Media Audiences

As pesquisas definidas como estado da arte ou da questão, entre as várias nomenclaturas utilizadas, não constituem, aparentemente, uma preocupação efetiva entre os pesquisadores da Comunicação. A partir de um entendimento de que esta tarefa é não apenas necessária como também urgente, a pesquisa aqui relatada se debruça sobre a produção acadêmica stricto sensu desenvolvida nas duas últimas décadas dentro dos estudos de recepção. Foram analisadas as teses e dissertações produzidas nos Programas de Pós-Graduação em Comunicação no intervalo de 1990 a 2009 com vistas a mapear o cenário teórico metodológico adotado pelos pesquisadores que se dedicaram a compreender esse fenômeno complexo das relações entre “meios e audiências”. Os resultados apontam para um ainda lento crescimento desses estudos e vários desafios teóricos para o enfrentamento da problemática.

Children’s television is an important and heavily researched subject area that has a long and outstanding tradition. However, while there are a lot of academic works on the content of children’s programming and the production aspect, the issue of children as a specific group of audience is addressed less frequently, and often in a very one-sided way of looking at the risks and benefits of children’s media practices.

This research is taking an audience approach to the study of children’s television, particularly focusing on children’s viewing practices and the use of multifunctional media devices in the home. The findings will come from a recent and original qualitative study of families, their everyday viewing practices and attitudes towards television and media technologies. The paper will argue that the study of children’s viewing habits have the potential to transform the way we think not only about children’s television, but also about television as a medium more generally, as there is evidence to suggest that family viewing practices are indeed undergoing a transformation. The paper will demonstrate that when it comes to children’s viewing, the discussion of television is no longer simply about the ‘telly’, but rather about ‘screens’, with children living in increasingly multimedia homes, using a variety of media devices for a variety of media practices that often compete, overlap and conflate. This paper aims to show that in the context of the home and children’s viewing, what we mean by television is changing, with the boundaries around the medium, its content and technology often blurring.

This article explores the relationship between social networking site use and mass media consumption. Based on data from an online survey, the study examines the consumption of print media, radio, television, online news sites, and social media by Latvian users of three social networking sites. According to the findings, most of the surveyed social networking site users regularly consume other media, although they are more likely to consume online news media than print or broadcast media. However, those users who spend the most time on social networking sites do not exhibit much interest in other types of media. Thus, the main distinction among the surveyed individuals is not between online and traditional media use but rather between the use of social media and traditional/journalism-based media. These results are relevant to the discussions of the potential of social media to attract audiences for the mass media.

Talking politics online is not exclusively reserved for those spaces dedicated to politics, particularly the everyday political talk crucial to the public sphere. However, past net-based public sphere research has focused mostly on political spaces thereby neglecting an array of other genres. The aim of this article is to move beyond politically oriented communicative spaces by investigating political talk within the British reality TV discussion forum Wife Swap. The purpose is to see whether a forum dedicated to reality TV provides the communicative space, content, and style for politics that extends the public sphere. The central question is whether it fulfils the requirements of rationality and ‘decent’ deliberation. Moreover, the analysis moved beyond a formal notion by investigating how expressives influence the more traditional elements of deliberation. The findings revealed that Wife Swap participants engaged in political talk that was often deliberative. Moreover, it was a space where the use of expressives played a key role in enhancing such talk.

This article discusses the audience migration between Brazilian television and digital media. Since 2000, Brazilian free-to-air TV audience dropped by 28%. In the same period, Internet access increased 400%, and digital paid TV, more than 500%. The phenomenon accentuated after 2006, when pay TV had begun to grow on average 30% per year, and the Internet, 26%. A statistical comparison between this fall of audience with the increase of pay TV subscribers and growth of broadband Internet access shows that there is a migration of free-to-air TV audience towards these two media. Nowadays, one third of Brazilian population has access to pay TV and more than half use the Internet. Through empirical investigation and statistical analysis, this paper investigates the implications for such decrease and the motivation of audience migration. The most important consequences are: a partial reformulation of television schedule, programme focus and targets; transmedia productions, including new web narratives; focus on mobile applications, with interactivity and public participation; and new approaches on newscasts, which are becoming more informal, focused on opinion and local news.

