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Books on the topic 'Media reception'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Staiger, Janet. Media reception studies. New York, NY: New York University Press, 2004.

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2

Media reception studies. New York: New York University Press, 2005.

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3

Eichner, Susanne. Agency and Media Reception. Wiesbaden: Springer Fachmedien Wiesbaden, 2014. http://dx.doi.org/10.1007/978-3-658-04673-6.

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4

Athique, Adrian. Transnational audiences: Media reception on a global scale. Cambridge, UK: Polity Press, 2016.

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5

Persuasion: Reception and responsibility. Australia: Thomson/Wadsworth, 2007.

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6

Larson, Charles U. Persuasion: Reception and responsibility. 7th ed. Belmont, Calif: Wadsworth Pub. Co., 1995.

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7

Larson, Charles U. Persuasion: Reception and responsibility. 9th ed. Belmont, CA: Wadsworth/Thomson Learning, 2001.

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8

Larson, Charles U. Persuasion: Reception and responsibility. 4th ed. Belmont, Calif: Wadswoth Pub. Co., 1986.

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9

Larson, Charles U. Persuasion: Reception and responsibility. 6th ed. Belmont, Calif: Wadsworth Pub., 1991.

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10

Larson, Charles U. Persuasion: Reception and responsibility. 8th ed. Belmont, Calif: Wadsworth Pub., 1998.

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11

Persuasion: Reception and responsibility. 5th ed. Belmont, Calif: Wadsworth Pub. Co., 1989.

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12

Larson, Charles U. Persuasion: Reception and responsibility. 7th ed. Belmont, Calif: Wadsworth, 1994.

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13

Philo, Greg. Media representations of mental health/illness: Audience reception study. Glasgow: Glasgow University Media Group, 1993.

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14

Mixed reception: South African youth and their experience of global media. Pretoria: Unisa Press, 2005.

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15

Philo, Greg. Mass media representations of mental health/illness: Audience reception study. Glasgow: Glasgow University Media Group, 1993.

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16

Alan, McKee, ed. The indigenous public sphere: The reporting and reception of aboriginal issues in the Australian media. Oxford: Oxford University Press, 2000.

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17

Delcheva, Vida, ed. Books of imagination: Methodology for school projects "My dream for book" and "Alternative bodies of the book": Книги на въображението. Sofia, Bulgaria: Faculty of Journalism and Mass Communication, Sofia University, 2013.

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18

Gunter, Barrie. The cognitive impact of television news: Production attributes and information reception. Houndsmills, Basingstoke, Hampshire: Palgrave Macmillan, 2015.

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19

1957-, Hansen Anders, and Touri Maria 1977-, eds. Alcohol advertising and young people's drinking: Representation, reception and regulation. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2010.

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20

Gustave, Flaubert. Madame Bovary: Contexts, critical reception. Edited by Margaret Cohen. 2nd ed. New York, USA: W.W. Norton & Co., 2004.

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21

Tagung, Deutsche Gesellschaft für Psychologie Fachgruppe Medienpsychologie. Media psychology: Focus theme: cognitive and emotional involvement during media reception : proceedings of the 7th Conference of the Media Psychology Division of the German Psychological Society, 09.-12. August 2011. Lengerich: Pabst Science Publishers, 2011.

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22

Jane, Arthurs, and Harindranath Ramaswami 1959-, eds. The Crash controversy: Censorship campaigns and film reception. London: Wallflower Press, 2001.

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23

Hartley, John. The indigenous public sphere: The reporting and reception of indigenous issues in the Australian media, 1994-1997. Oxford: Clarendon, 2000.

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24

"Politique de la grandeur" versus "Made in Germany": Politische Kulturgeschichte der Technik am Beispiel der PAL-SECAM-Kontroverse. München: R. Oldenbourg, 2007.

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25

Stevens, E. Charlotte. Fanvids. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985865.

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Fanvids, or vids, are short videos created in media fandom. Made from television and film sources, they are neither television episodes nor films; they resemble music videos but are non-commercial fanworks that construct creative and critical analyses of existing media. The creators of fanvids-called vidders-are predominantly women, whose vids prompt questions about media historiography and pleasures taken from screen media. Vids remake narratives for an attentive fan audience, who watch with a deep knowledge of the source text(s), or an interest in the vid form itself. Fanvids: Television, Women, and Home Media Re-Use draws on four decades of vids, produced on videotape and digitally, to argue that the vid form's creation and reception reveals a mode of engaged spectatorship that counters academic histories of media audiences and technologies. Vids offer an answer to the prevalent questions: What happens to television after it's been aired? How and by whom is it used and shared? Is it still television?
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26

Guynes, Sean, and Dan Hassler-Forest, eds. Star Wars and the History of Transmedia Storytelling. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462986213.

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Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a corrective to this oversight by curating essays from a wide range of interdisciplinary scholars in order to bring Star Wars and its transmedia narratives more fully into the fold of media and cultural studies. The collection places Star Wars at the center of those studies’ projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world’s most profitable transmedia franchise.
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27

Athique, Adrian. Transnational Audiences: Media Reception on a Global Scale. Polity Press, 2016.

