Academic literature on the topic 'Internal spectator'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Internal spectator.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Internal spectator"
1
Bréban, Laurie, and Muriel Gilardone. "A missing touch of Adam Smith in Amartya Sen’s account of public reasoning: the man within for the man without." Cambridge Journal of Economics 44, no. 2 (February 3, 2020): 257–83. http://dx.doi.org/10.1093/cje/bez065.
Full textAbstract:
Abstract Sen claims that his 2009 theory of justice is based in part upon Smith’s idea of the ‘impartial spectator’. His claim has received criticism: some authors have responded that his interpretation of Smith’s concept is unfaithful to the original; others, focussing on internal features of Sen’s analysis, critique his use of the Smithian impartial spectator, arguing that it is a weak point in his comparative theory of justice. In this paper, we address both sets of criticisms. While agreeing with commentators that Sen’s reading of Smith is somewhat unfaithful, we reiterate that his aim in The Idea of Justice is not to provide an exegesis of Smith but rather to build his own comparative theory of justice by ‘extending Adam Smith’s idea of the impartial spectator’ (IJ: 134) to his own project. After clarifying their distinct approaches to the concept of the impartial spectator, we draw upon our account of these differences to evaluate Sen’s own use of the concept. Despite significant divergences, we show that Sen’s version of the impartial spectator is not inconsistent with Smith’s analysis. Though it does not correspond to Smith’s concept, that is to what the Scottish philosopher sometimes calls the ‘man within’, it is reminiscent of another figure from Smith’s moral philosophy: the ‘man without’. Beyond this analogy, there are further connections between Smith’s imaginary figure of the ‘man within’ and Sen’s account of ‘common beliefs’—both notions are ways of representing our beliefs regarding what is moral or just. But whereas Smith’s moral philosophy offers an analysis of the process by which the ‘man without’ influences the ‘man within’, nothing of that kind is to be found in Sen’s conception of public reasoning. And it is here that Smith’s famous concept of ‘sympathy’ can supplement Sen’s theory, in a way that furnishes an answer to Shapiro’s (2011) criticism regarding the possibility of spontaneous change of beliefs towards greater impartiality.
2
Koronios, Konstantinos, Antonios Travlos, John Douvis, and Andreas Papadopoulos. "Sport, media and actual consumption behavior: an examination of spectator motives and constraints for sport media consumption." EuroMed Journal of Business 15, no. 2 (May 11, 2020): 151–66. http://dx.doi.org/10.1108/emjb-10-2019-0130.
Full textAbstract:
PurposeThe present study is an initial attempt to assess the impact of motivators and constraints on individual's intention for sport media consumption. The advancement of sport media consumption has been underlined by the academic literature during the past few years. In fact, one of the most conspicuous concerns that experts in the sport industry face nowadays is the fans' preference to stay home and watch sport events. The objective of this research is to determine the impact of motivations and constraints for individuals' sport media consumption intentions.Design/methodology/approachA quantitative method was used for the purpose of this study, and a sum of 1,704 fulfilled questionnaires were obtained and analyzed by means of SPSS and AMOSFindingsAccording to the results, internal and external motivators such as attachment to team, achievement, social, drama, role model and promotion observed to have a considerable impact on participants' consumption intention. Moreover, results pointed out a significant impact of structural and intrapersonal constraints on consumption intention.Originality/valueThe aim of the present research was to analyze the link between the constraints of spectator purposes and actual media consumption. In addition, there is an examination of generation-based factors among the spectators within the scope of possible contrasting aspects, a variable which has not been examined in any previous studies until now.
3
Crossman, Jane E. "Age of Spectators as a Factor Influencing Behavior at Minor League Hockey and Baseball Games." Perceptual and Motor Skills 62, no. 2 (April 1986): 639–48. http://dx.doi.org/10.2466/pms.1986.62.2.639.
Full textAbstract:
To assess the behavior of 10 age groups of spectators while viewing children's minor league hockey and baseball games the behavior of 272 (males = 142, females = 130) randomly selected hockey spectators and 90 (male = 46, female = 44) randomly selected baseball spectators was assessed on the Spectator Observation Code. The predominant behavior emitted during each 10-sec. observation interval was recorded. During each session, three subjects were observed in serial order for the duration of the hockey or baseball game. Data were analyzed by one-way analysis of variance and Newman-Keuls comparison tests. Significant differences existed for some spectator behaviors when the age of spectator varied.
4
Kim, Yu Kyoum, and Galen Trail. "Constraints and Motivators: A New Model to Explain Sport Consumer Behavior." Journal of Sport Management 24, no. 2 (March 2010): 190–210. http://dx.doi.org/10.1123/jsm.24.2.190.
