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Dissertations / Theses on the topic 'Film audience'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

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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2

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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4

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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5

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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8

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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9

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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10

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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11

Ozduzen, Ozge. "Film festivals and social movements intertwined : the spatial activism of the Istanbul Film Festival audience during the Gezi protests." Thesis, Edge Hill University, 2016. http://repository.edgehill.ac.uk/8294/.

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This thesis focuses on the relationship between film festivals and political activism by taking the International Istanbul Film Festival (IIFF) audience as a case study during the Gezi uprising. It is a study of a community’s political action hand in hand with their cosmopolitan imagination and nostalgic feelings in their engagement with the IIFF, when Turkey increasingly lurched towards authoritarianism in the 2010s. Through the increasing number of festival films and events that went against the dominant ideology in Turkey, this audience community embraced an activist cosmopolitanism which set the ground for political action. It scrutinises their formation of nostalgic feelings for the historical spaces in Beyoğlu, developed jointly by their anti-neoliberal discourses while also displaying their political action against the top-down urban regeneration programmes. In order to account for their political activism, revolving initially around festival spaces and then occupied parks, I conducted an ethnographic research at the festival and the Gezi uprising from 2013 to 2014. Employing participant observation, life histories and in-depth interviews, this research examines the intricacies of human relations with spaces, social movements and cultural events at an increasingly authoritarian regime. The rise of authoritarianism also implied a transformation in my methodology. This thesis offers a timely contribution to the relationship between neoliberalism and Islamic fundamentalism while pointing to people’s political use of cultural spaces. It also offers new insights on the phenomenon of film festivals by relating them to urban cultures and social movements in their hosting cities. It expands our knowledge on non-Western audiences’ engagement with a film festival, whilst providing an interpretation of social movement development attached to cultural spaces such as film festivals. More broadly, it gives new insights on the film and protest culture of a secular group within a predominantly Muslim culture in showing the ways in which they oppose Islamic fundamentalism and neoliberalism. It situates the Emek movement and the Gezi uprising, not only in their close affinity with Istanbul’s cityscape and Turkey’s political situation but also in their organic relationship with global social movements particularly the Occupy movements and the Arab Spring. Thus, this thesis makes a unique interdisciplinary contribution to II the existing literature on film festivals as well as urban research and social movements.

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12

Godwin, Jonathan. "Film in the Classroom: Toward a More Effective Pedagogy." [Tampa, Fla.] : University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000157.

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13

Smith, Elizabeth Ann. "Ecstatic Truth through Fiction: Re-framing the Science Film to Engage a Wider Audience." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/smith/SmithE0507.pdf.

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Americans obtain a majority of their information about science through science films, primarily in the form of documentaries on television. However, despite the recent proliferation of these films, there is much discussion in the science filmmaking community about how ineffective these films have been lately at informing the public about science and compelling viewers to act. It is time to look at the underlying definitions of the genre from a different perspective and determine whether the current standards are the best way to successfully convey messages about science to the widest audience. To explore the possibilities for increasing the effectiveness of science filmmaking, one needs to look at the basic assumptions that come into play during the process of producing science films by re-framing the major components of the science film: goals, subject matter, audience, and format. This new set of paradigms reveals the possibility of another avenue - fiction.

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14

Costa, José Filipe Moreira da. "Cinema total-a experiência cinematográfica e os efeitos espectatoriais a partir da filmologia." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 2000. http://dited.bn.pt:80/29490.

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15

Nogueira, António Couceiro da Cruz. "Cinema, narratologia, jornalismo-um travelling pela cultura cinematográfica." Master's thesis, Instituições portuguesas -- UC-Universidade de Coimbra -- -Faculdade de Letras, 2002. http://dited.bn.pt:80/29599.

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16

McKenna, Susan E. "Seeing Lesbian Queerly: Visibility, Community, and Audience in 1980s Northampton, Massachusetts." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/open_access_dissertations/102/.

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17

Mazzoni, Antonella. "Mood Glove : enhancing mood in film music through haptic sensations for an enriched film experience." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/39757.

