Relevant bibliographies by topics / Film audience

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Film audience'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Film audience"

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Huang, Tseng-Lung, and Yi-Mu Chen. "Young audiences’ emotional experience on smartphone film: an application of dual-coding theory." Young Consumers 15, no. 2 (June 10, 2014): 193–208. http://dx.doi.org/10.1108/yc-07-2013-00384.

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Purpose – This study aims to determine whether smartphones create the best communication fit with a young audience. Design/methodology/approach – To validate the hypotheses, a task-based laboratory study was conducted. And smartphone film and television (TV) film were provided in the laboratory. Young respondents were recruited in the classroom and brief introduction and film were broadcasted. After watching the film, levels of respondent’s emotional experience was measured via questionnaire. Findings – The results indicate that when the text of the film matches the young audience’s schema, the young audience uses, mainly, imagery coding to interpret the text and achieve an emotional experience. Conversely, when the text and schema do not match, the young audience uses both proposition coding and imagery coding. Practical implications – Based on the results found in this study, companies should use different texts to match the different schema of young audiences to ensure that audiences can process coding and enjoy emotional experiences when using smartphone. Originality/value – Dual-coding theory is applied to determine which coding system the audience use to interpret the new-media text, such as smartphone films.
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Hanchard, Matthew, Peter Merrington, Bridgette Wessels, Kathy Rogers, Michael Pidd, Simeon Yates, David Forrest, Andrew Higson, Nathan Townsend, and Roderik Smits. "Developing a computational ontology to understand the relational aspects of audience formation." Emerald Open Research 2 (February 12, 2020): 5. http://dx.doi.org/10.35241/emeraldopenres.13465.1.

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In this article, we discuss an innovative audience research methodology developed for the AHRC-funded ‘Beyond the Multiplex: Audiences for Specialised Film in English Regions’ project (BtM). The project combines a computational ontology with a mixed-methods approach drawn from both the social sciences and the humanities, enabling research to be conducted both at scale and in depth, producing complex relational analyses of audiences. BtM aims to understand how we might enable a wide range of audiences to participate in a more diverse film culture, and embrace the wealth of films beyond the mainstream in order to optimise the cultural value of engaging with less familiar films. BtM collects data through a three-wave survey of film audience members’ practices, semi-structured interviews and film-elicitation groups with audience members alongside interviews with policy and industry experts, and analyses of key policy and industry documents. Bringing each of these datasets together within our ontology enables us to map relationships between them across a variety of different concerns. For instance, how cultural engagement in general relates to engagement with specialised films; how different audiences access and/or share films across different platforms and venues; how their engagement with those films enables them to make meaning and generate value; and how all of this is shaped by national and regional policy, film industry practices, and the decisions of cultural intermediaries across the fields of film production, distribution and exhibition. Alongside our analyses, the ontology enables us to produce data visualisations and a suite of analytical tools for audience development studies that stakeholders can use, ensuring the research has impact beyond the academy. This paper sets out our methodology for developing the BtM ontology, so that others may adapt it and develop their own ontologies from mixed-methods empirical data in their studies of other knowledge domains.
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Saryusz-Wolska, Magdalena. "Powojenna widownia filmowa w Berlinie. Przyczynek do nowej historii kina." Prace Kulturoznawcze 20 (March 27, 2017): 121–32. http://dx.doi.org/10.19195/0860-6668.20.10.

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Post-war Film Audience in Berlin. A Contribution to the New Cinema HistoryThe article aims to present the advantages of the new cinema history as a research tool in the field of cultural participation. It focuses on early post-war cinema audience in Berlin, their motivations, practices and habits. Watching films is treated as an exemplary social, economic and political phenomenon that influences all kinds of using and producing popular culture. The author stresses that films are usually made for their audiences. Hence, film studies should pay more attention to the cinemagoers as well as to their parallel activities, such as reading film magazines, observing film posters, or watching film advertisements. Moreover, historical audience studies are a necessary step while analyzing the changing modes of cultural participations. Information on historical practices is especially useful, at a comparative level, in order to support theses on the specificity of contemporary cultural activities.
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Suwarto, Dyna Herlina, Benni Setiawan, and Gilang Jiwana Adikara. "The Fragmentation of Indonesian Film Audience." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 1 (March 31, 2021): 74–87. http://dx.doi.org/10.17576/jkmjc-2021-3701-05.