Full textAbstract:
This study focused on developing a model to explain relationships among constraints, motivators, and attendance, and empirically test the proposed model within the spectator sport context. The proposed model explained 34% of variance in Attendance. Results showed that Attachment to the Team, an internal motivator, entered first and explained approximately 21% of the variance in attendance. Lack of Success, an internal constraint, entered next and explained almost 10% additional variance. Leisure Alternatives, an external constraint entered next and explained an additional 3%. The ability to properly evaluate constraints and motivators gives sport marketers the opportunity to more effectively serve existing fans, as well as attract new fans.
5
Kilci, Alp Kaan, and Serhat Yalçıner. "Scale for Esports Spectator Demands: Adaptation to Turkish, validity and reliability study." Journal of Human Sciences 17, no. 4 (December 12, 2020): 1106–22. http://dx.doi.org/10.14687/jhs.v17i4.6087.
Full textAbstract:
The purpose of this study was to adapt to Turkish and to determine the validity and reliability of the Scale for Esports Spectator Demand (SESD), which was developed to determine the demands of the viewers who follow the esports broadcasts by Qian, Zhang, Wang and Hulland (2020). After the Turkish form equivalence test, the scale was applied to viewers who following esports broadcasts on the online broadcast network "Twitch". A total of 495 volunteers (21.43 ± 3.50), 423 men (21.71 ± 3.51), and 72 women (19.75 ± 2.95), aged between 18-32, participated in the online study. Exploratory (EFA) and confirmatory factor analysis (CFA) was performed on the data obtained. A total of 7 factors were determined with EFA, respectively, 4 overlapping items (21-11-18-29), 2 items that make up a single factor (19-20) and the 30th item that disrupted the meaning integrity of the factor to which it belongs were removed from the scale. It was seen that the model consisting of the remaining 25 items and 6 dimensions explained 67.278% variance and the 6-factor model had an acceptable fit as a result of CFA. (χ2/df=2,622; GFI=,896; AGFI=,892; CFI=,918; NFI=,902; RMR=,064; RMSEA=,071). It was determined that the internal consistency coefficients of the scale on the basis of sub-dimensions ranged between .755 and .863, and the overall internal consistency coefficient was α = .924 As a result, it was determined that the Scale for Esports Spectator Demand (SESD), adapted to Turkish, can be used as a valid and reliable measurement tool to determine the demands of esports spectator.
Extended English summary is in the end of Full Text PDF (TURKISH) file.
Özet
Bu çalışma’nın amacı, Qian, Zhang, Wang ve Hulland (2020) tarafından espor yayınlarını takip eden izleyicilerin yayından taleplerini belirlemek amacıyla geliştirilmiş olan Scale for Esports Spectator Demand (SESD)’in Türkçe’ye uyarlanması, geçerlik ve güvenirliği’nin belirlenmesidir. Ölçek, Türkçe form eş-değerlik sınamasının ardından Türkiye genelinde çevrimiçi yayın ağı “Twitch” üzerinden espor yayınlarını takip eden izleyicilere uygulanmıştır. Çevrimiçi ortamda gerçekleştirilen çalışmaya yaşları 18-32 arasında değişen 423 erkek (21,71±3,51) ve 72 kadın (19,75±2,95) olmak üzere toplam 495 gönüllü birey (21,43±3,50 katılmıştır. Elde edilen veriler üzerinde açımlayıcı (AFA) ve doğrulayıcı faktör analizi (DFA) gerçekleştirilmiştir. AFA ile toplam 7 faktör belirlenmiş, sırasıyla binişik olan 4 madde (21-11-18-29), tek bir faktörü oluşturan 2 madde (19-20) ve ait olduğu faktördeki anlam bütünlüğünü bozan 30. madde ölçekten çıkarılmıştır. Kalan 25 madde ve 6 boyuttan oluşan modelin %67,278 varyansı açıkladığı ve DFA sonucunda 6 faktörlü modelin kabul edilebilir bir uyuma sahip olduğu görülmüştür (χ2/df=2,622; GFI=,896; AGFI=,892; CFI=,918; NFI=,902; RMR=,064; RMSEA=,071). Ölçeğin alt boyutlar bazında iç tutarlılık katsayılarının ,755 ile ,863 arasında değiştiği, genel iç tutarlılık katsayısının ise α= ,924 olduğu tespit edilmiştir. Sonuç olarak, Türkçe’ye uyarlama çalışması yapılmış olan Espor İzleyici Talepleri Ölçeği (ESİTÖ)’nün espor izleyicilerinin taleplerini belirlemek için geçerli ve güvenilir bir ölçüm aracı olarak kullanılabileceği belirlenmiştir.
