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Journal articles on the topic 'Media reception'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Arrow, Michelle, Bridget Griffen-Foley, and Marnie Hughes-Warrington. "Australian Media Reception Histories." Media International Australia 131, no. 1 (May 2009): 68–69. http://dx.doi.org/10.1177/1329878x0913100108.

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As the field of Australian media history expands, so too does the need for a broader and more innovative range of questions, issues and debates. This special issue of MIA responds to that need by considering the sources and research questions raised by media reception historians working on film, radio, television and the press. From print to new media, the papers assembled highlight the ingenuity of Australian historians working to recover the experiences of audiences in urban and regional settings.

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Kosmály, Peter. "Authenticity, Reception and Media Reality." Creative and Knowledge Society 2, no. 1 (July 1, 2012): 118–28. http://dx.doi.org/10.2478/v10212-011-0021-5.

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Authenticity, Reception and Media Reality This article deals with the reception of media reality, which is meant to be an alternative mode of consciousness, and with the phenomenon of authenticity and its understanding within media reality. It is also pointed out the distortion in the reception of media reality. As an unifying concept for media education and for the treatment of reception defects it is mentioned media anthropology - an interdisciplinary, respectively trans-disciplinary science, which can provide more consistent re-analyzing of the relationship between man and media as tools for improving his skills. From the methodological point of view the method of epistemological anarchism, Paul Feyerabend's "anything goes" is explained as an epistemological translation tool for developing reviewing competences and reception skills as a whole (organic reception). We propose to deal the distortion of media reception in different therapeutic ways: from sensory deprivation, through media substitution, organic reception, to transcendence of the observer and imitation of media - meta-creation. In the sense of organic, systemic reception we in fact propose to "copy" the communication strategy of media system(s) in order to extend or set appropriate "epistemic" competences. In the related illustration of this mechanism, the theory of A. Weinstock is applied for setting a research indifference point in the middle of a fictive reception continuum of polarities sympathy and antipathy with media. This paper represents a part of activities, which summarize author's dissertation thesis Reception instruction in the media reality, where there are presented not only analyses and attempted typology of reception instructions, but also case studies with specific proposals for teaching and researching within areas of media ethics and media education.

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3

Moser, Sibylle. "Media modes of poetic reception." Poetics 35, no. 4-5 (August 2007): 277–300. http://dx.doi.org/10.1016/j.poetic.2007.01.002.

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4

Rustad, Gry C., and Anders Olof Larsson. "Introducing quantitative reception aesthetics: Television reception and textual engagement." Critical Studies in Television: The International Journal of Television Studies 16, no. 1 (February 23, 2021): 7–29. http://dx.doi.org/10.1177/1749602020974347.

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This article introduces quantitative reception aesthetics as a method and demonstrates how big data derived from social media services and textual analysis can be employed to uncover hitherto hidden processes of media spectatorship. It demonstrates how mixing quantitative and qualitative methods allows us to understand textual engagement and how media spectatorship evolves over time. Taking the Norwegian web series, Skam (2015–2017), as its case study, the article demonstrates how (web)television engagement on Instagram is linked to aesthetics and narrative events and how textual engagement is more universal than perhaps post-structuralist reception studies of media reception might have us believe.

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Fluck, Winfried. "Playing Indian Media Reception as Transfer." Figurationen 8, no. 2 (July 2007): 67–86. http://dx.doi.org/10.7788/figurationen.2007.8.2.67.

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6

Meitz, Tino G. K. "Mediality: Aspects of contextual media reception." Empedocles: European Journal for the Philosophy of Communication 3, no. 2 (December 1, 2011): 197–214. http://dx.doi.org/10.1386/ejpc.3.2.197_1.

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Avramova, Valentina N. "Reception image of Russia in Bulgarian media." Media Linguistics 7, no. 1 (2020): 61–68. http://dx.doi.org/10.21638/spbu22.2020.105.

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Ocheretyany, Konstantin A., and Alexander S. Lenkevich. "Media Philosophy: Between the Reception and Interpretation." Observatory of Culture 14, no. 1 (January 1, 2017): 12–18. http://dx.doi.org/10.25281/2072-3156-2017-14-1-12-18.

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Kosmály, Peter. "Multisensory Environment and Sensory Deprivation in the Treatment of Reception Defects." Creative and Knowledge Society 1, no. 2 (December 1, 2011): 96–109. http://dx.doi.org/10.2478/v10212-011-0011-7.