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This research explores a new way of enhancing audience experience in film entertainment, presenting the design and implementation of a wearable prototype system that uses haptic sensations to intensify moods in lm music. The aim of this work is to enrich the musical experience of film audiences and might also have implications on the hearing-impaired, providing them with a new enhanced emotional experience while watching a movie. Although there has been previous work into music displays of a visual and haptic nature, and on the importance of music in film, there is no documented research on musical enhancement experience in film entertainment. This work focuses on the mood conveyed by film music in order to understand what role it plays in creating the film experience, and also explores the possibility of enhancing those feelings through haptic sensations. Drawing on HCI and interaction design principles, the design of a piece of haptic wearable technology is proposed and used as the tool for user studies. This research contributes to the fields of: HCI, interaction design, user experience design, multimodal interaction, creative technology, wearable technology, haptics, entertainment technology and film music. This work also provides a set of design suggestions to aid future research and designers of haptic sensations for media enhancement. Proposed guidelines are based on a number of empirical findings that describe and explain aspects of audience emotional response to haptics, providing some first evidence that there is a correlation between vibrotactile stimuli (such as frequency and intensity) and perceived feelings.

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Ferreira, Carlos Miguel de Sá e. Melo. "Para além das poéticas do cinema-o cinematógrafo." Phd thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 2001. http://dited.bn.pt:80/29591.

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Faria, António 1942. "A produção cinematográfica como expressão da cultura portuguesa-1924-1949." Phd thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Estudos Portugueses, 2001. http://dited.bn.pt:80/29949.

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20

Leitão, Maria Teresa Queirós Magno. "Peter Bogdanovich-ícone da pós-modernidade?" Master's thesis, Instituições portuguesas -- -Universidade Aberta, 2000. http://dited.bn.pt:80/29309.

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21

Amado, Luís Pedro Castanheira de Aguiar. "Identidade e complexidade cultural-reminiscências culturais irlandesas no cinema de John Ford." Master's thesis, Instituições portuguesas -- -Universidade Aberta, 2002. http://dited.bn.pt:80/29594.

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22

Araújo, Cristina Manuela Mendes de. "Violência sexual e famílias disfuncionais no cinema americano contemporâneo." Master's thesis, Instituições portuguesas -- -Universidade do Minho -- -Instituto Letras e Ciências Humanas, 1996. http://dited.bn.pt:80/29923.

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23

Silva, Joaquim da 1969. "A censura cinematográfica-sinopse comparativista da censura cinematográfica britânica e americana nos anos sessenta e setenta." Master's thesis, Instituições portuguesas -- -Universidade do Minho -- -Instituto Letras e Ciências Humanas -- -Departamento de Estudos Ingleses e Norte-Americanos, 1997. http://dited.bn.pt:80/29930.

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Oliveira, Nuno António Grilo de. "Cinema de animação-metonímia americana." Master's thesis, Instituições portuguesas -- -Universidade Aberta, 2003. http://dited.bn.pt:80/29951.

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Baptista, Tiago Ribeiro Ramos. "Tipicamente português-o cinema ficcional mudo em Portugal no início dos anos vinte." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 2003. http://dited.bn.pt:80/29956.

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Marta, Maria Clara Magalhães. "Um estudo sobre as representações do espaço em SMOKE." Master's thesis, Instituições portuguesas -- -Universidade Aberta, 2002. http://dited.bn.pt:80/30156.

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Marques, Marco Alexandre Ramos de Azevedo Buinhas. "A modernidade pelo olhar de Fritz Lang-a constituição de Metropolis (1927) como caricatura à cidade moderna." Master's thesis, Instituições portuguesas -- -Universidade Lusíada -- -Departamento de Arquitectura (Lisboa), 2000. http://dited.bn.pt:80/30312.

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Diogo, Vasco. "Comédias cinematográficas dos anos 30-40 em Portugal-textos e contextos." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Instituto de Ciências Sociais, 1996. http://dited.bn.pt:80/30358.

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Rosária, Paulo Jorge Rodrigues da. "Anjo caído-processo criativo." Master's thesis, Instituições portuguesas -- UCP-Universidade Católica Portuguesa -- -Escola das Artes (C.R. do Porto), 2001. http://dited.bn.pt:80/30464.

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Didier, Lucilia. "Cabo Verde na rota dos sons e dos ritmos do mundo." Master's thesis, Instituições portuguesas -- UCP-Universidade Católica Portuguesa -- -Escola das Artes (C.R. do Porto), 2001. http://dited.bn.pt:80/30469.

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Linter, Simon. "Mary Shelley’s Unrealised Vision : The Cinematic Evolution of Frankenstein’s Monster." Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104476.