(2015) Reviewing music sociology in the light of its recent epistemological challenges G. Stöck, P. F. de Castro, K. Stöck (Eds.), Essays on Music, Meaning and Society in Honour of Mário Vieira de Carvalho_, Leipzig: Gudrun Schröder-Verlag/Lisbon: CESEM, 2015. ISBN 978-3-926196-67-5.

Many genres and media create a blurring line between reality and fiction. Radio serials and in particular radio soap operas have inspired devotion in their listeners to the point where their fans throw themselves wholeheartedly into a universe of outward unreality and inward reality. This leads to framing errors, by which I mean an extension of blurring of reality. We will look at several examples from world radio soaps, including those from the US, Britain, Turkey, France, and Poland. However, radio soap operas do not have a monopoly on the blurring line between reality and fiction. Instead, audio drama is poised to profit well from this uncertainty and has shown itself capable of it many times, beginning in the 1920s in Europe and most famously in War of the Worlds (1938). War of the Worlds is, however, not the end of the story, and the way audio drama uses framing errors continues to this day. The study

These essays all—in various ways—address the relationship between adaptation, “true events,” and cultural memory. They ask (and frequently answer) the question: how do we script stories about real events that are often still fresh in our memories and may involve living people? True Event Adaptation: Scripting Real Lives contains essays from scholars committed to interrogating historical and current hard-hitting events, traumas, and truths through various media. Each essay goes beyond general discussion of adaptation and media to engage with the specifics of adapting true life events—addressing pertinent and controversial questions around scriptwriting, representation, ethics, memory, forms of history, and methodological interventions. Written for readers interested in how memory works on culture as well as screenwriting choices, the collection offers new perspectives on historical media and commercial media that is currently being produced, as well as on media created by the book’s contributors themselves.

Il volume analizza la storia della televisione italiana delle origini a partire da una prospettiva sociale. Tramite l’utilizzo sia di dati statistici sugli ascolti televisivi, conservati presso gli archivi RAI, sia di memorie degli spettatori di quegli anni, rintracciate in diari e autobiografie, questo libro propone una storia del pubblico televisivo attraverso i mutamenti della società del “miracolo”. Quali sono i programmi televisivi entrati a far parte dell’immaginario del nostro paese? Quali erano le dinamiche di visione, privata e collettiva, messe in atto dalla TV delle origini? Ribaltando la prospettiva gerarchica della tradizione di studi sulla televisione italiana, il libro rivisita la TV degli anni cinquanta e sessanta a partire da un’analisi dei suoi pubblici.

Aunque en un principio cabe pensar que todos los informativos de la televisión generalista en el ámbito nacional se parecen, un análisis pormenorizado de ellos pone en evidencia que presentan notables diferencias entre sí, tanto en estructura, como en contenidos, presentación y puesta en escena. En las siguientes páginas, se exponen los resultados de un estudio en el que se han analizado y comparado los informativos diarios de las cadenas líderes de audiencia en el Estado: Telecinco, TVE y Antena 3. Entre los principales resultados alcanzados, nos encontramos con que, a pesar de que actualmente conviven diferentes perfiles informativos, los más seguidos por la audiencia son aquellos que priman los aspectos espectaculares y emotivos de las noticias por encima de la información estricta de los hechos.

Eine Studie im Auftrag des Sie werden Digital Natives genannt, Millennials oder Gen Y – ihre Generation ist dadurch gekennzeichnet, dass sie den digitalen Wandel von Kindesbeinen miterlebt haben und die digitale Medientechnologie ebenso souverän wie selbstverständlich beherrschen. Dabei greifen Jugendliche und junge Erwachsene nur noch selten auf Zeitungsinhalte zurück. Zugleich sind personalisierter Facebook-Feed und YouTube-Account zum wichtigsten Knotenpunkt für digitale Information, Unterhaltung und Kommunikation geworden. Die vorliegende Millennial-Studie des BDZV von Stephan Weichert und Leif Kramp geht den Gründen für diesen Nut-zungswandel nach. Sie will eine Diskussionsgrundlage für zukunftsfähige Geschäftsmodelle und Informationsstrate-gien des Mediengeschäfts schaffen: Wie informieren sich Jugendliche und junge Erwachsene? Welche Endgeräte und Medienangebote nutzen sie – und warum? Und was bedeutet die digitale Mediennutzung für Zeitungsverlage? Diesen und weiteren Fragen geht die vorliegende Studie nach. Sie zeigt dazu aktuelle Problemfelder im Umgang mit digitalen Medien auf, formuliert aber auch Lösungsan-sätze und Handlungsoptionen für Zeitungsverlage mit Blick auf junge Zielgruppen. Ausgangspunkt unserer Überlegun-gen ist, dass es nicht nur um ein Generationenphänomen, auch nicht alleine um den wirtschaftlichen Erfolg journa-listischer Angebote geht. Es geht um nichts Geringeres als einen globalen Wettstreit mit den mächtigen Technologie-konzernen um die öffentliche Deutungshoheit, mithin die Existenz des Journalismus. Mit dieser Studie sollen deshalb Wege aufgezeigt werden, wie sich junge Menschen für hochwertigen Journalismus begeistern lassen.