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Multisensory Environment and Sensory Deprivation in the Treatment of Reception Defects This article deals with two types of alternative therapy and treatment methods. They are considered to be used in media education, in the treatment of reception defects, such as abuse, narcosis, neurosis, frustration, fetishism and superimposition. Purpose of this article is to summarize and discuss not only these media reality reception defects, but also to object them in two ways - multisensory environment within special pedagogic treatment, sensory deprivation within alternative psychiatric therapy (dark therapy, chamber and floating tanks, meditation, holotropic breathing, neuro-linguistic programming, etc.). Methodology in this study is to consider them as using media in the way of organic reception and therefore included in media anthropology, education and ethics. Within media reality a system reception feedback is needed, therefore the method "anything goes" for this use is explained. The aim of this article is to bind alternative media based methods with the research of reception of the media reality and the outstanding media anthropological issues: therapy, education, ethics, philosophy, etc. The scientific aim not only of this study, but also of author's whole work is to sustain the whole - media anthropological view - by using partial methods for media reality analysis and proving its relevance in disputing other theories being enclosed within media discourse. Also the ethics - code of dealing with technological extensions of human competence - the media - is a part of the organic reception. As the conclusion a need of such kind of research, education and treatment is objected and the examples of author's effort are explained. There is strongly recommended to create and use other media anthropology based equipment: Hitchhiker's Guide to Media Reality, A Chronicle of Abused media, blogs, a textbook, etc.

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Adjoteye, Eugene Agbasi, M. Yoserizal Saragih, and Muhammad Ridwan. "Methodological Approaches to Reception Analysis Research in Ghanaian Media Studies." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 4, no. 1 (March 6, 2021): 1545–51. http://dx.doi.org/10.33258/birci.v4i1.1786.

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Reception Analysis audience research since its evolution from the German Reception Theory of the Constance School has been beset with varied methodological issues. This is stridently because reception analysis per se straddles both the humanities and the social sciences. This paper attempts to set off the methodological perspective that can enable audience researchers in the field of media studies in Africa conduct reliable and valid reception analysis research. This paper posits the qualitative method as a viable analytical tool for reception researchers. Additionally, this paper takes into consideration factors in the social systems in which media discourses are embedded. These factors enable the generation of interpretative strategies shared by individuals belonging to a specific audience group within a specified cultural context. In the light of this, these interpretative repertoires can thus serve as veritable texts that could be analyzed in reception analysis research.

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Filimowicz, Michael. "A mixed framework for new media art reception." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 4, no. 1 (December 15, 2014): 41–65. http://dx.doi.org/10.7146/se.v4i1.20482.

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In this essay I propose a theoretical assemblage integrating several discursive perspectives towards audience reception in the context of new media art creation, with a focus on sonic works. After reviewing the historical origins of reception theory in reader response and its later appropriation by communication and cultural studies, I argue that a mixed discursive perspective offers a potential refinement of contemporary reception theory as applicable to new media production, in which technological abstractions and complexities may be rich for purposes of production, but fall short in appreciation and communicative value for an audience

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12

Holliman, Richard. "Media Coverage of Cloning: A Study of Media Content, Production and Reception." Public Understanding of Science 13, no. 2 (April 2004): 107–30. http://dx.doi.org/10.1177/0963662504043862.

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13

UETANI, Kayo. "Toward a Sociological Explication of Mass Media Reception." Annual review of sociology 1997, no. 10 (1997): 169–80. http://dx.doi.org/10.5690/kantoh.1997.169.

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Granat, Anna. "Research on the reception of media in practice." Kognitywistyka i Media w Edukacji 28, no. 2 (December 31, 2018): 109–22. http://dx.doi.org/10.15804/kimwe2018209.

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15

Luo, Yinyi. "Transnational audiences: media reception on a global scale." Information, Communication & Society 19, no. 12 (August 18, 2016): 1797–98. http://dx.doi.org/10.1080/1369118x.2016.1219757.

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Hill, Annette. "Transnational Audiences: Media Reception on a Global Scale." European Journal of Communication 32, no. 4 (August 2017): 383–85. http://dx.doi.org/10.1177/0267323117718320.

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Reinisch, Alexander, Stefan Robert Schröder, Frank Ulrich, Winfried Padberg, and Juliane Liese. "Antibiotic-treated acute appendicitis—reception in social media." Langenbeck's Archives of Surgery 404, no. 3 (March 29, 2019): 343–49. http://dx.doi.org/10.1007/s00423-019-01777-y.

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Ahmadi, Rizqa, Wildani Hefni, and Mutrofin Mutrofin. "INDONESIAN GLOBAL IKHWAN’S RECEPTION AND EXPRESSION TOWARD SUNNAH POLYGAMY IN ONLINE MEDIA." ULUL ALBAB Jurnal Studi Islam 20, no. 1 (June 25, 2019): 70–94. http://dx.doi.org/10.18860/ua.v20i1.5660.