6
Soszka, Emilia, Marcin Jędrzejczyk, Ireneusz Kocemba, Nicolas Keller, and Agnieszka Ruppert. "Ni-Pd/γ-Al2O3 Catalysts in the Hydrogenation of Levulinic Acid and Hydroxymethylfurfural towards Value Added Chemicals." Catalysts 10, no. 9 (September 7, 2020): 1026. http://dx.doi.org/10.3390/catal10091026.
Full textAbstract:
γ-Al2O3 supported Ni-Pd catalysts with different Ni:Pd ratios were studied in the hydrogenation of two industrially-relevant platform molecules derived from biomass, namely levulinic acid and hydroxymethylfurfural. The bimetallic catalysts showed better performances in both processes in comparison to the monometallic counterparts, for which a too strong interaction with the alumina support reduced the activity. The behavior of the bimetallic catalysts was dependent on the Ni:Pd ratio, and interestingly also on the targeted hydrogenation reaction. The Pd-modified Ni-rich system behaves like pure Ni catalyst, but with a strongly boosted activity due to a higher number of Ni active sites available, Pd being considered as a spectator. This high activity was manifested in the levulinic acid hydrogenation with formic acid used as an internal hydrogen source. This behavior differs from the case of the Pd-rich system modified by Ni, which displayed a much higher Pd dispersion on the support compared to the monometallic Pd catalyst. The higher availability of the Pd active sites while maintaining a high surface acidity allows the catalyst to push the HMF hydrodeoxygenation reaction forward towards the green biopolymer precursor 2,5-bis(hydroxymethyl)-tetrahydrofuran, and in consequence to strongly modify the selectivity of the reaction. In that case, residual chlorine was proposed to play a significant role, while Ni was considered as a spectator.
7
Falkner, Thomas M. "Containing Tragedy: Rhetoric and Self-Representation in Sophocles' "Philoctetes"." Classical Antiquity 17, no. 1 (April 1, 1998): 25–58. http://dx.doi.org/10.2307/25011073.
Full textAbstract:
This essay examines "Philoctetes" as an exercise in self-representation by looking at the self-referential and metatheatrical dimensions of the play. After suggesting an enlarged understanding of metatheater as "a particularly vigorous attempt to engage the audience at the synthetic and thematic levels of reading," I examine "Philoctetes" as a self-conscious discourse on tragedy, tragic production, and tragic experience, one which participates in a larger conversation in the late fifth century about the ethics of tragedy, including the remarks of Gorgias on theatrical deception (ἀπάτη). The play points up its own constructedness in a variety of ways, most strikingly in the theatrical character of the intrigue by which Odysseus deceives Philoctetes, which provides a play within a play and a representation of texts and readers, plays and spectators. In laying bare the kinds of strategies and techniques that undergird this "intratext," "Philoctetes" offers a model of tragedy and of the tragic poet based on power, deceit, and manipulation. Yet by attributing these characteristics to the moral deficiencies of its internal creator and by demonstrating his failure to achieve his ends, "Philoctetes" rejects such a theater of sophistry. At the same time, the play considers issues of textual reception by providing in Philoctetes an audience for this internal text and a protocol of reading that suggest a more positive model of tragic response. "Philoctetes" uses this model to offer the spectator a subject position that affirms the inherent value of reading tragedy, a humanistic model of reading based upon the audience's identification with and sympathy for the tragic protagonist. Sophocles thus finds in this exercise in self-representation a way to frame critical questions on dramatic theory and to define his own dramatic practice.
8
Frykholm, Erin. "Hume, Mandeville, Butler, and “that Vulgar Dispute”." Archiv für Geschichte der Philosophie 101, no. 2 (June 28, 2019): 280–309. http://dx.doi.org/10.1515/agph-2019-2004.
Full textAbstract:
Abstract The debate over whether human motivations are fundamentally selfinterested or benevolent consumed Shaftesbury, Mandeville, and Hutcheson, but Hume – though explicitly indebted to all three – almost entirely ignores this issue. I argue that his relative silence reveals an overlooked intellectual debt to Bishop Butler that informs two distinguishing features of Hume’s view: first, it allows him to appropriate compelling empirical observations that Mandeville makes about virtue and moral approval; second, it provides a way of articulating a fundamental criticism of Shaftesbury and Hutcheson on the issue of virtuous motivation. From this position, Hume is able to reframe the question of virtue according to the approbation of the spectator, rather than the internal aims of the agent.