Este livro debruça-se sobre a relação dos jovens portugueses com a cultura das celebridades, procurando compreender as suas diferentes posições de audiência.
Tornou-se um lugar-comum citar Andy Warhol e a sua profecia de que «no futuro, todos terão os seus 15 minutos de fama». Esse «futuro» é o nosso presente, mas essa profecia corre o risco de se tornar ultrapassada por uma fama ainda mais fugaz e transitória, trazida pela voragem de uma televisão fragmentada e pelos media digitais. Por outro lado, tornou-se também um cliché considerar que os jovens querem ser famosos quando crescerem, mesmo que não saibam em quê.
Este livro pretende dar conta da relação dos jovens portugueses com a cultura das celebridades no contexto das suas práticas quotidianas, da sua inserção na família, na escola e em outros círculos sociais e culturais.

This article considers the world for children created by the Australian Broadcasting Commission (ABC) and its predecessors between the 1920s and the 1970s. Beginning with the ‘Aunts’ and ‘Uncles’ of early radio, it looks at the ABC’s endeavours in the areas of children’s and educational broadcasting, focusing particularly on the Argonauts Club, Kindergarten of the Air and Let’s Join In. It also explores the work of ABC identities including composer Bernard Heinze and eurhythmics teacher
Heather Gell, and a succession of innovative and committed programmers. But it goes beyond on-air programming to consider the extracurricular world created for young listeners by Australia’s public service broadcaster. The article points to the interactivity of Australian broadcasting, examining how a mass medium sought to build communities of young listeners across Australia, and the role of ABC
programmes and associated activities in children’s lives.

Öz Film festivalleri filmleri, sanatçıyı, sinema emekçilerini ve izleyici kitlelerini buluşturan önemli organizasyon-lardır. Festivallerde film seyretmeye gitmek, gündelik yaşamda sinemaya gitmekten farklıdır. Film festivalleri sadece sinema seyircisini bir araya getirmekle kalmaz, film sanatı ile ilgilenenlere de yeni kapılar aralar. Ben-zer şekilde yönetmen, oyuncu, senaryo yazarı gibi film üretiminde yer alan kişilerle ya da gösterim olanağı bulamamış filmlerin seyirci ile buluşmasına aracılık eder. Aynı içeriği seyredenlerin, filmlerin ardından ko-nuşabilmesi için zemin hazırlar. Sinema tarihinin öne çıkan filmlerini sinema salonu atmosferinde seyredile-bilmesine fırsat verir. Elbette bir film festivalinin kişiye, topluma ve gerçekleştirildiği kente katkıları bu sayılan-larla sınırlı değildir. Bu araştırma ile 18 yıllık bir geçmişe sahip Uluslararası Eskişehir Film Festivali'nin izleyici profilini tanımlan-ma çalışmaktadır. Bu amaçla 06-14 Mayıs 2016 tarih-leri arasında rastlantısal örneklem alma tekniği ile bir anket çalışması gerçekleştirilmiştir. Geçerli 250 anket, SPSS programı ile değerlendirilmiş ve araştırmacıların festival organizasyonu deneyimleri ile harmanlanarak yorumlanmıştır. Ayrıca 2016 yılında Türkiye' deki film festivallerinin bir panoraması ortaya konulmuş ve film festivallerinin sinema sektörüne ve topluma olan etki-lerini ortaya koymak amacıyla yapılan yayınların ge-nel bir taraması da yapılmıştır. Abstract Film festivals are highly important events and organizations that unite films, artists, cinema workers and the viewing audience. Attending a screening at a festival is different than going to the local cinema throughout our daily lives. Film festivals not only unite moviegoers, it also opens new doors for everyone interested in the art of film. Similarly, it facilitates the opportunity for the audience to meet directors, actors, screenwriters and everyone else participating in the production of films as well as the screening of films that previously had not been screened. It provides a platform of discussion for the viewers of common content. It allows prominent films in cinema history to be experienced within the atmosphere of a movie theatre. The contributions of film festivals to individuals, society, and the hosting city are not limited to these influences. This study attempts to determine the audience profile of the Eskisehir International Film Festival, which has been a recurring event for 18 years. In this regard, a survey was conducted between 6-14 May 2016 using random sampling. The 250 valid questionnaires obtained were analysed with the SPSS statistical software and the results were combined with the researchers' festival organisation experiences for interpretation. Additionally , a portrayal of the film festivals in Turkey in the year 2016 was established along with a meta-analysis of the publications regarding the influence of film festivals on the film industry and on society.