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Evidence of the strength of Indonesian Muslim relations with the text tradition can be found in various practices of daily life. The text referred to in this paper is religious texts, especially hadith. Each group in the community has an expression of diverse receptions to a text. Global Ikhwan, one of the urban Muslim communities in Indonesia which declares the call for polygamy, reveals interesting receptions and expressions to be explored. With a virtual ethnographic approach (netnography), the authors find that they perceive hadith exegesis. The group interpreted the command of polygamy with a more realistic interpretation. They perceive the command of polygamy in the hadith with the meaning of sunnah matrûkah (abandoned sunnah), which is not done by many Muslims. Their expressions are manifested in organizing a short course, coaching for prospective wives who are ready for polygamy, publications, and declarations to various media. If viewed from the aspect of the reception function of the text, the traditions that are receptions are categorized into informative functions, which function as sources of information for carrying out an action.

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19

Fouquier, Eric. "Figures of reception Concepts and rules for a semiotic analysis of mass media reception." International Journal of Research in Marketing 4, no. 4 (January 1988): 331–47. http://dx.doi.org/10.1016/0167-8116(88)90033-x.

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Bridges, Emma, and Joanna Paul. "Reception." Greece and Rome 65, no. 2 (September 17, 2018): 277–82. http://dx.doi.org/10.1017/s0017383518000232.

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The cinematic and televisual reception of the ancient world remains one of the most active strands of classical reception study, so a new addition to the Wiley-Blackwell Companions series focusing on Ancient Greece and Rome on Screen is sure to be of use to students and scholars alike (especially given how often ‘Classics and Film’ courses are offered as a reception component of an undergraduate Classical Studies programme). The editor, Arthur Pomeroy, himself a respected and prolific ‘early adopter’ of this branch of scholarship, has assembled many of the leading names in cinematic reception studies (including Maria Wyke, Pantelis Michelakis, Alastair Blanshard, and Monica Cyrino), alongside a good number of more junior colleagues, resulting in a varied and rewarding compendium that will provide a useful accompaniment to more detailed explorations of this field. (Some, though not all, chapters offer further reading suggestions, and most are pitched at an accessible level.) The twenty-three contributions span the ‘canonical’ and already widely treated aspects of screen reception, from 1950s Hollywood epics to adaptations of Greek tragedy, as well as ranging across material which has only more recently began to attract the attention it deserves, such as TV documentary, or adaptations for younger audiences. The volume is not as easily navigable as it might be, with the four-part division of the chapters sometimes seeming a little arbitrary. (So, for example, a chapter which discusses ‘The Return of the Genre’ in films like Gladiator appears under the heading ‘Comedy, Drama, and Adaptation’, when it might have been better placed in the first section, on ‘The Development of the Depiction of Ancient Greece and Rome on Screen’.) But rich discussions are not hard to find, especially in those chapters which show how cinematic receptions are indicators of more widely felt concerns relating to our reception of the past, as in Blanshard's assessment of ‘High Art and Low Art Expectations: Ancient Greece in Film and Popular Culture’. Michelakis’ chapter on the early days of cinema is also a valuable distillation of some of his recent work on silent film, crisply and concisely setting out the plurality of approaches that must inform our understanding of the cinematic medium (for example, spectatorship, colour, and relationships to other media). More broadly, the collection makes a solid and welcome attempt to put this pluralism into practice, with Pomeroy stressing ‘the complexity of understanding film’ early in his introduction (3). Chapters focusing on music, and costumes, for example, allow us to see productions ‘in the round’, a panoptical perspective which is still too readily avoided by much classical reception scholarship. (It is also good to see at least one chapter which ranges beyond screen media in the West.) Other vital areas of film and TV studies could arguably have received more attention. Some contributors touch on the importance of assessing audience receptions of these films, or the impact of marketing and other industrial considerations (such as screening practices), but more chapters dedicated to these approaches might have been a more sustained reminder to readers of just how widely screen scholarship can (and often needs to) range. To that end, a particularly significant chapter in the book – one of only 3 by non-Classicists – is Harriet Margolis’ account of how film historians might evaluate ancient world film. Newcomers to this field should pay particular attention to this, and to Pomeroy's introductory comments on how we should regard film as much more than a quasi-literary medium.

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Basarah, Finy F. "MEDIA SOSIAL SEBAGAI SARANA EKSISTENSI DIRI (Reception Analysis Mahasiswa Fakultas Ilmu Komunikasi Universitas Mercu Buana Angkatan 2016)." Communicology: Jurnal Ilmu Komunikasi 6, no. 1 (November 14, 2018): 1–15. http://dx.doi.org/10.21009/communicology.06.01.