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Nowadays, films can not only be watched in conventional media such as cinema, screening and television but also digital media such as streaming, download and shared archives. This study aims to determine the pattern of audience fragmentation, especially in the cinephile segments. The research employs an explorative qualitative method. The data collection methods include diaries and interviews. Informants were determined using a purposive sampling technique which includes visitors of the movie screened by the Jogja Movie Night, DIY Watching Club, and Cultural Department in July 2018. The results of this study show that, first, conventional media such as cinema and screening are still considered important because they provide a tasting guide, a space for social interaction and technical facilities. Second, attention is managed differently when dealing with conventional and new media. The focus of watching a movie can be created in different ways tailored to the viewing space. Third, film content is used as inspiration to produce films as hobbies and learning space. Also, it can be diverted in other forms such as short stories, performance scripts. Although being exposed to unlimited choices, film viewers only access the relative channels for a certain period. They need public space to interact with film fans, educate their appetite and watch satisfaction. Digital media is used to facilitate the autonomy of choosing and treating films based on their needs and desires. Keywords: Film audience fragmentation, audience interests, consumption pattern, new media, cinephelia.
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Pautz, Michelle C. "Argo and Zero Dark Thirty: Film, Government, and Audiences." PS: Political Science & Politics 48, no. 01 (December 31, 2014): 120–28. http://dx.doi.org/10.1017/s1049096514001656.

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ABSTRACTWith the prevalence and accessibility of film today, we must wonder how film affects its audience. In particular, how does film influence an audience’s perceptions of the government? Regardless of the content, research demonstrates that film has the power to shape perceptions of its moviegoers on a range of subjects. In this study, two recent films,ArgoandZero Dark Thirty, were chosen as case studies to explore how Hollywood portrays the intelligence community in film and shapes opinions about the government more broadly. This research found that about 25% of viewers of the two films changed their opinion about the government after watching one of the movies. Additionally, many of those changes are reflected in an improvement in the sentiments about the government and its institutions. This exploratory research provokes interesting discussions about the ability of film to influence the perceptions of an audience.
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Ramos Caro, Marina, and Ana Rojo. "“Feeling” audio description." Translation Spaces 3 (November 28, 2014): 133–50. http://dx.doi.org/10.1075/ts.3.06ram.

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There is evidence suggesting that watching movies usually provokes an emotional response in the audience that may differ according to the type of film viewed. For example, Grodal (2009) argues that the type of response provoked by mainstream cinema is different from that elicited by avant-garde films. In visually impaired audiences, the emotional impact of films is inevitably mediated by the Audio Description (AD) provided. In most countries AD norms do not cater for variations between different types of films. There exists, therefore, the possibility that the emotional impact of the film could be affected or altered by the AD. This paper aims to explore possible differences in the response of sighted versus unsighted audiences when watching avant-garde and narrative films. A pilot study is designed to measure the emotional response through self-response questionnaires. Our results indicate that differences between both types of audience are more prominent for avant-garde films.
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Latifah, Latifah. "Film as Media of Religious Dialogue: The Reception of Three Indonesian Contemporary Films." DINIKA : Academic Journal of Islamic Studies 1, no. 3 (December 30, 2016): 263. http://dx.doi.org/10.22515/dinika.v1i3.87.

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The paper examines the audiences response in consuming of religious representation in three Indonesian contemporary films: Ayat-Ayat Cinta (Verses of Love), 3 Doa 3 Cinta (3 Wishes 3 Loves), and Perempuan Berkalung Sorban (Woman with a Scarf Around her Neck). By examining the audiences response in media, particularly through electronic delivery, the paper shows that the public dispute of the Islam representation in this film serves as communication media of religious dialogue. The examination of audiences response on those three films illuminates the various impacts of Islamic film label embedded in their cinematic representation. Islamic film can be a profitable trademark since it gives more reasons to attract audience than entertainment motive does. Representation of religion analogue to religious teaching and practice creates religious film as media for religious dialogue between people, state, the faith communities, and film makers.Keywords:film, representation, religious-dialogue
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Chen, Huan, Yifan Zuo, Rob Law, and Mu Zhang. "Improving the Tourist’s Perception of the Tourist Destinations Image: An Analysis of Chinese Kung Fu Film and Television." Sustainability 13, no. 7 (April 1, 2021): 3875. http://dx.doi.org/10.3390/su13073875.