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Mary Shelley’s novel Frankenstein has been the direct source for many adaptations on stage, television and film, and an indirect source for innumerable hybrid versions. One of the central premises of Julie Sanders’s Adaptation and Appropriation (2006) is that adaptations go through a movement of proximation that brings them closer to the audience’s cultural and social spheres. This essay looks at how this movement of proximation has impacted the monster’s form and behaviour and concludes that this is the main reason Shelley’s vision of her monster has rarely been accurately reproduced on screen. It is clearly impossible for an essay of this length to adequately cover the vast number of adaptations spawned by Frankenstein. It is clear that James Whale’s Frankenstein (1931), where the monster has a bolt through its neck and a stitched forehead, created the stereotype that has been the source for many other Frankenstein film adaptations. However, contemporary film adaptations cater to target audiences and specific genres, while also reflecting the current political climate and technological innovations. The conclusion reached here is that while the form and behaviour of Frankenstein’s monster in film has inevitably been revised over the years, precisely as a result of social and cultural factors, it is the stereotype created by Whale that has prevailed over the figure produced by Shelley. This, in turn, supports and confirms Sanders’s theory of movement of proximation.

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Barroso, Eduardo Paz. "Justificação e crítica do cinema português-anos 60, anos 70." Phd thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 2002. http://dited.bn.pt:80/29616.

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Stephenson, Amanda. "The constructions of authorship and audience in the production and consumption of children's film adaptations." Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/393687/.

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In the public consumption of film adaptations of popular children’s literature, which is, particularly in relation to the popular press, influenced by the marketing communications of the filmmaking team, the discursive negotiation of author and audience constructs is pivotal in the endeavor to side-step or manage the seemingly unavoidable discourses of fidelity. In this, child audiences are imagined and constructed in a variety of ways; however, these constructions generally have very little to do with actual children and much more to do with how the filmmakers wish/need to manage and negotiate the significance of both book and film authors. This area is largely unexplored in adaptation studies, for whilst the topic of fidelity proliferates the discipline, its function as a marketing tool - as well as its links to how author(s) and audience(s) are imagined and constructed - needs further investigation. What is clear in the following case studies is that the representations of audience(s) vary depending on the culturally understood personas of the author(s) at hand, therefore as the representation of the various book and film authors shift from case study to case study, so does the representation of the audience. In Harry Potter and The Philosopher’s Stone, J.K. Rowling is deemed to be the primary authorial presence, and the audience are imagined as a cohesive, loyal group of avid readers. In Charlie and the Chocolate Factory, Tim Burton and Roald Dahl are equally significant (despite the lack of Dahl’s physical presence) because they are both deemed to be outsiders, much like the audience members are all (implicitly and paradoxically) also deemed to be. In The Chronicles of Narnia: The Lion The Witch and the Wardrobe, Andrew Adamson is unable to compete with the emotional attachment many adult journalists and critics have to the book, and the result of this is that the discursive presence of the child audience is largely absent. All of these films were within a few years of each other, yet the ‘child,’ childhood more generally, and the intended audience are all constructed in very di erent ways demonstrating that what is important to those promoting (and often those consuming) a film is a solid author construct, and any discussions of children or child audiences only serves to validate these author figures.

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Luan, Lingfei. "Finding a Basic Interpretive Unit through the Human Visual Perception and Cognition-A Comparison between Filmmakers and Audiences." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467295770.

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35

Jendoubi, Sonya. "An Audience Reception Analysis of the Depth and Breadth of Lifestyle Blogging Communities." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1486.

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Lifestyle blogging has become a vast and profitable domain, with visitors engaging with new content in a variety of ways. The communities that begin to form around these blogs has rarely been analyzed, due to a lack of metrics and a complex definition of virtual communities. Relying on Henry Jenkins work on virtual communities, a set of metrics were used to analyze the depth and breadth of three communities: A Cup of Jo, Wit & Delight, and Cupcakes and Cashmere. The three areas these metrics worked to measure were: awareness, membership, and belonging. Through this audience reception study the clear marker of a community was the direct and systematic blogger engagement with the readership. Many other factors are influential in building a virtual community on a blog, however, what set the three blogs apart was the ways in which Joanna Goddard (A Cup of Jo) and Kate Arends (Wit & Delight) reached out and built relationships with their readers, strengthening their community and allowing it to thrive.