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28

1959-, Hagen Ingunn, and Wasko Janet, eds. Consuming audiences?: Production and reception in media research. Cresskill, N.J: Hampton Press, 2000.

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29

Athique, Adrian. Transnational Audiences: Media Reception on a Global Scale. Polity Press, 2017.

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30

Larson, Charles U. Persuasion: Reception and Responsibility. 6th ed. Wadsworth Publishing Company, 1992.

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31

Krüger, Oliver. Media. Edited by Michael Stausberg and Steven Engler. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198729570.013.28.

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Media technology is always embedded in certain cultural and social patterns of reception. Media are received differently over time in diverse milieus. This becomes particularly evident when a new technology is introduced. Beyond the pivotal question of media content, the scientific study of religion and for cultural studies benefits from highlighting issues of the cultural integration of specific media in general and from attempts to understand the valuation of specific media content. This chapter notes that ‘medium’ has a long-term etymology in European theology and philosophy and offers a roadmap for the study of media and religions. A systematic analytical approach is proposed focusing on the three dimensions of media production, media contents, and media reception. The combination of these three dimensions facilitates a cross-media perspective that offers insights into the mutual interplay between the production and the reception of religious contents in media.
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32

Jon, Cruz, and Lewis Justin 1958-, eds. Viewing, reading, listening: Audiences and cultural reception. Boulder: Westview Press, 1994.

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33

La Presse: Produit, production, reception (Collection "Langages, discours et societes"). Didier erudition, 1988.

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34

Larson, Charles U. Persuasion: Reception and Responsibility (with InfoTrac). Wadsworth Publishing, 2003.

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35

L, Machor James, and Goldstein Philip, eds. Reception study: From literary theory to cultural studies. New York: Routledge, 2001.

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36

Agency And Media Reception Experiencing Video Games Film And Television. Springer VS, 2014.

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37

Kitzinger, Jenny, David Miller, and Peter Beharrell. The Circuit of Mass Communication: Media Strategies, Representation and Audience Reception in the AIDS Crisis. Sage Publications Ltd, 1998.

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38

Journalism and Political Exclusion: Social Conditions of News Production and Reception. McGill-Queen's University Press, 2014.

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39

Clarke, Debra M. Journalism and Political Exclusion: Social Conditions of News Production and Reception. McGill-Queen's University Press, 2014.

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40

Jennings, Bryant, and Zillmann Dolf, eds. Responding to the screen: Reception and reaction processes. Hillsdale, N.J: L. Erlbaum Associates, 1991.

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41

New Directions in American Reception Study. Oxford University Press, USA, 2007.

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42

Larson, Charles U. Persuasion: Reception and Responsibility (Wadsworth Series in Communication Studies). Wadsworth Publishing, 2006.

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43

(Editor), Jennings Bryant, and Dolf Zillmann (Editor), eds. Responding To the Screen: Reception and Reaction Processes (Communication). Lawrence Erlbaum, 1991.

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44

Garcia, Antero. Good Reception: Teens, Teachers, and Mobile Media in a Los Angeles High School. MIT Press, 2017.

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45

Garcia, Antero. Good Reception: Teens, Teachers, and Mobile Media in a Los Angeles High School. MIT Press, 2017.

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46

Garcia, Antero. Good Reception: Teens, Teachers, and Mobile Media in a Los Angeles High School. MIT Press, 2017.

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47

Good Reception: Teens, Teachers, and Mobile Media in a Los Angeles High School. The MIT Press, 2017.

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48

(Editor), Ingunn Hagen, and Janet Wasko (Editor), eds. Consuming Audiences?: Production and Reception in Media Research (International Association for Mass Communication Research (Series).). Hampton Pr, 2000.

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49

(Editor), Ingunn Hagen, and Janet Wasko (Editor), eds. Consuming Audiences?: Production and Reception in Media Research (International Association for Mass Communication Research (Series).). Hampton Pr, 2000.

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50

Jenkins, Thomas E. The Reception of Hesiod in the Twentieth and Twenty-first Centuries. Edited by Alexander C. Loney and Stephen Scully. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.013.53.

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This chapter traces the reception of the Works and Days and Theogony in various media throughout the twentieth and twenty-first centuries, including film, television, video games, novels, essays, illustrations, and children’s literature. It argues that the Theogony’s greater emphasis on extended narrative episodes—particularly the violent Titanomachy—has spawned a comparatively greater number of receptions, while the Works and Day’s didactic tone and structure have lent themselves more readily to adaptations that stress the environment and/or management. Hesiod’s representation of women—both mortal and immortal—has engendered some of the most strongly ideological and passionate receptions, especially those concerning Athena, Gaia, and Pandora. The chapter concludes with a glance at the surprising reception of Hesiod in today’s newest media, including Twitter hashtags.
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