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The existence of social media made it easier for anyone to publish any activities in any social medias they had. This activity seemed to indicate the desire to be acknowledged by others for the existence of people who actively published each activity. Using the theory of Encoding-Decoding from Stuart Hall, Existentialist Theory of Jean Paul Sartre, and the method of Reception Analysis, 8 (eight) Faculty of Communication Mercu Buana Universityâ€™s students, class of 2016, gave a view how they produced the meaning of each social media content produced by themselves. The result of this research was not everyone who actively used social media to publish was an existentialist. 1 (one) out of 8 (eight) informants in this study did not belong to any modes in which Sartre is located, 3 (three) informants belonged to the two modes, 2 (two) people belonged to Being-in-itself, 1 (one) person belonged to Being-for-itself, and 1 (one) person belonged to Being-for-others. Keywords:Social Media, Existence, Existentialist, Encoding-Decoding, Reception Analysis Abstrak Keberadaan media sosial memudahkan siapapun untuk mempublikasikan setiap kegiatan di sejumlah media sosial yang dimilikinya. Kegiatan ini seolah menunjukkan adanya keinginan untuk diakui oleh orang lain akan eksistensi orang yang aktif mempublikasikan setiap kegiatannya tersebut. Dengan mempergunakan teori Encoding-Decoding dari Stuart Hall, Teori Eksistensialis dari Jean Paul Sartre, dan metode Reception Analysis, terpilih 8 (delapan) orang mahasiswa Fikom Universitas Mercu Buana angkatan 2016 yang telah memberikan pandangan bagaimana mereka memproduksi makna dari setiap konten media sosial yang diproduksi sendiri. Hasil penelitian yaitu tidak semua orang yang aktif menggunakan media sosial untuk mempublikasikannya adalah seorang eksistentialis. 1 (satu) dari 8 (delapan) informan dalam penelitian ini tidak termasuk ke dalam modus cara berada Sartre manapun, 3 (tiga) orang informan termasuk ke dua modus cara berada, 2 (dua) orang termasuk ke dalam modus cara berada Being-in-itself, 1 (satu) orang termasuk ke dalam modus cara berada Being-for-itself, dan 1 (satu) orang termasuk ke dalam modus cara berada Being-for-others. Kata Kunci: Media Sosial, Eksistensi, Eksistensialis, Encoding-Decoding, Reception Analysis.

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Masrurin, ‘Ainatu. "MURATTAL DAN MUJAWWAD AL-QUR’AN DI MEDIA SOSIAL." Jurnal Studi Ilmu-ilmu Al-Qur'an dan Hadis 19, no. 2 (October 13, 2019): 188. http://dx.doi.org/10.14421/qh.2018.1902-04.

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Qur’an as self-referential text within the word Quran and Qul represents the moral dimension involved. It is a dimension when the Quran frequently is applied as a narrative object in daily life by which, according to Frédéric Deny, it is called Performative. In aesthetic reception discourse, Qur’an as a text is placed as an object approached beautifully. For instance, it’s voiced by sound and rhythm called murattal or Mujawwad. The oldest quranic recording is found in 1855 by S Hurgronje in which it was a starting point for the Quran to recept digitally in media matters. Around 2000, Quranic Aesthetic reception in media tools Was widespread massively, then reading Qur’an in this time using Rythm isn't a matter to be coached directly. By phenomenological approach, this research tries to mapping the typology as well as the history of the reader (Qori) who changes to use social media as a listener and appreciator by uploading his/her reading. The result shows that three aspects are influencing the reader's acts in social media, 1) to show the existence of the Quran 2) religious narcism, 3) authoritative freedom. Keyword: Performative, Aesthetic Reception, Qari’, Social Media

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23

Nærland, Torgeir Uberg. "Altogether now? Symbolic recognition, musical media events and the forging of civic bonds among minority youth in Norway." European Journal of Cultural Studies 22, no. 1 (August 21, 2017): 78–94. http://dx.doi.org/10.1177/1367549417719013.

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Drawing upon interviews with a group of minority youth in Norway, this study argues that recognition theory offers a valuable yet neglected perspective through which we can identify and understand key social and civic dimensions of minority audiences’ media reception. Empirically, the study concentrates on the reception of musical media events in which hip hop artists and performances were prominent. Through empirical examples, this article illustrates how the reception of these media events for the informants entailed experiences of recognition that in turn engendered feelings of symbolic inclusion. Based on the interview data, this study argues that media events constitute ‘moments of recognition’ where dynamics of recognition are intensified. The study further argues that given the politically charged context, music may function as the expressive raw material for what is termed ‘musically imagined civic communities’.