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Yeh, Nick Chi-Shu J. "How One Writes, Makes, Markets a Movie and How an Audience Reads the Movie: Two Biographical Films of Hitler as a Case Study." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/36.

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According to John Lukacs, German people's views on Hitler and Nazism once got examined right after the fall the Third Reich in the 1950s but this subject has lost its appeal since then. How do Germans nowadays, specifically those young ones raised in the "New Germany" after the fall of the Berlin Wall, think of Hitler and their country's Nazi legacy? This dissertation is to explore how six young Germans growing up in the new "unified Germany" interpret two films' representations of Hitler and Nazism.

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Sharp, Laura L. "AUDIENCE RESPONSE TO THE NATURE/SOCIETY BINARY IN KUROSAWA’S DERSU UZALA: AN OBSERVATIONAL ONLINE ETHNOGRAPHY." UKnowledge, 2013. http://uknowledge.uky.edu/geography_etds/8.

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Geographers researching cinema have predominantly been interested in how geographic meaning is constructed and negotiated within film, but have been less productive in accounting for how these constructs are received by viewers. Using the method of observational online ethnography, I therefore investigate how fans in online reviews have interpreted the nature/society binary in the film Dersu Uzala. Working from a social constructionist view of nature I begin by deconstructing the binary as it appears in Dersu Uzala before proceeding to illustrate the way this constitutive absence is made up for by the visuality of the film’s landscapes and techniques of geographic realism. Turning to the fan reviews I find that, rather than challenge the historical and constructed division between nature and society, many fans accept the binary as inevitable and consistent with their ideas about contemporary reality. More than passive consumption however, this concurrence is actively rearticulated in the ways that the fans incorporate the binary into their own lives and in the new discursive practices of the internet. In so doing I make headway into the exploration of audience analysis by geographers and continue to advance geography’s foray into cultures of the internet.

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Hair, Carolyn Houston. "The conversationalization of television talk in the mediated public sphere : an analysis of the British audience participation talk show and the docu-soap." Thesis, Southampton Solent University, 2003. http://ssudl.solent.ac.uk/611/.

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This thesis investigates the daytime audience participation talk show and the docu-soap, in terms of public participation in a televisual public sphere. It is argued that these genres show the conversationalization of television talk where the dichotomies of public/private, citizen/consumer and information/entertainment are played out. On the talk show and the docu-soap laypersons make private revelations in public and in the increasingly commercialised boradcasting environment the citizen-viewer of public service television is addressed as a consumer resulting in the infotainment genre. It is argued that these genres exemplify cultural and social shifts in language usage, commodification and public sphere (Dahlgren, 1995, Scannell, 1989) and this thesis examines 'reality' TV to assess television's potential to improve a democratic televised show as there has been little critical entertainment with non-American shows: Esther, Kilroy and Vanessa. The docu-soap is used as a comparison as it illustrates the conversationalization of the documentary form. Critical discourse analysis (CDA) has been employed as a critical tool in order to analyse the discursive practice of these texts and to ascertain if there is evidence of negotiations in terms of power relations in these forms of 'trash' television. The results indicate that the structures of the genres confine the participants and that the confessional and therapeutic discourses forestall public participation on television. Within hegemonic televisual structures it is posited that, in terms of micro-power relations, there are some forms of negotiation in the talk show site. The genres are compared in terms of performance and the results forma a synthesis of these television texts and theories of the public sphere, drawing on Hanermas and critical revisions of his work. These programmes reveal the problematic nature of public participation through television in the climate of increasing commercialisation. The points when the lay participants resist control are drawn upon in order to illustrate the ways in which television could ameliorate public participation.

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Aparício, Maria Irene Ângelo. "A técnica da luz na pintura e no cinema-(para uma ciência da imagem)." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 2002. http://dited.bn.pt:80/29522.

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Paues, Alice, and Hampus Mörner. "Do you want to watch a movie? : A qualitative study of how two audiences in Sweden value external and internal factors concerning their movie consumption." Thesis, Uppsala universitet, Medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-243522.