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Cultural media, film, and television works can increase the popularity of the image of tourist destinations, thereby promoting the sustainable development of the tourism industry and obtaining economic benefits. This study takes Chinese kung fu film and television as examples to explore the mechanism of audience participation in the perception of tourist destinations. It further explores the mediating effect of cultural contact. The study took the image perception of tourist destinations as the dependent variable and audience participation as the independent variable. A total of 331 subjects were surveyed, and a multi-layer regression model was established to test the rationality and validity of the hypothetical theoretical model. The research results show that audience participation in martial arts films and television tourism can directly and indirectly affect the audience’s perception of martial arts culture. At the same time, the viewer can achieve contact with martial arts culture through film and television, accordingly forming his or her perception of the destination. In other words, film and television audience participation can bring more cultural contact to the audience. In turn, cultural contact can enhance the image perception of tourist destinations and play an important intermediary role in the process of audience participation by enhancing the perception of tourist destinations. By confirming the variable relationship in Wushu film and television tourism, this research fills the gap between the two aspects, which contributes to promoting the two-way interaction between Wushu film and television works and tourism marketing and achieving the long-term sustainable development of tourism destinations.
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Knauss, Stefanie. "Religion and Film." Brill Research Perspectives in Theology 4, no. 1 (January 22, 2020): 1–103. http://dx.doi.org/10.1163/24683493-12340009.

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Abstract Is cinema evil, or sacramental? Can films make theological contributions? Can film-viewing be a religious practice? How do films, values and power interact? The study of film and religion engages a range of diverse questions through different approaches and methods. In this contribution, I distinguish three complementary approaches. In the first section, I discuss those that focus on the film as text, the representation of religion in film, and how theology happens in film. The next section will broaden this perspective by taking into consideration how films affect audiences, and how the relationship between film and audience might have religious dimensions or serve religious functions. In the third section, attention to the text and the audience are combined with the consideration of both film and religion as agents in cultural processes in order to think about how film and religion are shaped by and shape value systems and ideologies. In the last section I will begin to tackle the difficult question of theory and method. I consciously postpone this part until the end because, in many cases, methodologies and theoretical frameworks are implied in and emerge from concrete case studies rather than being consciously reflected upon. This final section has two goals: it will make explicit some of these underlying assumptions to serve as a starting point for a more sustained reflection on the theories and methodologies of the field, and it will highlight some of the pitfalls we encounter if we are not methodologically and theoretically precise in our work.
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Ovitamaya, Eklesia. "RESEPSI PENONTON REMAJA FILM DUA GARIS BIRU TENTANG ISU PENDIDIKAN SEKS." Jurnal Audience 4, no. 01 (March 24, 2021): 73–85. http://dx.doi.org/10.33633/ja.v4i01.4232.

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AbstrakFilm Indonesia yang mengangkat isu tentang pendidikan seks masih dianggap tabu. Pada sisi yang lain, sebagai media alternatif, pesan dalam film dapat dipahami dengan mudah oleh para penontonnya. Penelitian ini membahas resepsi penonton remaja film Dua Garis Biru tentang isu pendidikan seks. Penelitian ini menggunakan kerangka encoding-decoding Stuart Hall untuk menganalisis pemakanaan audiens dari setiap adegan dalam film. Temuan data menunjukkan bahwa audiens terbagi ke dalam tiga kelompok pembacaan: dominan hegemonik, negosiasi, dan oposisi. Posisi pembacaan penonton ini dipengaruhi oleh latar belakang dan pengalaman dari para penonton remaja. Selain itu, para penonton menginterpretasikan film Dua Garis Biru tidak hanya memberikan pesan tentang pendidikan seks, melainkan juga kesetaraan gender, nilai-nilai yang dipegang, dan bagaimana lingkungan keluarga memberikan pendidikan seks kepada para remaja.Kata Kunci: Encoding-decoding, Film, Pendidikan Seks, Remaja, Resepsi Audiens.AbstractIn Indonesia, movies that bring sensitive issues such as sex education was previously considered taboo. On the other hand, as an alternative media that is easily understood by the audience, movies are used as one of the most effective means of delivering messages. This study aimed to determine the reception of Dua Garis Biru's teenage audiences about sex education issues. This study used Stuart Hall's encoding-decoding analysis method to determine the audiences’ meaning of each scene in the movie.The findings show that the reception of the film audience of Dua Garis Biru showed three reading positions. There were dominant reading, negotiation reading, and opposition reading. The position of the reading was highly influenced by the background and experiences of teenage audiences. Furthermore, the audiences interpret Dua Garis Biru movie as giving the messages about sex education issues but also gender equality issues, the values of the beliefs held, and how the family provided sexual education to the teenagers.Keyword: Audiences reception, Encoding-Decoding, Movie, Sex Education, Teenagers.
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Dissertations / Theses on the topic "Film audience"

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Dickson, Lesley-Ann. "Film festival and cinema audiences : a study of exhibition practice and audience reception at Glasgow Film Festival." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5693/.

