wales' Coal House at War (Indus 2008). It argues for the need to retain a dual focus upon such programming's historical content and its televisuality if we are to appreciate the intricacies of viewers' cultural consumption. The essay concludes by demonstrating that audiences' own oral and written responses to television history reveal something of how people, situated in their specific times and places, understand both their past and their present. 相似文献
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Elia Powers 《广播与电子媒介杂志》2014,58(3):342-364
Media consumers have grown accustomed to content that is broken down into digestible chunks. Portlandia, an Independent Film Channel (IFC) comedy series that affectionately satirizes Portland, Oregon's hipster culture, offers a model of how to attract online viewers and create television programming using short videos intended for a niche audience. IFC promotes these decoupled, song-length clips online and encourages sampling and sharing. Using interviews and an analysis of the program's structure and content, this case study explores how Portlandia takes advantage of the synergy between television and new media, and the way audiences consume video programming in the digital age. 相似文献
10.
Ryan Shepard 《Communication Studies》2013,64(5):460-475
In response to the Abu Ghraib torture scandal, President Bush delivered an apology that was widely criticized by domestic and international audiences. Nevertheless, the apology succeeded in allowing the President to stop the momentum of negative public opinion following news of the crimes, and to avoid accountability for his role in the crisis. In this essay, I argue that Bush's success stemmed partly from his use of a special subgenre of apologia, simulated atonement. After explaining the strategy in detail, I describe some of the conditions in which it will likely be effective and apply the theory to Bush's statements. 相似文献
11.
Monique Scott 《Curator: The Museum Journal》2005,48(1):74-89
This article explores the question of how transnational audiences experience anthropology exhibitions in particular, and the natural history museum overall. Of interest are the ways in which natural history museums reconcile anthropological notions of humanity's shared evolutionary history—in particular, African origins accounts—with visitors' complex cultural identities. Through case studies of British, American, and Kenyan museum audiences, this research probed the cultural preconceptions that museum visitors bring to the museum and use to interpret their evolutionary heritage. The research took special notice of audiences of African descent, and their experiences in origins exhibitions and the natural history museums that house them. The article aims to draw connections between natural history museums and the dynamic ways in which museum visitors make meaning. As museums play an increasing role in the transnational homogenization of cultures, human origins exhibitions are increasingly challenged to communicate an evolutionary prehistory that we collectively share, while validating the cultural histories that make us unique. 相似文献
12.
《Communication monographs》2012,79(1):50-53
From the turbulent seventies in California emerged two very different men with two widely divergent solutions to the problems of troubled times. Through violent invective Dennis Kearney won an immediate popular following for a vague political program directed against surface evils. Henry George, with less understanding of mass audiences, won acceptance for his thoughtful economic analysis more slowly. But by 1886 George had learned much about popular speaking, while Kearney's hollow rantings had lost their appeal. George's long‐range influence was in part the result of his new‐found skill with mass audiences. 相似文献
13.
Claire Shinhea Lee 《亚洲交流杂志》2013,23(4):353-371
This study investigates the ideological implications of Nambowon (‘the Committee for Men's Rights’), one of the most popular sketches in a live comedy series entitled Gag Concert in Korea. The sketch humorously criticizes women who take advantage of men in various situations and always ends with a funny slogan demanding equal rights for men and the end of reverse gender discrimination. We treat Nambowon not as an idiosyncratic text but as part of Korean television programs that portray the rising social status of women as well as gender differences. Previous studies of gender and comedy have typically focused on textual meanings, and relatively little work exists to explain the audience's reception. Thus, we explore why audiences enjoy the show and whether and why there are differences in the reactions of male and female viewers to the portrayal of gender in Nambowon. 相似文献
14.
The hypothesis that a speaker's perceived confidence is a function of his self‐image was studied in this investigation. Seventeen matched pairs of subjects were picked on the basis of a pretest of the Personal Report of Confidence as a Speaker index. The experimental subjects were given indirect suggestion that their audiences viewed them as confident speakers. Posttest differences between treatments was significant at the 5% level of confidence. 相似文献
15.
This national survey of broadband users (N = 200) investigates people’s participatory behavior on Internet video websites by analyzing their use of interactive features. It seeks to identify a group of “interactive audiences” who take full advantage of web interactivity and may be most valuable to advertisers. This study defined audience interactivity based on people’s frequency in using interactive features and three groups were identified—non-interactive audience, average audience, and interactive audience. It compared three audience groups based on traditional audience valuation criteria such as demographics and media consumption levels, as well as newly proposed criteria including online engagement level and electronic word-of-mouth value. Results indicated that interactive audiences are younger, more engaged online, and have higher electronic word-of-mouth value than non-interactive audiences. Because audience interactivity is related to audience value, findings suggest that advertisers should invest more in this highly engaged and influential group online. The results also reveal the need for expanding audience valuation criteria, particularly in the online space, to include other variables such as online engagement level and electronic word-of-mouth influence. The study then offers practical implications for website managers and marketers. 相似文献
16.