9
Bilger, R., W. Brodowski, H. Calén, H. Clement, V. Dunin, J. Dyring, C. Ekström, et al. "Spectator tagging in quasi-free proton–neutron interactions in deuterium using an internal cluster-jet target at a storage ring." Nuclear Instruments and Methods in Physics Research Section A: Accelerators, Spectrometers, Detectors and Associated Equipment 457, no. 1-2 (January 2001): 64–74. http://dx.doi.org/10.1016/s0168-9002(00)00672-0.
Full text
10
Feldherr, Andrew. "Ships of State: "Aeneid" 5 and Augustan Circus Spectacle." Classical Antiquity 14, no. 2 (October 1, 1995): 245–65. http://dx.doi.org/10.2307/25011022.
Full textAbstract:
In his description of the boat race in the fifth book of the "Aeneid", Vergil's comparison of the ships to chariots can be read not only as an allusion to the Homeric model on which the scene is based but also as part of a larger attempt to recast the episode as a contemporary circus spectacle. Like the Augustan circus, Vergil's boat race offers an image of cosmic and political order. However, beyond its symbolic function the Roman circus also played an active role in realizing the hierarchies it depicted by incorporating its spectators into a unified vision of state and universe. So the boat race too, far from constituting a hiatus in the action of the poem, becomes an instrument for the socialization of those who watch it. The spectacle gives its audience a glimpse of the gods in action and of the leadership of Aeneas himself, whose past accomplishments are reflected in the conduct of the captains. Moreover, the careful organization of internal audiences within the narrative allows every spectator to identify with another figure closer to the center of events and, by extension, invites Vergil's own readers to see themselves as participants in the scene. Thus Vergil uses the model of circus spectacle to bridge the gap separating his audience from the epic past by restaging that past in a form that both was a part of the immediate experience of the contemporary Roman and also provided a crucial context for the constitution of Roman civic life.
Dissertations / Theses on the topic "Internal spectator"
1
Mahmoud, Maher Taha Hosnah. "Masque et pouvoir : les techniques du camouflage dans le théâtre comique." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20023.
Full textAbstract:
Il y aurait interaction constante entre théâtre comique, masque et pouvoir que nous examinons à travers une lecture intertextuelle et comparative des pièces françaises, francophones et égyptiennes des XIXe et XXe siècles, en mettant l’accent sur les techniques de camouflage et leurs objectifs, témoins d’une continuité entre les cultures. Nous démontrons que la distanciation, bien que rattachée au monde sérieux de la dramaturgie brechtienne, excelle surtout dans le théâtre comique du masque. Ce projet comporte en fait trois parties. Dans une première partie, nous passons en revue dans le premier chapitre les métamorphoses du masque avec ses procédés en arrimant théâtre comique et notion du pouvoir. Nous posons ensuite dans un second chapitre l’assise théorique et méthodologique qui sert de base à notre étude, en abordant le théâtre du masque comme un procédé dramaturgique de distanciation. Nous examinons premièrement la distanciation à travers les zones du texte (didascalies, prologue, spectacle enchâssé), où le théâtre se dit comme tel. Nous consacrons la deuxième partie à l’exploration de tous les procédés d’étrangéisation employés par les dramaturges en vue de distancier le personnage portant le masque du pouvoir, en mettant en lumière son caractère bouffon et carnavalesque. Le travestissement sous ses divers aspects impose un rapport de forces entre les personnages qui se manifeste à travers l’échange verbal et non verbal derrière le masque ainsi que l’espace et la temporalité, et constitue un vecteur de distanciation, comme on le voit dans la troisième partie. Le cadre spatio-temporel, étant le support d’un jeu de faire-semblant, enracine la relation de domination occasionnée par le masque. Du fictif se dégage une image du réelThere would be constant interaction between comic theater, mask, and power that we examine through a comparative and intertextual reading of French francophone, and egyptian plays from the nineteenth and twentieth centuries; focusing on the techniques of camouflage and their targets, which affirm continuity between cultures. We show that “distanciation”, although attached to the serious world of Brechtian dramaturgy, excels in the comic theater of the mask. This project comprises of three parts. In the first chapter of the initial part, we review the metamorphoses of the mask with its processes, by matching comic theater and concept of power. Then we put in a second chapter ,the theoretical basis and methodology, used as the basis for our study; addressing the theater of the mask as a dramatic process of “distanciation”. Firstly we examine the distance through the zones of the text (stage directions, prologue, & embedded shows), where the theater is presented alike. We devote the second part to the exploration of all the processes employed by the playwrights, in order to distance the character wearing the mask of power, highlighting its comic and carnivalesque aspects. The travesty in its various facets imposes a balance of power (relationship of power) between the characters. Which is manifested through verbal and non verbal exchange behind the mask ,space, and time which are vectors of distanciation (as seen in the third part). The spatio-temporal framework, being the holder of a game of make-believe, rooted the relationship of domination caused by the mask. The fictitious emerges an image of reality
2
Labrecque, Maxime. "Les récits en réseaux : manifestations sociotechniques du phénomène choral et l’émergence intermédiatique d’un nouveau type de spectateur." Thèse, 2018. http://hdl.handle.net/1866/21733.