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This thesis takes the view that film festivals are ‘social constructions’ and therefore need social subjects (people/audiences) to function. Nevertheless, Film Festival Studies, with its preoccupation with global economics and/or the political nature of these events, has arguably omitted the ‘audience voice’ meaning much of the empirical work on offer derives from market research by festivals themselves. As such, there is little conceptual contribution on what makes festivals culturally important to audiences or the ways in which festival practice differs from, or synergises with, broader cinematic practice. This thesis investigates exhibition practice and audience reception at Glasgow Film Festival (GFF) over three years (2011-13). The originality of the work is found in its contribution to the burgeoning field of Film Festival Studies and its methodological intervention as one of the earliest studies on film festival audiences. Using qualitative audience research methods, elite interviews and ethnography, it approaches film festival analysis through a nuanced lens. Furthermore, the positioning of the research within the interdisciplinary landscape of Film Festival Studies, Film Studies and Cultural Studies offers a broad context for understanding the appeal of ‘audience film festivals’ and the exhibition practices that exist within this often neglected type of film festival. The thesis argues that Glasgow Film Festival continuously negotiates its position as an event that is both populist and distinct, and local and international. Through its diverse programme (mainstream and experimental films, conventional and unconventional venues) and its discursive positioning of programmed films, it manages its position as both a local and inclusive event and a prestigious festival with aspirations of international recognition. More broadly, the thesis argues that festival exhibition is a multi-layered operation that strives to create a ‘total experience’ for audiences and in this respect it differs greatly from standard cinematic exhibition. Furthermore, I propose that – despite the fact that the raison d'être of film festivals is to present films – audiences privilege the contextual conditions of the event in their experiential accounts, articulating festival experiences (pleasures and displeasures) in spatial and corporeal terms. As such, the thesis serves to problematise Film Studies’ conventions of immersion and disembodiment by proposing that film festivals are predominantly sites of heightened participation, active spectatorship, and spatial and embodied pleasure.
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Cherry, Brigid S. G. "The female horror film audience : viewing pleasures and fan practices." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/2268.

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What is at stake for female fans and followers of horror cinema? This study explores the pleasures in horror film viewing for female members of the audience. The findings presented here confirm that female viewers of horror do not refuse to look but actively enjoy horror films and read such films in feminine ways. Part 1 of this thesis suggests that questions about the female viewer and her consumption of the horror film cannot be answered solely by a consideration of the text-reader relationship or by theoretical models of spectatorship and identification. A profile of female horror film fans and followers can therefore be developed only through an audience study. Part 2 presents a profile of female horror fans and followers. The participants in the study were largely drawn from the memberships of horror fan groups and from the readerships of a cross-section of professional and fan horror magazines. Qualitative data were collected through focus groups, interviews, open-ended questions included in the questionnaire and through the communication of opinions and experiences in letters and other written material. Part 3 sheds light on the modes of interpretation and attempts to position the female viewers as active consumers of horror films. This study concludes with a model of the female horror film viewer which points towards areas of female horror film spectatorship which require further analysis. The value of investigating the invisible experiences of women with popular culture is demonstrated by the very large proportion of respondents who expressed their delight and thanks in having an opportunity to speak about their experiences. This study of female horror film viewers allows the voice of an otherwise marginalised and invisible audience to be heard, their experiences recorded, the possibilities for resistance explored, and the potentially feminine pleasures of the horror film identified.
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Hubbard, Frances Rosina. "Screendance : corporeal ties between dance, film, and audience." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48856/.

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I explore the sensuous, kinaesthetic experience and analysis of screen dance and the interconnectivity between our bodies, film, and heightened embodied sensibility. This physicality creates a dialogue between the rich diversity of screen dance genres under consideration, thereby avoiding hierarchical classifications. It also focuses attention on more abstract cinematic qualities, investigating how cinematic technique (as well as thematic content) generates emotional impact; allowing for the enjoyment of film as a material and sensual medium. However, since our senses have been trained according to the regulatory controls within our socio-historical/cultural contexts, equal attention is given to the ideology of representation, and to the links between embodiment, identities, meanings, and broader relations of inequality. I am particularly interested in how dance and film can function politically, both expressing and disrupting norms and ideologies. But I am also interested in how the presence of dance (and/or choreographed movement) can enhance a film's agency and its ability to cross time and space, “touching” the viewer and thereby working to transform historical objectification into embodied interaction. I combine a phenomenological lived-body experience of viewing with the epistemological functions that characterise it, using my own somatically felt body as a methodological starting point and a creative practice, and theoretical text-based and socio-historical contextual analyses. This balance between lived-experience and critical discussion is used to explore chapters on the deconstruction of national, cultural, and gendered identity through Flamenco dance and film; dance and physical disability; and avant-garde feminist screendance. A final chapter brings these key themes together by investigating how (psychiatric) disability, feminism, and national identity are treated in a contemporary Hollywood dance film. Whilst embodied perception is never “innocent” and always shaped, I show how the movement of affect and emotion between the film and viewer's body can constitute an ethical experience, encouraging progressive and self-reflexive political and ideological engagement.
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Brown, Noel. "Hollywood, the family audience and the family film, 1930-2010." Thesis, University of Newcastle upon Tyne, 2010. http://hdl.handle.net/10443/954.