Danielle M. Stern 《The Communication Review》2013,16(1):50-77
Using MTV's popular long-running program The Real World as a case study, this essay examines the interrelationship of the construction and consumption of bodies in an increasingly surveillance-based, commercial, hybrid media culture. This article is part of a larger project that employed a multi-method approach grounded in feminism combining textual data from The Real World with interviews with producers and female fans of The Real World. The author investigates how Real World viewers make sense of the series' claims to the real, using the body as the site of cultural production. Two key frames of bodies on The Real World are identified: the troubled body and the heteronormative body. The analysis is situated among studies of media realism to interrogate the context in which real women today are recreated as the “fractured female” in popular culture. The author argues that scholars should continue in a move toward interdisciplinary approaches that link the cultural with the capital and offers the body as a major site of cultural production and reception. 相似文献
17.
Rosya Izyanie Shamshudeen 《亚洲交流杂志》2013,23(2):142-157
This paper analyses the audience reception of the Malaysian reality television programme Akademi Fantasia (AF), which first aired in 2003 and completed its ninth season in 2011. AF has been an influential pioneer in the national television industry, inaugurating the trend of local reality shows and weathering intense competition from similar shows to remain at the top of the ratings chart over the last decade. Based on the Mexican talent search show, La Academia, Malaysia's AF is a unique hybrid blend of an Idol-style talent contest and Big Brother observational spectacle. The article draws on primary audience research to investigate the ways in which Malay audiences interpret the potentially incommensurable cultural meanings generated within the context of a localised version of a global television format. Chua's concept of ‘identification and distancing’ is employed as a framework to analyse the complex ways in which perceived Malay ‘cultural norms’ assume primacy as interpretative lenses for audience evaluations of the show and measures of its local difference from similar global cultural products. The research also reveals how these cultural norms are themselves being negotiated by the audience as part of the everyday experience of inhabiting coexisting local and global popular cultural spaces. The analysis focuses on audience understandings and pleasure in the programme in relation to fashion and taste; the behaviour of the official judges; voyeurism and conflict in ‘backstage’ coverage; and emotional intimacy onstage in the public performance component of the programme. 相似文献
18.
刘阳 《自然科学博物馆研究》2020,(5):53-60
该研究以接受美学为视角,通过对《国家宝藏》弹幕评论进行内容分析,讨论文博类电视节目受众的期待视野。研究结果显示,文博类电视节目受众的期待视野由文化期待、娱乐期待、身份期待、情感期待和社交期待等五种期待构成,其中文化期待、身份期待与情感期待尤能彰显文博类电视节目受众在期待视野上的特殊性。要保持自身的吸引力,文博类电视节目应与受众的期待视野保持一定的审美距离,不仅要满足受众的娱乐期待与社交期待,更要通过引导文化期待、平衡身份期待、强化情感期待实现对受众期待视野的超越乃至校正。 相似文献
19.
Audiences,metaphors, and the Persian Gulf war 总被引：1，自引：0，他引：1
Benjamin R. Bates 《Communication Studies》2013,64(3):447-463
This paper examines George Bush's Persian Gulf war addresses as a representative anecdote of Bush's campaign to build an international military coalition. The paper argues that in war rhetoric international audiences should be considered. A theorization of the international audience is offered. George Bush's public speeches are then analyzed as they use two metaphoric clusters. The SAVAGE cluster is used to justify a response to Iraq's 1990 invasion of Kuwait. The CIVILIZATION cluster is used to justify an American‐led military response. The metaphoric clusters are shown to be persuasive to the international audience as they are adopted and recirculated by this audience. Conclusions and implications of the interaction of these two metaphoric clusters for future war rhetoric are offered. 相似文献
20.
Following the death of Osama bin Laden in the late hours of May 1, 2011, many print newspapers throughout the United States and the world ran front-page coverage of his death the following day. Although public support for bin Laden's death was largely consistent, newspaper headlines across the country varied in their presentation of the story, from “Got the Bastard!” to a more stoic “bin Laden dead.” Content analysis derived from the model of intuitive morality and exemplars (MIME) was applied to explain variance in headlines as a function of the dominant political philosophy found in different areas of the United States—philosophies rooted in moral salience structures. The MIME suggests a reciprocal relationship between basic motivations underlying moral judgment for distinct audiences and media content produced for those audiences. Consistent with predictions, findings suggest that newspapers in conservative-leaning regions presented the story as a patriotic “killing” (an emphasis on authority and loyalty), whereas newspapers from liberal-leaning regions were more likely to present it in terms of justice restoration (an emphasis on fairness and reciprocity). 相似文献