Full text
3
Tassé, Gilles. "Du Linéaire au Stellaire, du film au webdocumentaire : un dispositif de réflexion et de communication sur le réel." Thèse, 2015. http://hdl.handle.net/1866/13472.
Full textAbstract:
Ce texte de mémoire est accompagné du webdocumentaire interactif : De la chaise à la mer, disponible à l'adresse http://www.delachaisealamer.net.Ce mémoire de recherche et création étudie le rôle du cinéaste dans la mise en forme de documentaires interactifs diffusés sur le Web. L’auteur se réfère d’abord à ses propres documentaires conventionnels afin d’en définir le principal objectif énonciateur. Puis, il observe les nouvelles positions de spectature favorisées par les dispositifs actuels de distribution médiatique pour comprendre la forme à donner à l’œuvre interactive qu’il est à produire et juger de la possibilité d’y inscrire ses intentions de communication habituelles. L'auteur se réfère par la suite aux documentaires interactifs auxquels il a participé dans les années 1990 et détermine les dispositifs d’interaction permettant une présence active du spectateur. Finalement, l’auteur explique les étapes de production de son webdocumentaire et souligne les éléments de recherche qui ont guidé sa création. L’auteur conclut avec quelques réflexions concernant le rapport existant entre le créateur d’une œuvre documentaire interactive et le spect-acteur multitâche actuel.
This research-creation dissertation studies the filmmaker’s role in the production of interactive web documentaries. First, the author recalls conventional documentaries he directed in order to indentify their primary discursive objectives. Then, he examines the new spectatorship being defined by current media delivery devices to better understand the shape to be given to the interactive work he’s producing and assess its ability in carrying his usual communication objectives. Subsequently, the author refers to interactive documentaries in which he participated in the 1990s and points out specific interactive devices showing to be efficient in taking into account the active presence of the viewer. Finally, the author describes the making of his web documentary and highlights aspects of his research that guided its production. The author concludes with some remarks regarding his creative process and the relationship existing between the filmmaker creator of an interactive documentary and today’s new multitask spect-actor.
Books on the topic "Internal spectator"
1
Klugman, Matthew. “Get excited, people!”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038938.003.0007.
Full textAbstract:
This chapter examines how sport fansites can be mined by sport historians as “a wonderfully rich resource.” Each week, “thousands, if not millions” of sport fans congregate online to “read, chat, and blog” about their favorite teams. Importantly, these sites exist as free-standing histories produced and consumed voraciously by contributors in collaboration with one another and subject to their own internal rules, protocols, and modes of expression and meaning. As such, engaging with this massive digital archive of fan postings and discussion can offer insight into new communities surrounding sports teams, fantasy engagement, and humor, as well as gendered, racial, and sexualized aspects of spectator sports culture. Indeed, sport fansites provide opportunities to consider questions of sporting memory and popular history.
2
Friedlander, Jennifer. The Realistically Deceptive, or the Deceptively Real? Ron Mueck and the Internal Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190676124.003.0002.
Full textAbstract:
This chapter explores the hyperrealist, yet eerily distorted, sculptural figures created by Australian artist Ron Mueck. It argues that Mueck’s use of scale to disrupt the impression of perfected reality lures spectators into an illusion which challenges them to question the symbolic system’s guarantee that fiction and reality can be unequivocally adjudicated. An engagement with his work in relationship to other art and media pieces (in particular, the 2007 film Lars and the Real Girl; the stand-up comedy of New Zealand duo Flight of the Conchords; the BBC sitcom Love Soup; and Mark Jenkins’s public art figures) helps point to ways in which realism may contribute to a political aesthetic project.
3
Schlapbach, Karin. Epilogue: Dance as Experience. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807728.003.0008.