Uvodna reč

Kada sam počela da radim na tekstu ove studije, 2017. godine, podkast
tržište je bilo mnogo manje – i u programskom, i u finansijskom smislu – ali, moglo se naslutiti da u njemu leži krupan kreativni i ekonomski potencijal.
Već tada je bilo izvesno da ovaj format ima snagu da uspostavlja nove obrasce ponašanja publike, da menja medijsku industriju i postane dragocen alat, kanal, platforma za ubedljivo, zavodljivo i uticajno pričanje priča – bilo da su one inspirisane dnevnim vestima, politikom, kulturom, društvom ili izmišljenim događajima.
Podkast je na medijsko tržište doneo sve ono što je radio, posebno komercijalni, širom sveta počeo da gubi godinama unazad – autentičnost, relevantnost, kredibilitet, poverenje i povratak autentičnim, snažnim autorima.
Podkast je ponovo vratio u fokus glas, sadržaj, istraživanje. Ipak, podkast nije (samo) ekstenzija radijske emisije u onlajn prostor. Podkast postoji i razvija se kao nov, samostalan medijski format, uspostavljajući svoja pravila naracije, produkcije, komunikacije sa publikom i ostvarivanja održivosti.
Tokom rada na tekstu, podkast tržište je doživelo značajnu ekspanziju,
globalno i lokalno. Podkast je privukao pažnju velikih medijskih kompanija
i pokazao svoje komercijalne kapacitete, ali je nastavio i da nepokolebljivo
istrajava u polju nezavisnih, samostalnih projekata i društvenog i kulturnog
aktivizma. Čini se da je danas, nakon petnaestak godina postojanja, podkast pronašao svoje mesto u savremenom medijskom okruženju, afirmišući inovativnost, fleksibilnost i originalnost kao ključne principe produkcije, distribucije i monetizacije medijskog sadržaja u eri digitalizacije.
Dinamičan, brz rast i razvoj podkast tržišta ispisuju nova pravila dobre
prakse iz dana u dan. Zato bi tekst koji je pred vama trebalo shvatiti kao
presek podkast tržišta u trenutku u kome je nastajao, zaokružujući priču o
ovom uzbudljivom formatu tokom proleća 2020. godine. Ovaj tekst za cilj ima postavljanje osnove za buduća istraživanja, želju da novim slušaocima i producentima pomogne u razumevanju porekla i dosadašnjeg razvoja podkasta kao medijskog formata i mapiranje trenutnih odnosa na tržištu, dostupnih vrsta sadržaja i primera dobrih praksi upravljanja.
Verujem da će podkast biti neophodan i nezamenljiv podsticaj budućem
razvoju medija kod nas, te da će nam ovaj format donositi priče, stavove
i otkrića koja ne možemo da nađemo na drugom mestu. U tome je njegova
vrednost, jedinstvenost i snaga – u glasu, u pitanju i odgovoru, u istraživanju i razotkrivanju svega što nas okružuje.

A large and growing body of literature shows that audience metrics exert a significant influence in many newsrooms around the world. Scholars assume that this might affect the quality of news, but findings on how audience metrics influence news quality and media performance are scattered. Based on a widely used set of news quality criteria, this article is the first to focus on this question. It reviews and discusses the existing findings by considering the influence of audience metrics across four analytical dimensions: A) the allocation of resources and recognition; B) the volume, practices and rhythms of news production; C) the selection and placement of topics; and D) the formats and styles of news presentation. The analysis reveals that journalists' use of audience metrics has a mainly negative impact on news quality. This effect is the result of both the growing economic pressures on newsrooms and a dominant rhetoric that equates measures of audience size with audience interests and good journalistic work.