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Titel: Vill du kolla på en film? En kvalitativ studie om hur två tittargrupper i Sverige värderar externa och interna faktorer angående deras filmkonsumtion Författare: Alice Paues & Hampus Mörner Handledare: Lowe Hedman Syfte: Syftet med denna kandidatuppsats var att undersöka hur två tittargrupper i Sverige värderar externa och interna faktorer angående deras film konsumtion. Uppsatsen bygger på en huvudfrågeställning och tre ytterligare frågeställningar: Hur värderar en yngre och en äldre svensk tittargrupp externa och interna faktorer angående deras egna film konsumtion? Vilka externa faktorer har mest värde enligt dessa tittargrupper? Vilka interna faktorer har mest värde enligt dessa tittargrupper? Varierar dessa faktorer beroende på plattform? Metod och Material: Uppsatsen bygger på en kvalitativ metod som genomfördes med hjälp av fokusgruppsintervjuer. För dessa fokusgruppsintervjuer så designades en intervjuguide där frågorna var relaterade till våra tre genomgående teman: externa faktorer, interna faktorer och skillnader mellan plattformar. Frågorna var även guidade av teorier inom vårt ämne. Vi valde att göra ett strategiskt urval. Urvalet bestod av två tittargrupper, en yngre där åldersintervallet var 18 till 33 och en äldre där åldersintervallet var 50 till 65. Huvudsakliga resultat: Det huvudsakliga resultatet från studien visade att den externa faktorn som äldre värderade högst var film kritiker, medan yngre värderade trailers och liknande material högst. Båda grupperna motiverades av samma behov när det gällde film konsumtion. Dock, så värderade yngre kognitiva behov högre än äldre, och äldre värderade känslomässiga behov högre än yngre. Vi fann även att det fanns skillnader mellan olika plattformar, där fyra huvud motivationer värderades olika. Dessa var: sociala behov, flyktbehov, behov att få välja sitt egna innehåll och avslappning. Antal sidor: 60 Kurs: Media- och kommunikationsvetenskap C Universitet: Uppsala Universitet, Institutionen för Informatik och Media Termin: HT 2014

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Casprov, Alexandra Genţiana. "Two Film Adaptations of Larsson’s novel The Girl with the Dragon Tattoo : A Semiotic and Audience Reception Study." Thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77603.

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Stieg Larsson has reached vast audiences with his popular, page-turning crime novels, the Millennium Series. The series tells a story not just for fictional purposes, but to draw attention to what people did not see about the society that Larsson lived in. In 2009, local actors starred in a film adaptation of Larsson’s first novel, which went beyond the Swedish public. In December 2011 an English-language remake based on the same bestseller was released, starring famous Hollywood actors. Considering language can hinder the reach of foreign language movies in international markets and that international and Swedish audiences demands differ, the current research aims to find out how the two movie adaptations diverge in terms of gender representation, production, graphic content, ideological meaning, and cultural representation as they attempt to target their respective audiences. In order to find answers, this thesis adopted a qualitative approach using two different, supporting methods. First a semiotic analysis of a representative scene with a high psychological and graphic impact on the viewer in both movies was conducted. Second, focus group interviews, with International and Swedish audience members, were conducted. The findings suggest that considerable differences exist between the two movies and that audiences have a different pre-conception in the way they perceive the same media product: gender role dynamic has been reversed in the two movies, the American version is more graphic in its display of nudity, and lacks the ideological layer. Furthermore, this study can serve as a basis for future research that could try to statistically represent the way Swedish and international moviegoers draw on the two adaptations.

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Axelson, Tomas. "Film och mening : En receptionsstudie om spelfilm, filmpublik och existentiella frågor." Doctoral thesis, Högskolan Dalarna, Religionsvetenskap, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3225.

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In what ways and under what circumstances can a movie be a resource for individuals and their thoughts about existential matters? This central research question has been investigated using a both quantitative and qualitative approach. First, a questionnaire was distributed amongst 179 Swedish students to provide a preliminary overview of film habits. The questionnaire was also used as a tool for selecting respondents to individual interviews. Second, thirteen interviews were conducted, with viewers choosing their favourite movie of all time. In the study socio-cognitive theory and a schema-based theoretical tool is adopted to analyze how different viewers make use of movies as cultural products in an interplay between culture and cognition in three contexts; a socio-historic process, a socio-cultural interaction with the world and inner psychological processes. Summarizing the interviews some existential matters dominated. Matters of immanent orientation were in the foreground. Transcendental questions received much less attention. Summarizing the schema-based theoretical question, assessing which cognitive schema structures the narratives were processed through, the study found an emphasis on a combination of two main cognitive structures, person schema and self schema. Detailed person schematic cognitive processes about fictitious characters on the screen and their role model behaviour were combined by the respondents with dynamic cross-references to detailed self schematic introspections about their own characteristics, related to existential matters at some very specific moments in their lives. The viewers in the study seem to be inspired by movies as a mediated cultural resource, promoting the development of a personal moral framework with references to values deeply fostered by a humanistic tradition. It is argued that these findings support theories discussing individualised meaning making, developing ‘self-expression values’ and ‘altruistic individualism’ in contemporary western society.