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24

Strelitz, Larry. "Against Cultural Essentialism: Media Reception among South African Youth." Media, Culture & Society 26, no. 5 (September 2004): 625–41. http://dx.doi.org/10.1177/0163443704044219.

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COOK, DEBORAH. "Ruses de Guerre: Baudrillard and Fiske on Media Reception." Journal for the Theory of Social Behaviour 22, no. 2 (June 1992): 227–38. http://dx.doi.org/10.1111/j.1468-5914.1992.tb00217.x.

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Duncan, Barry. "Media and audiences: Explorations in response and cultural reception." Continuum 9, no. 2 (January 1996): 105–17. http://dx.doi.org/10.1080/10304319609365710.

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Anderson-Lopez, Jonina, R. J. Lambert, and Allison Budaj. "Tug of War: Social Media, Cancel Culture, and Diversity for Girls and The 100." KOME 9, no. 1 (2021): 64–84. http://dx.doi.org/10.17646/kome.75672.59.

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Hate the most recent season of a television show? Create a viral petition! Better yet, find an old tweet of a cast member to publicly shame them. These are examples of audience participation and expectations when it comes to television. Audiences react to several types of fiction, but this article mostly focuses on the impacts of television shows and audience reception. Analyzing audience and critical reception of certain TV shows may reveal motivations for subsequent creative decisions by the creators. On shows like Roseanne, audience reception has influenced decisions concerning creative control. Audience demands help sway the market and have opened up diversity initiatives in speculative media. The theoretical base for this article is formed from reception theoryand primary research of Twitter posts. To further explore the phenomenon of audience sway over artistic ownership, two television shows, Girlsand The 100, will be examined in context with audience and critical reception, cancelculture, and diversity initiatives across media.

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Schrøder, Kim Christian. "Audience Reception Research in a Post-broadcasting Digital Age." Television & New Media 20, no. 2 (November 14, 2018): 155–69. http://dx.doi.org/10.1177/1527476418811114.

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Audience reception research was a child of the broadcasting age, emerging strongly as a subdiscipline in media and communication research in the 1980s. Many saw reception research as a cross-fertilizing force theoretically and methodologically, bringing together research traditions from the humanities and the social sciences, and adding a qualitative orientation to the near-hegemonic rule of quantitative methods in audience research. This article discusses the ways in which reception research is reinventing itself in a post-broadcasting age. With sense-making processes as the continued key concern, three transformations are affecting the trajectory of reception research: An empirical shift has occurred from analyzing viewers’ “decoding” encounters with media “texts” to mapping audience participation in the wider mediascapes of traditional, digital, and social media; a theoretical adoption of, and contributions to, theories of participation and mediatization; and a methodological shift from purely qualitative to a mixed-method research design.

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Glavaš, Zvonimir. "Deconstruction and the Archival Revolution: on the Relevance and Reception of Archive Fever in New Media Studies." Poznańskie Studia Slawistyczne, no. 19 (February 23, 2021): 61–76. http://dx.doi.org/10.14746/pss.2020.19.2.

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The paper focuses on the reception of Derrida’s Archive Fever among (new) media theorists and its relevance for the ongoing discussions in that academic field. Although this Derrida’s text is often described as the one in which he provides a statement on the pervasive revolutionary impact of new media, its reception among media theorists remains scarce. Several media scholars that tackle the text, however, have an ambivalent stance on it: they appreciate some of Derrida’s theses, but regard them largely obsolete. The first part of the paper analyzes these critiques and argues that many of the objections on Derrida’s behalf are caused by the misinterpretation of important features of the deconstructive thought. In its second part, the paper firstly deals with certain weaker points of Derrida’s reflection and then proceeds to examine his insights pertinent to the problems of contemporary media theory that were neglected in earlier reception. Finally, paper reaffirms the claim about the need for a more profound exchange between the deconstruction and media studies, albeit one that would avoid the examined shortcomings.

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Kusnarto, Kusnarto, and Sujinah Sujinah. "Penerimaan (Reception) Masyarakat Surabaya Terhadap Bahasa Gaul di Media Sosial." Lingua Franca:Jurnal Bahasa, Sastra, dan Pengajarannya 3, no. 1 (April 20, 2019): 128. http://dx.doi.org/10.30651/lf.v3i1.2640.

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Fokus penelitian ini untuk mengetahui bagaimana Penerimaan Masyarakat Surabaya terhadap bahasa Gaul di Media Sosial.Teori yang digunakan penelitian ini teori SOR, Sikap, dan Peneriman (Reception) pendapat Hall. Metode yang digunakan metode kualitatif, dengan analisis penerimaan (Reception) pendapat Hall yang terdiri The dominant-hegemonic, The negotiated rading, dan The oppositional reading. Berdasarkan analisis dan pembahasan masyarakat Surabaya menerima (The negotiated) terhadap bahasa Gaul di media sosial dengan argumentasi bahasa Gaul tidak digunakan di forum resmi atau formal. Bahasa gaul sekarang digunakan sebagai bahasa bisnis terutama bisnis daring.