In an interactive and densely connected world, transnational communication has become a central feature of everyday life. Taking account of a variety of media formats and different regions of the world, Adrian Athique provides a much-needed critical exploration of conceptual approaches to media reception on a global scale. Engaging both the historical foundations and contemporary concerns of audience research, Athique prompts us to reconsider our contemporary media experience within a transnational frame. In the process, he provides valuable insights on culture and belonging, power and imagination.

‘In Transnational Audiences Athique develops a sophisticated and layered analysis of the complexities of studying media audiences. He does so while presenting an epistemology of the field and its theoretical developments that helps the reader understand audiences in an increasingly internet-dependent, trans-national media environment. This book is an important contribution for students attempting to grasp the several decades of audience research and the important and necessary move from national to transnational analysis.’

Antonio C. La Pastina, Texas A&M University

‘Athique’s lucidly written book introduces us to the major authors, key theoretical concepts and fascinating case studies, offering a panoramic view of the growing field of research on transnational audiences.’

S. V. Srinivas, Azim Prenji University

'The fundamental questions discussed throughout this highly informative and well-structured book are the ontology and epistemology of transnational audiences, which makes it very useful to researchers and graduate students in their efforts to conceptualize the object of study. It is inspiring to read Athique’s discussions of outstanding scholarly work in the field. It sounds like a 2016 echo of the foundational writers of liberalism when Athique writes, “everyone’s worldview matters. Not because we are individuated subjects living under our own cloud, but because our relative perception of the world shapes our social actions at every scale.” Teachers in subjects like public diplomacy, international communication, corporate communication, and media reception will probably find this book useful when preparing their lectures. I will bring it around campus the coming semester for that same reason.'

Kirsten Mogensen, Roskilde University

'If you were in a search for a book that covers the historical context, core theories and ongoing debates in the studies of transnational audiences, look no further. Athique’s Transnational audiences: Media reception on a global scale does exactly that...Divided into 3 sections, this 10-chapter book provides a succinct, yet comprehensive overview of the trajectories that theories and scholars have taken, and the directions toward which transnational audience studies are heading, with particular attention paid to the impact of digitalisation.'

Yinyi Luo, University of Leeds

تتمثل مشكلة الدراسة في غموض دور الخوارزميات في عمل الشبكات الاجتماعية واتهامات التدخل غير الأخلاقي الذي يتلاعب بتوجهات الجمهور الفكرية وبآلياتها المضادة للقيم الإنسانية. وتستهدف الدراسة استجلاء هذا الغموض وتحديد وظائف الخوارزميات وإشكالياتها الأخلاقية ومقترحات تجاوزها من خلال تطبيق منهج التحليل الكيفي للأبحاث المتعلقة بهذا الموضوع والمنشورة خلال الفترة من 2015 إلى 2019  في دوريات محكمة ومتخصصة في قضاياالاتصال.




The ambiguity of algorithms role and functions in social networks and allegations of immoral interference that manipulates the public's attitudes and work against human values is the goal of this study. The analysis aims to clarify and determine the functions of algorithms and address control proposals through a qualitative analysis of research published between 2015 and 2019 in refereed journals.

Bài viết này, bằng việc nghiên cứu lý thuyết “Vòng xoáy của sự im lặng”  và hiện tượng “Tin đồn”, đồng thời phân tích các yếu tố nội hàm của chúng để thấy được sự đồng hiện và khác biệt của hai góc nhìn về công chúng. Việc chỉ ra sự đồng hiện và khác biệt của công chúng dưới sức mạnh của lý thuyết đám đông sẽ là cơ sở để đề xuất những giải pháp trước những hiện tượng mà đôi lúc người làm truyền thông cũng trở thành nạn nhân .

O presente estudo tem como objetivo analisar de que forma a imagem da mulher é utilizada no papel de assistentes de palco, também nas funções de dançarinas ou bailarinas, nos programas de auditório da TV brasileira, buscando traçar um paralelo com a imagem do sexo feminino formada em uma sociedade machista e patriarcal e aprofundar a discussão sobre o sexismo presente na mídia, explorando a objetificação e a inferiorização da mulher. Para tornar possível tal análise, quatro programas de auditório foram selecionados: “Cassino do Chacrinha”, “Domingo Legal”, “Pânico na TV” e “Caldeirão do Huck” e suas respectivas dançarinas. Neles, foram avaliados a papel das assistentes de palco no programa e suas roupas e exposição dos seus corpos, e, assim, buscando as relações e diferenças em suas origens com o cancã e o teatro de revista nascidos em Paris, que também influenciou a textualidade do rádio brasileiro, presentes até hoje nos programas de auditório da TV.