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This thesis is the first in-depth, historical study of Hollywood’s relationship with the ‘family audience’ and ‘family film’. Since the 1970s, Hollywood family films have been the most lucrative screen entertainments in the world, and despite their relativelyunexplored status in academic film criticism and history, I will argue that the format is centrally important in understanding mainstream Hollywood cinema. How have ‘family films’ become so globally dominant? One answer is that Hollywood’s international power facilitates the global proliferation of its products, but this explanation, in isolation, is insufficient. I will argue that Hollywood family films are designed to transcend normative barriers of age, gender, race, culture and even taste; they target the widest possible audiences to maximise commercial returns, trying to please as many people, and offend as few, as possible. This they achieve through a combination of ideological populism, emotional stimulation, impressive spectacle, and the calculated minimisation of potentially objectionable elements, such as sex, violence, and excessive socio-cultural specificity. Initially, the audience for family films was predominantly domestic, but with the increasing spending power of international audiences, family films are now formulated on the belief that no market is inaccessible. For this reason, they are inextricably linked with Hollywood – the only film industry in the world with the resources and distribution capacity to address a truly global mass audience. The ‘family film’ originated in early-1930s Hollywood as a mixture of propaganda and commercial idealism. Hollywood cinema was already an international cultural phenomenon, but was founded upon a claim to universality that was undermined by the predominance of adult-orientated films. The family film was the result both of external pressures to make films more morally-suitable for children, and the desire to engage a more middle-class mass audience. Films targeting the so-called ‘family audience’ were excellent propaganda for Hollywood, suggesting superior production, inoffensiveness and broad appeal. Although such movies have not always commanded the mass (‘family’) audiences for which they are intended, they have flourished in the domestic and international media marketplace since the 1970s, and their commercial and cultural dominance appears likely to extend further in the years to come. Whilst the idea of a universally-appealing film remains an impossible dream, mainstream Hollywood has pursued it relentlessly. It is the Holy Grail for mainstream producers, and has attained considerable importance in U.S. – and increasingly international – culture, as audiences flock to see films which appear to transcend run-ofthe- mill screen entertainment by providing universally-intelligible aesthetic and/or emotional satisfaction. This thesis maps the history of the Hollywood family film, documenting the motivations and strategies involved in its emergence and development, analysing the form creatively and ideologically, evaluating its place within global mass entertainment, and underlining its considerable importance.
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Gordon, Rebecca M. "Between thought and feeling affect, audience, and critical film history /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3243803.

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Thesis (Ph.D.)--Indiana University, Dept. of English and the Program of American Studies, 2007.
Title page from PDF t.p. (viewed Nov. 18, 2008). Source: Dissertation Abstracts International, Volume: 67-12, Section: A, page: 4369. Advisers: Jonathan Elmer; Joss Marsh.
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Lathrop, Benjamin Alan. "Cult Films and Film Cults: From The Evil Dead to Titanic." Ohio University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1090934488.

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Hoffman, Sarah G. "Not Just Entertainment: Hollywood Animation and the Corporate Merchandising Aesthetics and Narratives for a Children’s Audience." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1490966620486322.

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Piturro, Vincent. "The audience and the film: A reader-response analysis of Italian Neorealism." Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3303881.

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Huang, Ruiyan. "Research on Audience Engagement in Film Marketing -- Taking the film <Us and Them> as the Case." Thesis, Uppsala universitet, Institutionen för informatik och media, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-387577.

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The film marketing is becoming increasingly important due to the fierce competition of film industry in China. With the drive of technology innovations, the creation of interaction among audiences has gradually become the spotlight of film marketing and many social media platforms are employed as marketing tools to encourage or foster audience engagement. Through the case study of Us and Them, the thesis studies how audience engagement is realized through film marketing strategies made by marketers, so as to identify the specific marketing strategies or techniques used for enhancing the audience engagement and promoting the film. As different marketing techniques will lead to different level of audience engagement, that are normally reflected by the preferences of audiences, their behaviors on social media and the way of involving into film contents, it is necessary to explore and understand the effectiveness and efficiency of these techniques, so that the film marketing can be improved while practical marketing progressing.
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Gilboy, Jemma Diane. "Craptacular science and the worst audience ever : memetic proliferation and fan participation in The Simpsons." Thesis, University of Hull, 2016. http://hydra.hull.ac.uk/resources/hull:13741.