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Ong, J. T., H. Yan, S. V. B. Rao, and G. Shanmugam. "Indoor DTV Reception: Measurement Techniques." IEEE Transactions on Broadcasting 50, no. 2 (June 2004): 192–99. http://dx.doi.org/10.1109/tbc.2004.828371.

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Hofman-Kohlmeyer, Magdalena. "IMPACT OF PRODUCT PLACEMENT STRATEGIES ON BRAND RECEPTION – LITERATURE REVIEW." Zeszyty Naukowe Wyższej Szkoły Humanitas Zarządzanie 21, no. 3 (September 30, 2020): 69–86. http://dx.doi.org/10.5604/01.3001.0014.4509.

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Considering the changes in media consumption, many well-known brands decided to invest in product placement. Companies apply various strategies of placing the brand inside the media programming, not only in movies or television programs but also in social media, computer games and music videos. Present paper is aimed on investigate the influence of chosen product placement strategy on product placement effectiveness and is based on literature review. Research on product placement in movies shows that a mixed type of placement which encompass visual presentations of a branded product, company name or logo, and verbal reference to the embedded brand is better remembered in comparison to only visual product placement. There are also recognized product placement strategy based on various plot-relation level. According to research made in computer games, higher brand and game congruity result in better attitude but a brand incongruent with the game plot is better remembered. The authors also frequently mention about product placement visibility. Prominent placement in movies and computer games led to worse brand attitudes, is perceived as more disruptive, less realistic and interferes with the plot than subtle placement. The advantage of prominent placement in both medias and video sharing sites is better influenced on brand remembering. When it comes to social media, product placement takes a form of written placement or video placement. Some studies proved that video placement exert greater impact on attitude, better brand impression and cause higher users’ intention to click. Similarly in computer games it can be listed animated or as a static ads. In quoted study, brand recognition for the animated billboards was significantly higher than for static billboards and attitudes toward the animated ads were better.

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Angueira, P., M. Velez, D. delaVega, G. Prieto, D. Guerra, J. M. Matias, and J. L. Ordiales. "DTV Reception Quality Field Tests for Portable Outdoor Reception in a Single Frequency Network." IEEE Transactions on Broadcasting 50, no. 1 (March 2004): 42–48. http://dx.doi.org/10.1109/tbc.2003.822988.

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Hope, Wayne. "Noted: Vital media resource." Pacific Journalism Review : Te Koakoa 17, no. 2 (October 31, 2011): 236–38. http://dx.doi.org/10.24135/pjr.v17i2.366.

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Reviewed book edited by Stuart Allan Publication date: October, 2011 A number of articles deal with the social reception of new media content. Important themes here include citizenship and public knowledge, ethnographies of news consumption, news consumption and social memory. Another set of chapters looks at news and journalism against the backdrop of crisis and conflict. Relevant titles here include 'Journalists and war crimes', 'Peace journalism', 'News and foreign policy', 'Reporting the climate change crisis', 'Iconic Photojournalism and Absent Images: Democratisation and Memories of Terror'.

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Agustin, Sari Monik, and Agatha Josephine. "WOMEN’S RECEPTION ON SOCIAL SUPPORT IN INSTAGRAM ACCOUNT @gethappy.id." WACANA: Jurnal Ilmiah Ilmu Komunikasi 19, no. 1 (June 29, 2020): 40. http://dx.doi.org/10.32509/wacana.v19i1.997.

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Previous research also shows that social media has positive and negative roles related to interpersonal relationships and mental health. The social media used significantly increases social capital and mental well-being, which benefits people with low self-esteem and life satisfaction. Some psychotherapists even use an Instagram platform as their therapeutic medium. This preliminary study frameworks are Stuart Hall’s reception theory, the concept elaborations of social support and online social support, as well as a discussion of the character of social media, Instagram. This paper is based on a qualitative research with data from interviews with 3 female informants on 20-29 years old and gethappy.id account followers. This research succeeded in identifying 2 receptions that emerged from the female group of Instagram account followers gethappy.id. The dominant reader comes from informants who have severe physical health problems and mental health problems related to these physical health problems. Meanwhile, negotiating reader arise from informants who do not have personal physical and mental health problems, but who have a social environment with physical and mental health problems. Another important finding is that the main social support remains family and friends. Social media support is needed when the two main social supports are not present.