I will evaluate the effectiveness of focus groups as a research method. Throughout this reflection, I will be referencing my own experience of conducting a Focus Group Session within a group project and discussing the literature that grounded my understanding of this research method. The main purpose of this is to demonstrate the theoretical ideas implemented into our research and how it had a fundamental impact on the results of our group project. Then after establishing the theoretical framework which helped this project it is possible to discuss the demands that challenged me during this task. Firstly, it will discuss a brief history of focus groups, to give context to what underpinned the study as my personal consideration throughout this project. I will then breakdown the process discussing the successes and failures of preparing and conducting a focus group study and the subsequent demands learnt from partaking this exercise. It is important to first establish an initial understanding of the history of focus group interviews in order to give context to the rest of this critical reflection and then how this research shaped the way this study was firstly undertaken. In my initial research I found that Focus groups were first established by scientist Robert Merton; as a way of opening the dialogue between soldiers and their moral that focused on US military during the war. This

This essay will attempt to negotiate the paradigms between two distinct research traditions, firstly, the user and gratification theory, which has been a widely used theory since its inception in the 1940's. It will then consider the cultural audience tradition that emerged from the 1980's. This essay will explore their historical presence and how these two methods intersect by comparing the similarities of each tradition.

Tanner Mirrlees

A critical cultural materialist introduction to the study of global entertainment media.

In Global Entertainment Media, Tanner Mirrlees undertakes an analysis of the ownership, production, distribution, marketing, exhibition and consumption of global films and television shows, with an eye to political economy and cultural studies.

Among other topics, Mirrlees examines:

Paradigms of global entertainment media such as cultural imperialism and cultural globalization.

The business of entertainment media: the structure of capitalist culture/creative industries (financers, producers, distributors and exhibitors) and trends in the global political economy of entertainment media.

The "governance" of global entertainment media: state and inter-state media and cultural policies and regulations that govern the production, distribution and exhibition of entertainment media and enable or impede its cross-border flow.

The new international division of cultural labor (NICL): the cross-border production of entertainment by cultural workers in asymmetrically interdependent media capitals, and economic and cultural concerns surrounding runaway productions and co-productions.

The economic motivations and textual design features of globally popular entertainment forms such as blockbuster event films, TV formats, glocalized lifestyle brands and synergistic media.

The cross-cultural reception and effects of TV shows and films.

The World Wide Web, digitization and convergence culture.

"Mirrlees explains in clear and lively language how the most popular and ubiquitous movies, TV formats, and brands are made and consumed―and he also explains why this matters. In a world where media continue to increase their hold on resources and their place in our lives, Global Entertainment Media is a must-read for media activists and students of culture." ―John McCullough, Associate Professor and Chair, Department of Film, York University

"Comprehensive and tactically plain-spoken, Dr. Mirrlees’s cultural-economic study maps out the complex networks of production, consumption, and regulation that structure today’s culture industry, and offers a key for unlocking its meanings and functions in a neoliberal age dominated by neo-imperial corporations. In the process, this teachable text provides a primer―ideal for undergraduates―on key ‘macro’ concepts in media and cultural studies, like discourse, globalization, intellectual property, and postcolonialism." ―Mark A. McCutcheon, Assistant Professor of Literary Studies, Athabasca University

"Mirrlees presents a meticulously well researched, original, and insightful overview of an expansive field. Global Entertainment Media surveys a complex and ever-changing global media landscape, navigating the terrain with great clarity and authority. Mirrlees’s methodological approach, his deft theoretical analysis, and his wide-ranging and up-to-date use of examples and case studies make this a foundational work that brings global media studies scholarship firmly into the twenty-first century." ―Ian Reilly, Assistant Professor, Department of Communication Studies, Mount Saint Vincent University