Full textAbstract:
The epilogue synthesizes the insights gained from the preceding chapters. The observation that non-representational dances trigger interpretations in the internal audiences highlights at once the capability of dance to go beyond representation and the need to find meaning in it. Just as the dancers are affected by the physical reality of their performance, so the spectators too are affected by the physical presence of the dancers. Dance is performative and dynamic, and its way to cognition and action is experience. Dance reconciles opposites by encapsulating vitality and disruption, rational patterns and sensory experience, presence and transience, active and passive. The mimesis of dance interacts in many ways with the pragmatic contexts of its performance, making it a powerful cultural force.
4
Bovens, Mark, and Anchrit Wille. The Education Gap in Political Participation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198790631.003.0005.
Full textAbstract:
With the help of social survey data, we investigate educational differences in political participation. We look at a range of political activities: spectator activities, voting, membership of political parties, and non-electoral activities, such as signing petitions and joining demonstrations, boycotts and buycotts. Also, we investigate new forms of political engagement, such as internet activism and participation in deliberative settings. Educational differences are manifest in almost all forms of political activity. But for some forms, especially the newer ones, the gap is larger than for others. The well-educated are not only over-represented in numbers; they also are more active, on average, than those with lesser educational qualifications. The more demanding the act of participation is, the more likely it is it will be disproportionately engaged in by higher educated citizens.
5
Vogan, Travis. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038389.003.0001.
Full textAbstract:
This book explores how NFL Films shaped the way Americans view football and paved the way for the emergence of cable television and Internet sports media. Baseball is traditionally recognized as America's favorite pastime, but the country's most popular and lucrative sports organization since the late 1960s has been the National Football League (NFL). NFL football's tremendous cultural and economic power is not simply a product of the games it provides for millions of live and mediated spectators, but also its cultural meanings. More than merely a game, the sport embodies and articulates characteristics, beliefs, attitudes, and values unique to American history, identity, and everyday life. This book examines the ways that NFL Films' productions changed how pro football, and sport in general, is represented and imagined while establishing a foundation from which the contemporary sports media landscape—an almost unavoidable facet of popular culture—developed. It discusses the institutional and cultural history of NFL Films as well as its circulating and archived productions, the discourses it generates, and the discourses surrounding the company.
Book chapters on the topic "Internal spectator"
1
"Making Computer and Internet Spectators." In The Body and the Screen. The MIT Press, 2006. http://dx.doi.org/10.7551/mitpress/1639.003.0003.
Full text
2
Toropova, Anna. "Learning to Hate." In Feeling Revolution, 84–115. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198831099.003.0004.
Full textAbstract:
With the return of the thriller genre onto Soviet screens in the late 1930s, cinema took a direct role in cultivating feelings of paranoid hatred for enemies. A body of films staging conspiracy, sabotage, and dark plots deployed the image of a persecutory ‘other’ to draw the defensive contours of Soviet identity. The Stalinist thriller’s mechanisms of paranoid projection and ‘splitting’ manufactured a sense of narcissistic self-mastery by directing outwards the ego-hostile forces internal to the subject. These paranoid defence strategies depended, however, on a risky process of negotiation. To create an image of a unified and harmonious social order, the thriller vividly represented threats to Soviet borders and identity, exposing their precariousness and fragility. Focusing on the genre’s deployment of the figure of duplicitous enemy and the narrative strategy of suspense, this chapter shows how the thriller’s characteristic unsettling of familiar patterns of identification turned the enemy’s ‘otherness’ into an object of fascination as well as repulsion. The thriller’s capacity to collapse boundaries between ‘Soviet’ and ‘unSoviet’ was nowhere more apparent than in the body of ‘dark’ films that emerged during the post-war period. Gesturing towards film noir’s pervasive sense of enclosure, loneliness, and anxiety, post-war thrillers like Secret Mission (dir. Mikhail Romm, 1950) and A Scout’s Exploit (dir. Boris Barnet, 1947) no longer permitted the spectator to identify with a position of narcissistic self-mastery. These ‘dark’ post-war thrillers conjured up a universe in which systems of knowledge proved unstable and identity structures vulnerable to contamination.
3
Kaplun, Marianna V. "The Elements of Expressiveness in the Youth Dialogue about Feast of the Nativity." In Hermeneutics of Old Russian Literature: Issue 20, 314–24. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/horl.1607-6192-2021-20-314-324.