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Escosteguy, Ana Carolina. "Latin American media reception studies: notes on the meaning of gender and research methodologies." Revista FAMECOS 11, no. 24 (April 12, 2008): 46. http://dx.doi.org/10.15448/1980-3729.2004.24.3264.

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The author explores a comparative analysis of key methodological approaches and theoretical debates between, on the one hand, Latin American and Brazilian reception analysis, and, on the other hand, the same branch in the anglophone academy. This kind of investigation is related to the general rise of cultural studies in Latin America from the mid-1980s on. Reception studies give special attention to female audiences, especially middle-age women from lower classes. Methodologically, this empirical research, adopting qualitative methods, has sought to concentrate on the accounts of the spectator herself, commonly using in-depth interviews and sometimes including participant observation. The author sustains that, although reception research concentrates its focus on women’s experience as a whole, it avoids the specificity of women’s issues. The conclusion stands that, in contrast with cultural studies elsewhere, the encounter of feminism with reception analysis within Latin America, specially in Brazil, hasn’t happened yet.

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Engberg, Maria. "Polyaesthetic sights and sounds: media aesthetics in The Fantastic Flying Books of Mr. Morris Lessmore, Upgrade Soul and The Vampyre of Time and Memory." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 4, no. 1 (December 15, 2014): 21–40. http://dx.doi.org/10.7146/se.v4i1.20370.

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This article explores the notion of polyaesthetics as a contemporary media condition that relates to questions of production, reception and analysis of media objects. Primarily, the paper is concerned with understanding the aesthetics of digital media works that remediate existing genres of creative practice and ultimately move towards creating new digital media forms that are conditional and provisional.The three digital works that the article analyses – The Fantastic Flying Books of Mr. Morris Lessmore, Upgrade Soul and The Vampyre of Time and Memory – exemplify contemporary strategies and changing patterns of creation, distribution and reception evidenced in how we create, read, listen to, engage with, play and understand contemporary digital works.

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Meléndez Malavé, Natalia, and José Carlos Pozo García. "La recepción de los medios de comunicación para residentes rusos en la Costa del Sol." Ámbitos. Revista Internacional de Comunicación, no. 50 (2020): 176–92. http://dx.doi.org/10.12795/ambitos.2020.i50.12.

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Duda, Aneta. "Przykazania właściwego stosunku do mediów ojca profesora Leona Dyczewskiego a komunikacja marketingowa." Roczniki Nauk Społecznych 13(49), no. 1 (2021): 117–32. http://dx.doi.org/10.18290/rns21491.8.

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The article refers to the principles of “appropriate attitude to the media” formulated by Father Professor Leon Dyczewski to contemporary marketing communication: advertising and public relations. In line with his recommendations, the issue of media education was taken up in relation to the knowledge and competence of advertising reception. Based on the research by Seth Ashley and colleagues a scale for measuring media literacy was developed, with particular emphasis on content creation techniques and reception of advertising. The model includes elements of knowledge measurement about 1) the ways in which media outlets effectively reach their audience, 2) messages & meanings of advertising, and 3) advertising representations and reality. The scale of Ashley and colleagues was extended to include additional media literacy measures. Two new components have been added: measures for self-assessment of media literacy (subjective media literacy) and the importance that receivers attach to media literacy.

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Cavalcante, Andre. "Affect, emotion, and media audiences: the case of resilient reception." Media, Culture & Society 40, no. 8 (June 12, 2018): 1186–201. http://dx.doi.org/10.1177/0163443718781991.

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In this article, I place qualitative audience research in conversation with theories of affect. Informed by participant data from two qualitative audience studies I have conducted with lesbian, gay, bisexual, transgender, and queer (LGBTQ) audiences in the United States, I illustrate how cultural representations can make significant demands on one’s emotional and affective life, requiring practices of rest, rebuilding, and reclamation. I call this process resilient reception, or the strategies audiences employ to manage the affectively turbulent power of media and communications technologies. I examine two examples of resilient reception that the participants in my studies practiced: orientation devices (how audiences oriented toward and away from media) and practices of immersion (how audiences immersed themselves in empowering interpersonal communities and media fare). Ultimately, I argue that theories of affect can complement ideological understandings of media audiences by offering a more embodied and dynamic optic.

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Golding, P. "Media studies in the UK." Publizistik 64, no. 4 (September 18, 2019): 503–15. http://dx.doi.org/10.1007/s11616-019-00518-x.

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Abstract This article outlines the growth and character of media and communication studies in the UK. It sets out the history and development of the field, and explains its twin origins in both humanities and social sciences contexts. The article also presents some descriptive data about the scale and nature of teaching and research in the field in UK higher education, and explains the evolution of relevant subject associations. The public, political and professional reception of and responsse to the field are described, and the continuing debates about its value and salience examined.