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Rosati, Angelica. "Why 'Moana' Became 'Oceania' – The Translation of Disney Film Titles in Italy." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21280/.

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In order to discern what patterns emerge in the translation into Italian of film titles produced by the Walt Disney Animation Studios and Pixar Animation Studios, this paper analyzes a corpus of 80 movies whose titles are originally in English. The corpus includes motion pictures released between 1937 and March 2020, and further data was gathered thanks to online film databases such as the Internet Movie Database (IMDB) and Movieplayer.it. The findings of this study have been divided into two sections: titles in English and titles in Italian, with the latter being the dominant category. The research yielded that the most important factors that distributors take into account to ensure the success of a film title are the target culture and the target audience, and the strategies that have been identified reflect this focus. Despite the rather scarce pieces of research available, title translation remains an interesting field of study that needs to be further developed.

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Burczynska, Paulina. "Investigating the multimodal construal and reception of irony in film translation : an experimental approach." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/investigating-the-multimodal-construal-and-reception-of-irony-in-film-translationaa-an-experimental-approach(a6c4afa5-02f8-4b74-8895-4c8cc161b5ab).html.

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In the light of recent changes on the audiovisual scene in Poland, audiences can choose among different AVT modalities. Although voice-over still prevails on Polish TV, subtitles have become more and more popular as an alternative form of film translation on television. Due to rapid technological advances, commercial requirements and differences in Polish viewersÃ¢ÂÂ preferences, it is thus crucial to understand how audiences at different levels of English proficiency (low, medium, high) retrieve meaning, especially complex ironic meaning relayed through different methods of film translation, such as subtitles and voice-over and the extent to which verbal and non-verbal semiotic channels contribute to irony comprehension. Wilson and SperberÃ¢ÂÂs (1981, 1992; 1995) echoic theory of irony has been selected as the theoretical framework, given its ability to account for multimodal irony in audiovisual texts as well as the significant importance of non-verbal semiotic resources in the generation and interpretation of irony. The study employs triangulation, incorporating descriptive, experimental and interactionist components. The descriptive component involves multimodal transcription (Baldry and Thibault, 2006) of selected fragments in which irony plays a pivotal narrative role. This procedure aims to determine what non-verbal modes contribute to the multimodal construal of irony and how it is relayed in the subtitled and voiced-over translations. In the experimental component, viewersÃ¢ÂÂ eye movements are recorded using eye-tracking technology while watching subtitled and voiced-over fragments of Sherlock Holmes (2009) and Sherlock Holmes: A Game of Shadows (2011). In the interactionist components, a questionnaire is used in order to elucidate how and/or whether they retrieve ironic meaning as intended by the filmmakers in the selected excerpts. The most obvious finding to emerge from the descriptive data analysis is that multimodal irony is not relayed by the film dialogue alone but, rather, in unison with non-verbal semiotic resources. The instances of multimodal irony in the two Sherlock Holmes films were found to perform narrative and comedic functions by combining the visual, kinesic and acoustic modes of film language. The analysis and comparison of SL dialogues and TL translations revealed two broad categories of irony relay, namely: preservation and modification. The majority of the instances of multimodal irony were modified in the subtitled version, while preservation is only sporadically opted for. In its voiced-over counterpart, the intended meaning is preserved and modified in equal proportions. The experimental component showed major differences in gaze patterns among the participants with different language skills in the subtitled clips. For instance, on average, LLPs spent more time reading the subtitles than HLPs or MLPs. Similar visual behavior, on the other hand, was observed among all viewers in the voiced-over clips in which the on-screen characterÃ¢ÂÂs face attracted the greatest amount of visual attention. The interactionist strand showed that the viewers retrieved the intended meaning to various extents depending on their English language proficiency. This data undergirds an assessment of the effectiveness of subtitles and voice-over in the translation and reception of multimodal irony on screen.