Full textAbstract:
The Youth Dialogue about Feast of the Nativity from a cycle “Rhymed and not Rhymed Poems” from the manuscript collection by T.F. Bolshakov (RSL. F. 37. No. 88) refers to the poems in the collection on the biblical plots. The Dialogue, presumably dated to the 17th century, is a small rhymed poem with elements of action, divided into lines of poetry and played by roles by two youths ‘little yours’ to the listening ‘faithful virgins’. The Dialogue was clearly intended for a listener or spectator and, possibly, was shown on a stage or in a church as an action in which passages from the Gospel were read, represented in persons. The stage character of The Dialogue is indicated by an appeal to the audience, containing an invitation to listen to the story, and in a spectacular manner of a riddle, clearly with the aim of interest (intrigue) the audience. There are elements of artistic expressiveness in The Dialogue which gives dynamics and poetry to the text and, possibly, in order to impress the audience. Rapid change of verbs while reading could give an internal dynamics to the passage and even more captivate the audience. The Dialogue contains traditional Christmas attributes (star, myrrh, censer, angels), quotes from the Psalter, but the text doesn’t convey exactly the Gospel, but represents a poetic interpretation of Christmas. The Dialogue contains a linguistic expressiveness which is given by emotional elements (description of Herod’s intentions and speech expressiveness of the Mother of God), artistically meaningful persistent evangelical images (‘a pure dove,’ ‘stars from heaven’). The speech of the two youths is also expressive, in which some differences are also guessed (the speech of the first is more descriptive, the speech of the second is more graphic). All this makes it possible to talk about the elements of artistic expression inherent in The Youth Dialogue about Feast of the Nativity.
4
Lewis, Robert W. "Stadium travels: spectatorship, territorial identity and global connections, 1900–60." In The Stadium Century. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9781526106247.003.0005.
Full textAbstract:
This chapter turns to the ways in which stadia, sport and spectators both in France and elsewhere around the globe helped generate changing place-based communities and identities. French stadia created discourses about local places through the depiction of spectators within their confines. But stadium spectatorship also helped define the national collective, through literal and imaginary voyages within France and abroad to other stadia around the world. These latter voyages generated a series of comparisons that provided French men and women with convenient benchmarks for monitoring the perceived vitality and social cohesion of France in relation to its rivals on the world stage. These comparisons predominantly reinforced a sense of French inadequacy and decline throughout the interwar period, if not necessarily after the Second World War. At the same time, however, the comparisons with the wider world testified to the global character of sport itself in the first half of the twentieth century, as a mass media complex in Western Europe and North America publicised and promoted sporting competitions that helped create transnational communities of spectators invested in the same sporting events.
5
Lingel, Jessa. "People Seeking People." In An Internet for the People, 113–30. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691188904.003.0007.
Full textAbstract:
This chapter looks at what made craigslist personals distinctive from other online dating platforms, focusing on shifting norms around anonymity and a persistent social stigma. More than any other section, the personals demonstrate a Web 1.0 vision of social connection, where experimentation and risk were valued over trust infrastructure. Craigslist's politics of openness and inclusion were contested most fiercely when it came to sex and dating, demonstrated by legislation like Fight Online Sex Trafficking Act (FOSTA) as well as the tendency to stigmatize craigslist personals and the people who use them. Like newspaper classified ads of the past, craigslist personals were often viewed suspiciously by the general public, sensationally by the media, and as a gateway to the margins by academics. By being so open and accessible, craigslist invited spectators and voyeurs, as well as critics. Stigma here emerges as a response to the gap between social expectations of sex and dating and the messy, shady, serendipitous reality of the web.
6
Stefani, Raymond T. "The Marketing Implications of Up-and-Coming Sports and of Official International Sports Rating Systems." In Advances in Marketing, Customer Relationship Management, and E-Services, 241–63. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7617-4.ch011.
Full textAbstract:
To effectively market the major international sports, those sports are identified along with their special characteristics. Further, widely available official ranking information about the best nations and individuals at those sports are located so that the special features of each ranking system can be creatively used to arouse spectator and sponsor interest. The three primary sources of recognition are identified: the International Olympic Committee, which recognizes 122 sports; SportAccord (also known as GAISF), which recognizes those plus another 21 sports; while Wikipedia lists those plus another 26 widely played sports for a total of 169. The immense popularity of the up-and-coming e-sports (electronic sports) strongly suggest opportunities for marketing. The 108 sports with ratings systems are covered in the sequence—36 object sports, 59 independent sports, 9 combat sports, and 4 mind sports—followed by the special implications that present themselves for effective marketing. Marketing guidance is then presented for the 61 sports without a rating system. Links to all 169 sports are identified, providing a wealth of individual and team information along with the official ratings. References, internet links, and definitions of all key terms are listed at the end of this chapter.
7
Stefani, Raymond T. "The Marketing Implications of Up-and-Coming Sports and of Official International Sports Rating Systems." In Research Anthology on Business Strategies, Health Factors, and Ethical Implications in Sports and eSports, 18–36. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7707-3.ch002.