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The objective of this thesis is to establish meme theory as an analytical paradigm within the fields of screen and fan studies. Meme theory is an emerging framework founded upon the broad concept of a “meme”, a unit of culture that, if successful, proliferates among a given group of people. Created as a cultural analogue to genetics, memetics has developed into a cultural theory and, as the concept of memes is increasingly applied to online behaviours and activities, its relevance to the area of media studies materialises. The landscapes of media production and spectatorship are in constant fluctuation in response to rapid technological progress. The internet provides global citizens with unprecedented access to media texts (and their producers), information, and other individuals and collectives who share similar knowledge and interests. The unprecedented speed with (and extent to) which information and media content spread among individuals and communities warrants the consideration of a modern analytical paradigm that can accommodate and keep up with developments. Meme theory fills this gap as it is compatible with existing frameworks and offers researchers a new perspective on the factors driving the popularity and spread (or lack of popular engagement with) a given media text and its audience. Following overviews of meme theory and fan studies, this thesis synthesises methods from both fields to analyse one of this generation’s most notable televisual fan-texts, The Simpsons, and its fandom. The memetic analysis thereof, integrated with the works of fan theorists including John Fiske and Henry Jenkins, reveals the implications of the fan-text’s memetic content in the economic, cultural and social capital interests of its creators, distributors, and fans. The revelations credited to the memetic aspect of the analysis support the conjecture that it is a suitable analytical framework for the fields of fan and screen studies.
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Books on the topic "Film audience"

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Domaille, Kate. Film and audience. London: Film Education, 2000.

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The last picture show?: Britain's changing film audience. London: BFI Pub., 1987.

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Whitehouse-Hart, Jo. Psychosocial explorations of film and television viewing: Ordinary audience. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2014.

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Lucy, Faire, and Stubbings Sarah, eds. The place of the audience: Cultural geographies of film consumption. London: British Film Institute, 2003.

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Taylor, Greg. Artists in the audience: Cults, camp, and American film criticism. Princeton, N.J: Princeton University Press, 1999.

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Smart cinema, DVD add-ons and new audience pleasures. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2012.

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Lari, Erika. Cinematic intent: audience engagement in experimental film: M.A. Communication Design Thesis 2001. London: Central Saint Martins College of Art & Design, 2001.

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Mon, Ya-Feng. Film Production and Consumption in Contemporary Taiwan. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089648884.

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This book uses the potent case study of contemporary Taiwanese queer romance films to address the question of how capitalism in Taiwan has privileged the film industry at the expense of the audience's freedom to choose and respond to culture on its own terms. Interweaving in-depth interviews with filmmakers, producers, marketers, and spectators, Ya-Fong Mon takes a biopolitical approach to the question, showing how the industry uses investments in techno-science, ancillary marketing, and media convergence to seduce and control the sensory experience of the audience-yet that control only extends so far: volatility remains a key component of the film-going experience.
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Playing to the world's biggest audience: The globalization of Chinese film and TV. Berkeley: University of California Press, 2007.

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Kurtz, Lisa Adrienne. Archetypal content of personal fears and the supernatural/horror film: Audience imaging and media effect. Ann Arbor, MI: UMI, 1988.

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Book chapters on the topic "Film audience"

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Shail, Robert. "The Audience." In The Children’s Film Foundation, 117–46. London: British Film Institute, 2016. http://dx.doi.org/10.1007/978-1-84457-860-3_5.

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Etherington-Wright, Christine, and Ruth Doughty. "Audience Research and Reception." In Understanding Film Theory, 199–212. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34392-4_13.

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Doughty, Ruth, and Christine Etherington-Wright. "Audience Research and Reception." In Understanding Film Theory, 283–99. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-58796-1_16.

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Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Spectatorship and audience studies." In A Level Film Studies, 151–70. London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-8.

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Hindle, Maurice. "The Audience: Individual and Collective Experience." In Shakespeare on Film, 5–8. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-53172-8_2.

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Basson, Anton, Keyan Tomaselli, and Gerda Dullaart. "Audience Response in Film Education." In The Education of the Filmmaker in Africa, the Middle East, and the Americas, 25–38. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137032690_2.