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Oktayusita, Setiya Hertanti, Basuki Agus Suparno, and Christina Rochayanti. "Reception Analysis of Millennials Generation to Ads in Social Media." Jurnal Ilmu Komunikasi 17, no. 2 (September 2, 2020): 125. http://dx.doi.org/10.31315/jik.v17i2.3696.

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Gerindra presented an ad under the title of “Indonesia Bergerak Bersama Gerindra dan Rakyat version Sarjana Kerja Kerja Kerja!”, but due to the use of symbols and visualization, it became viral and caused controversy in the community. This study aims to determine the opinion of millennials response after watching the ads. The research is qualitative research approach used is the analysis of the reception, the technique of collecting data is using interviews, observation and document analysis. The theory used to analyze the meaning of the audience is the encoding-decoding, reception analysis theory and new media theory. The result of this study indicate three position of millennials reception, namely a dominant, negotiated, and oppositional position. In the dominant position, it’s considered as a good political ad because it successfully criticizes the government by presenting the reality of the existing problems. In the negotiating position, millennials saw the ads containing a message of criticism without a solution, in this condition millennials refused some symbols such as the use of profession symbols and titles in it, while in the opposition position, millennials considered the ads irrelevant and interpret it as a black campaign. There are several factors that become the benchmark of the millennials in perceiving that ads in social media like the character of millennials, education background, job, experience and view or tendencies to political parties. This research contributes in the form of policy recommendations to the Gerinda Party to pay more attention to solutions to criticism of advertising so as not to cause new problems.

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Yoon, Sunny. "Forbidden audience: Media reception and social change in North Korea." Global Media and Communication 11, no. 2 (July 29, 2015): 167–84. http://dx.doi.org/10.1177/1742766515588418.

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Li, Zhongwei. "Book Review: Transnational Audiences: Media Reception on a Global Scale." Global Media and Communication 15, no. 1 (July 19, 2018): 145–47. http://dx.doi.org/10.1177/1742766518786288.

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Santosa, Hedi Pudjo, Sri Budi Lestari, and Primada Qurrota Ayun. "The Reception of Memes as Political Information in the Media." E3S Web of Conferences 73 (2018): 14014. http://dx.doi.org/10.1051/e3sconf/20187314014.

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Lately memes have been using as viral marketing for products in advertising or satire in political campaigns in Indonesia. In 2013 Richard Dawkins, the author of The Selfish Gene (1976), characterized that memes on the internet as a human creativity. The pictures in the meme are tailored to the user’s feelings and become the feeling of society. Meme cannot be said to be the ideal journalistic formula because most of them do not use the 5W + 1H journalism rule. Ironically though meme is not information that contains accuracy, relevance, and completeness of journalism, but at the same time it is in great demand even highly trusted, as they are easily accepted as information. While information that does not contain accuracy, often called hoax news. In Indonesia meme experiencing a surge in volume during the last 2014 presidential election; there are so many memes about Jokowi and Prabowo circulating on the Internet at the time, and later also many outstanding memes that contain the image in the form of satire, silly and even funny. Meme phenomenon related closely with the ease of dissemination of information through the media, especially online media. Bauckhage (2011: 42), meme usually develops through comments, imitations, parodies, or even media coverage. Meanwhile, according to Shifman (2013: 362), meme phrases are generally applied to describe propaganda. In Indonesia, meme is dominated by political news and satire especially during the 2014 presidential election.

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Dominas, Konrad. "Plutarch in the galaxy of new media. Mechanisms of reception." Classica Cracoviensia 18, no. 18 (2015): 151–70. http://dx.doi.org/10.12797/cc.18.2015.18.08.

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Schrøder, Kim Christian. "Media Discourse Analysis: Researching Cultural Meanings from Inception to Reception." Textual Cultures: Text, Contexts, Interpretation 2, no. 2 (October 2007): 77–99. http://dx.doi.org/10.2979/tex.2007.2.2.77.

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Jensen, Klaus Bruhn. "When Is Meaning? Communication Theory, Pragmatism, and Mass Media Reception." Annals of the International Communication Association 14, no. 1 (January 1991): 3–32. http://dx.doi.org/10.1080/23808985.1991.11678776.

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Van Belle, Jono. "Athique, A.: Transnational audiences. Media reception on a global scale." Communications 43, no. 2 (June 26, 2018): 283–85. http://dx.doi.org/10.1515/commun-2018-0008.

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Sampedro, Víctor. "Grounding the Displaced: Local Media Reception in a Transnational Context." Journal of Communication 48, no. 2 (June 1, 1998): 125–43. http://dx.doi.org/10.1111/j.1460-2466.1998.tb02751.x.

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