Full textAbstract:
To effectively market the major international sports, those sports are identified along with their special characteristics. Further, widely available official ranking information about the best nations and individuals at those sports are located so that the special features of each ranking system can be creatively used to arouse spectator and sponsor interest. The three primary sources of recognition are identified: the International Olympic Committee, which recognizes 122 sports; SportAccord (also known as GAISF), which recognizes those plus another 21 sports; while Wikipedia lists those plus another 26 widely played sports for a total of 169. The immense popularity of the up-and-coming e-sports (electronic sports) strongly suggest opportunities for marketing. The 108 sports with ratings systems are covered in the sequence—36 object sports, 59 independent sports, 9 combat sports, and 4 mind sports—followed by the special implications that present themselves for effective marketing. Marketing guidance is then presented for the 61 sports without a rating system. Links to all 169 sports are identified, providing a wealth of individual and team information along with the official ratings. References, internet links, and definitions of all key terms are listed at the end of this chapter.
8
Shelke, Priya Makarand, and Rajesh Shardanand Prasad. "Tradeoffs Between Forensics and Anti-Forensics of Digital Images." In Computer Vision, 2124–38. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-5204-8.ch093.
Full textAbstract:
Over past few years, we are the spectators of the evolution in the field of information technology, telecommunication and networking. Due to the advancement of smart phones, easy and inexpensive access to the internet and popularity of social networking, capture and use of digital images has increased drastically. Image processing techniques are getting developed at rapidly and at the same time easy to use image tampering soft-wares are also getting readily available. If tampered images are misused, big troubles having deep moral, ethical and lawful allegations may arise. Due to high potential of visual media and the ease in their capture, distribution and storage, we rarely find a field where digital visual data is not used. The value of image as evidence of event must be carefully assessed and it is a call for from different fields of applications. Therefore, in this age of fantasy, image authentication has become an issue of utmost importance.
9
Cornish, Sarah. "“Quota Quickies Threaten Audience Intelligence Levels!”: The Power of the Screen in Virginia Woolf’s “The Cinema” and “Middlebrow” and Betty Miller’s Farewell Leicester Square." In Virginia Woolf and Her Female Contemporaries. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781942954088.003.0012.
Full textAbstract:
In 1926, Virginia Woolf wrote “The Cinema,” in which she expresses both her fascination for and her worry about the movies’ powerful influence over its spectators. Later, in “Middlebrow” (1932), she facetiously suggests that this power of the movies is useful for managing and preserving distinctions of both class and taste. This chapter uses Woolf’s suggestions about film culture to explore Betty Miller’s direct engagement with the film industry in her novel Farewell Leicester Square (1941) in light of the 1927 Cinematographic Film Act. The Act required cinema houses in the UK to show a certain percentage of films made in Britain and by British directors and resulted in the phenomenon of the “Quota Quickie,” films made on a two-week shooting schedule and a slim budget. The Quota Quickie phenomenon reached a peak in 1935 and 1936, the years in which the UK produced its most narrative films. Miller’s Farewell Leicester Square, written at the height of the industry boom in 1935, the chapter argues, is a “meta-filmic” novel about the British film industry and culture during the interwar period.
Conference papers on the topic "Internal spectator"
1
Shults, Roman, Saule Soltabayeva, Gulnur Seitkazina, Zhupargul Nukarbekova, and Oksana Kucherenko. "Geospatial Monitoring and Structural Mechanics Models: a Case Study of Sports Structures." In 11th International Conference “Environmental Engineering”. VGTU Technika, 2020. http://dx.doi.org/10.3846/enviro.2020.685.
Full textAbstract:
The task of geospatial monitoring is one of the most common in the practice of geodetic works. In the twentieth century, the basic principles for carrying out geospatial monitoring, accuracy calculation, observation intervals assignment, and data simulation were developed. However, since that time, both the building and geodetic technologies have been changed considerably. Among modern engineering structures, the building technology of which has undergone significant changes are sport structures. The use of the state-of-the-art sport structures is associated with the presence of specific loads, name a few: the impact of a vast number of spectators (e.g., stadiums, cycle tracks, etc.) or loads directly from the competitions equipment (e.g., bobsleigh tracks, race tracks, etc.). The primary goal of the presented paper is to develop a general approach to the preliminary accuracy calculation of the geospatial monitoring of the sports structures using the methods of structural mechanics. As an example, a football stadium was considered. Based on the simulation, the improved technology of geospatial monitoring for the sports structure was suggested. The in-depth analysis of the creation of geodetic networks for geospatial monitoring was accomplished. At the final step, the results of geospatial monitoring for the football stadium were analyzed, and hands-on recommendations were made.