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Whitehouse-Hart, Jo. "Psychosocial Methods and Audience Research." In Psychosocial Explorations of Film and Television Viewing, 50–72. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137465146_3.

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Kerry, Matthew. "The British Holiday Film and Its Audience." In The Holiday and British Film, 10–28. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230349667_2.

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Hale, Heather. "Know Your Target Audience(s)." In How to Work the Film & TV Markets, 156–58. New York: Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315755359-25.

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Thumim, Janet. "The Film Audience and the Female Reader." In Celluloid Sisters, 151–69. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-21961-2_7.

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Conference papers on the topic "Film audience"

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Wang, Yilan. "The Dialogue Strategy Between Left-wing Filmmakers and Film Audience in the 1930s — Focusing on the Construction of Audience by Film Critics of “Morning Paper·Daily Film”." In 2020 International Conference on Language, Communication and Culture Studies (ICLCCS 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210313.068.

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Liu, Shan, Jingyuan Li, and Jianping Chai. "Relational movie audience attribute prediction based on network film reviews." In 2017 10th International Congress on Image and Signal Processing, BioMedical Engineering and Informatics (CISP-BMEI). IEEE, 2017. http://dx.doi.org/10.1109/cisp-bmei.2017.8302112.

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Sarah Hanim Mohamad Shaiful, Puteri, Shazleen Mohamed, and Suhaimee Saahar. "PERCEIVED EFFECT OF SOCIAL MEDIA MARKETING ON MALAYSIAN FILM AUDIENCE." In World Conference on Media and Mass Communication. The International Institute of Knowledge Management (TIIKM), 2019. http://dx.doi.org/10.17501/24246778.2019.5114.

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Jiang, Luyao, and Yu Hao. "Applying Machine Learning to Predict Film Daily Audience Data: System and Dataset." In 2020 3rd International Conference on Artificial Intelligence and Big Data (ICAIBD). IEEE, 2020. http://dx.doi.org/10.1109/icaibd49809.2020.9137462.

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Perdana, Dionni Ditya. "Reception Analysis of Related Audience by Watching “Sexy Killers” the Documentary Film." In 2nd International Media Conference 2019 (IMC 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200325.009.

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Žofčák, Jakub. "DETERMINING FACTORS OF CZECH FILM ATTENDANCE IN THE YEARS 2003–2017." In 4th International Scientific Conference – EMAN 2020 – Economics and Management: How to Cope With Disrupted Times. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2020. http://dx.doi.org/10.31410/eman.2020.295.

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The paper analyzes the determining factors affecting Czech film attendance in the years 2003–2017 and places this topic into the context of the information asymmetry faced by film-goers. Using the regression (OLS) model and a unique population-level dataset (415 observations), the hypothesis of a positive relationship between film attendance and audience rating is confirmed. The increase in audience ratings by Czech-Slovak Film Database website’s users by one percentage point is, ceteris paribus, associated with an increase in attendance by 1.8%. Factors which have proven to determine film attendance also include: specific genres; film sequels; casting of a popular actor, actress or director; the personality of the director Zdeněk Troška; the Czech Lion Awards; and a premiere in certain years. In the decision-making process of a viewer who faces information asymmetry one can rely on these determinants as economic signals and on viewer ratings as information from an intermediary.
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Plas, Peter. "The Influence of the 3D Technology on the Film Esthetics and the Changed Film Experience of the Audience." In SMPTE Technical Conference. IEEE, 2010. http://dx.doi.org/10.5594/m001361.

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Aszo´di, Attila, Bogda´n Yamaji, Judit Silye, and Tama´s Pa´zma´ndi. "Expedition to the 30-km Chernobyl Exclusion Zone and the Utilization of Its Experience in Education and Communication." In 14th International Conference on Nuclear Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/icone14-89510.