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Han, Tong. "The Furniture of Science Fiction Films: Studying Audience Cognitive Mechanisms to Understand how Designed Objects Convey Social Ideas through the Semantic Differential Method." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1554212407770508.

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46

Saell, Franziska. "Female and male audiences' perception on a plant-based (Vegan) diet after having viewed the documentary film What the Health : How perception on a plant-based diet (Vegan) changes after having watched the documentary film What the Health." Thesis, Högskolan för lärande och kommunikation, Jönköping University, HLK, Medie- och kommunikationsvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-48296.

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Veganism (or following a PBD) is scientifically proven to be one of the possible answers to the environmental, ethical and health issues our society is currently facing. The documentary film What the Health advocates this claim and presents the tremendous impacts, meat and dairy production and consumption, have on our environment, our personal health and for the people living on our planet. The documentary’s attempt of persuading people to adopt a PBD remained unanswered and was the chosen case-study for this research on audience reception and media effects. The purpose of this research is to provide new empirical data on how the documentary film What the Health changes females’ and males’ perception of a PBD. Using a qualitative method of in-depth interviews, this study aimed to understand how the documentary film What the Health changes females’ and males’ perception of a PBD in times of the 21st century Vegan social movement. Using theoretical insights from the following theories: Framing theory, schema theory, social representation theory, social cognition theory and the concept of hegemonic masculinity, this study aimed to assess whether the documentary film What the Health contributed to perception changes among its audience. And whether gender differences were prominent.The findings of this study indicated perception changes of a PBD among its audience. Preconceptions of Veganism as a social trend or for ethical justifications were changed to understanding people’s individual motivations for attaining such a diet. Overall, no significant gender differences were detected. The social determinant of perceived restrictions within a social context were the most dominant factors of not transitioning to a PBD. Meat is undoubtedly an inherent and substantial part of people’s lives and restricting oneself from it is not perceived to be the answer to environmental, personal health and ethical issues. However, the audience was observed to admire Vegans for their discipline and strength.This study indicated that the documentary film What the Health might have an effect on its audience in the long term, which is proposed as future research respectively.

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Bozic, Sonja. "Transmedia Storytelling Through the Lens of Independent Filmmakers: A Study of Story Structure and Audience Engagement." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou154152508641946.

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48

Tchernev, John Martin. "Creating and Maintaining Identification with Characters in Narrative Films: The Impact of Protagonist Motivations and Key Story Moments on Real-Time Audience Identification and Liking." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429807335.

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49

Axelson, Tomas. "Film och mening : En receptionsstudie om spelfilm, filmpublik och existentiella frågor." Doctoral thesis, Uppsala University, Sociology of Religions, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-8396.

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In what ways and under what circumstances can a movie be a resource for individuals and their thoughts about existential matters? This central research question has been investigated using a both quantitative and qualitative approach. First, a questionnaire was distributed amongst 179 Swedish students to provide a preliminary overview of film habits. The questionnaire was also used as a tool for selecting respondents to individual interviews. Second, thirteen interviews were conducted, with viewers choosing their favourite movie of all time. In the study socio-cognitive theory and a schema-based theoretical tool is adopted to analyze how different viewers make use of movies as cultural products in an interplay between culture and cognition in three contexts; a socio-historic process, a socio-cultural interaction with the world and inner psychological processes. Summarizing the interviews some existential matters dominated. Matters of immanent orientation were in the foreground. Transcendental questions received much less attention. Summarizing the schema-based theoretical question, assessing which cognitive schema structures the narratives were processed through, the study found an emphasis on a combination of two main cognitive structures, person schema and self schema. Detailed person schematic cognitive processes about fictitious characters on the screen and their role model behaviour were combined by the respondents with dynamic cross-references to detailed self schematic introspections about their own characteristics, related to existential matters at some very specific moments in their lives. The viewers in the study seem to be inspired by movies as a mediated cultural resource, promoting the development of a personal moral framework with references to values deeply fostered by a humanistic tradition. It is argued that these findings support theories discussing individualised meaning making, developing ‘self-expression values’ and ‘altruistic individualism’ in contemporary western society.

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50

Hales, Christopher. "Rethinking the interactive movie : a practical investigation demonstrating original and engaging ways of creating and combining 'live action' video segments under audience and/or computer control." Thesis, University of East London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532628.

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