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Between May 28 – June 4, 2005, under the organization of the Hungarian Nuclear Society (HNS) and the Hungarian Young Generation Network (HYGN) — which operates within the framework of the HNS — a scientific expedition visited the Chernobyl Nuclear Power Plant and the surrounding exclusion zone. The participants were young Hungarian nuclear professionals supervised by more experienced experts. The main scientific goals of the expedition were the followings: • Get personal experiences in a direct way about the current status of the Chernobyl Power Plant and its surroundings, the contamination of the environment and about the doses. • Gather information about the state of the shut down power plant and the shelter built above the damaged 4th unit. • Training of young nuclear experts by performing on site measurements. The Hungarian expedition successfully achieved its objectives by performing wide-range of environmental and dosimetric measurements and collecting numerous biological and soil samples. Within the 30-km exclusion zone the influence of the accident occurred 20 years ago still could be measured clearly; however the level of the radioactivity is manageable in most places. The dosimetrical measurements showed that no considerable exposure occurred among the members of the expedition. The analysis of samples has been started at the International Chernobyl Center in Slavutich. During the expedition not only environmental sampling and in-situ measurements were carried out but it was also well documented with photos and video recordings for educational, training and PR purposes. A documentary TV film was recorded during the expedition. The first-hand knowledge acquired during the expedition helps the authentic communication of the accident and its present-day consequences, which is especially important in 2006, 20 years after the Chernobyl accident. Since Ukraine and Hungary are neighbor countries the media constantly discuss the accident, the consequences and the risks of using nuclear energy. In addition in November 2005 Hungary’s parliament approved plans to extend the lifetime of the country’s four-unit nuclear power plant. In order to have the crucial public support for nuclear energy it is very important to dispel unrealistic dismay and misbelieves regarding these questions. Thus it is extremely beneficial to have a film on this topic created by nuclear professionals especially for the public audience. In 2005 a book on the Chernobyl accident was published in Hungary that covers this expedition in a full chapter [2]. We plan to present the film to the audience of the conference.
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Ormanlı, Okan. "Relationship Between Movie Theaters and Audience During the Pandemic: “Beyoğlu 1989 E-Bulletin” as an Example." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.028.

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Covid-19, a disease that transformed into a pandemic at the beginning of 2020, caused catastrophic results in the world and Turkey. There have been some restrictions on trade, education, tourism, and art. Daily life was not interrupted but some services and events that they have not primary functions (for some people) like “art” were on the verge of stopping and carried to the digital platforms. In this context, some corporations opened their archives and sometimes actual events to the public free of charge or for a certain amount of money. Art, which has always had “healing”, “mediating” and “unifying” effects, was consumed by the billions of people through digital devices. Considering art is both a sector and an industry, the unexpected phenomenon of Covid-19, which is a kind of crisis that occurs one in a hundred years and takes longer than expected, led to the temporary or permanent closure of some art and culture institutions. Due to these results, some supportive programs have been organized by official or non-official institutions to solve financial problems. In Turkey, all the movie theaters closed down on the 16th of March 2020 by the Ministry of Internal Affairs. Some halls opened in July and August, however, because of lack of audience and of the increasing number of patients they have closed down again in November. 2019 was a bad year for the sector yet 2020 was even worse with the decline of the audience by the ratio of %90. Before the pandemic, there were some problems in terms of halls. In this context, some movie theaters tried to find solutions not to lose the audience and find financial support. Beyoğlu Movie Theater that began operating in 1989, had some financial problems before the pandemic. The managers of the hall created a project called “Beyoğlu 1989”, which was a kind of electronic bulletin, and started sending e-mails to the subscribers. This project, which was implemented for the first time in Turkey, has reached the 57th issue and 800 subscribers today and has turned into a kind of weekly electronic-digital cinema newspaper that is also promoted on the Instagram account of the Beyoğlu cinema with 45 thousand followers. The broadcast also follows the cinema agenda and undertakes the task of a written-visual archive. In conclusion, a movie theater that started operating in the analog age, today use all the possibilities and utilities of the digital age and also with the help of its owners and followers, creates a communication ecology to prevent the shutdown. The aim of this article is to examine an electronic bulletin (also a film magazine) “1989”, which is first in Turkey, with the qualitative method.
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Vanderlinde, William E., and Bhanu P. Sood. "Update on Draft SAE AS6171 Standard—Tools and Techniques for Detection and Mitigation of Counterfeit Electronics." In ISTFA 2015. ASM International, 2015. http://dx.doi.org/10.31399/asm.cp.istfa2015p0152.

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Abstract The Society of Aerospace Engineers (SAE) AS6171 Aerospace Standard standardizes the test and inspection procedures, workmanship criteria, and minimum training and certification requirements to detect counterfeit electrical, electronic, and electromechanical parts. The standard comes in response to a significant and increasing volume of counterfeit electrical, electronic, and electromechanical parts entering the supply chain. This short manuscript and its accompanying talk update the audience on the risk based methodology for detecting potential counterfeiting related defects. The techniques that are discussed in AS6171 slash sheet include film radiography and filmless radiography such as digital radiography, real time radiography, and computed tomography. The analysis is performed on parts to verify that the internal package or die construction is consistent with an exemplar item. AS6171 will provide the counterfeit detection community with standardized test and inspection procedures, workmanship criteria, and minimum training and certification requirements to detect counterfeit electrical, electronic, and electromechanical parts.
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