Streaming services have become a key player in the cultural industries in sharing media content with audiences. This chapter addresses how on-demand music-streaming services, the world's most popular format for the distribution of recorded music, have driven new professional music industry practices that are affected by, and affect in turn, the ways in which music communicates. Based on insights from two larger projects focused upon the digitization of the music industry and empirical material from interviews with Norwegian popular music managers, this chapter explores the work and the strategy behind contemporary music distribution in the context of streaming-service logics. By addressing how the streaming format disrupts the "audience-media engine" (Wikström 2013) in ways that radically impact music's media presence audience reach, audience approval, and audience action, the chapter identifies new dynamics in the relationship between listeners and music. It then analyzes the ways in which these dynamics afford yet other distribution practices in the music industry, according to two communication patterns. These patterns have particular purposes and methods but share an alignment with the logics of distributed communication, either within or outside of the streaming services, where the struggle for audience attention is paramount. The chapter concludes with a discussion of streaming's impact upon the negotiation of new practices in the music industry derived from the abundance and intangibility of those services, as well as their multiple options for music consumption. The chapter explains how the communication adapted to the streaming paradigm is characterized by content circulation among the layers and fragments of global networks and multiple platforms, linking artists, fans, music, and the industry in new, less predictable ways. The work of communication management hence grows in importance in a streaming-dominated music industry that might also be characterized as a communication industry in its own right.

الملخّص: تنخرط المجموعة الأمميّة منذ سنوات عديدة في التّأسيس لمسارات عمليّة حول التّربية على وسائل الإعلام في مختلف دول العالم تهدف لِوضع أسس منهجيّة ومعرفيّة تساعد مستقبلي المضامين الإعلاميّة على التّفاعل مع الميديا بأسلوب ناقد وبنّاء. وباعتبار أنّ الجمهور يُعَدّ محور التّربية على وسائل الإعلام، فإنّه من الضّروريّ فهمه حتّى يكون دوره ناجعا في دفع الميديا نحو صناعة إنتاج إعلاميّ أكثر جودة. فالجمهور وعلى امتداد ما يقارب القرن من الزّمن، صاغته عمليات قياس جمهور الميديا السّمعيّة والبصريّة في شكل "رقم" مُفرَغ من كفاءاته المعرفيّة ومكتسباته القيَميّة وقدراته الإبداعيّة. كما ساهمت المنظومة العالميّة لقياس جمهور الميديا في خلق تنافسيّة بين المؤسّسات الإعلاميّة أدّت إلى تجزئة الجمهور وتشتيته بين منصّات إعلاميّة عدّة حتى بات جمهورا منعزلا. والجمهور، ووفق منطق الاقتصاد الرّيْعيّ الذي يميّز الإعلام، ليس إلاّ رأس مال طبيعيّ تُحقِّق به الميديا الثّروة والدّيمومة الاقتصاديّة في سوق الإعلام.

ولا يمكن لمسارات التّربية على وسائل الإعلام أن تُخرج الجمهور من السّياق السّوسيو-اقتصاديّ الذي يَطبع البيئة الإعلاميّة العالميّة، حيث وجب عليها التّعامل معه ليس حسب مُعرِّفاته السّوسيو-ثقافيّة وإنّما على اعتبار أنّه مستثمر في قطاع الإعلام يضخّ أمواله ويُسخّر من وقته ويبذل جهدا في متابعة الميديا ومستجِدّاتها. ومن هذا المنطلق، يصبح التّوجّه مُلحّا نحو مأسسة جمهور الميديا، حيث تكون مؤسّسات الجمهور نسقا رئيسيّا في منظومة التّربية على وسائل الإعلام جنبا إلى جنب مع المؤسّسات الإعلاميّة ومؤسّسات التّربية على وسائل الإعلام. وتتوافق هذه الأنساق الرّئيسيّة حول العناصر الأساسيّة المكوِّنة للمنظومة، وهي آليات تعديليّة تتلخّص أساسا في الأدوات النّقديّة من معارف ومنهجيات وتقنيات وغيرها لتقييم الميديا معنويّا ودفعها نحو إنتاج مضامين إعلاميّة أكثر جودة. فالجمهور حينئذ شريك إيجابيّ بمقترحاته وآرائه في العمليّة الإنتاجيّة الإعلاميّة وليس مستهلكا سلبيّا للإعلام، وهي صورة العلاقة التّفاعليّة التي يجب أن تكون عليها الميديا والجمهور بعد تركيز منظومة للتّربية على وسائل الإعلام تكون متوازنة.

ولئن ساهمت المنظومة العالميّة لقياس جمهور الميديا طيلة عشرات السّنوات في تثمين الميديا وتهميش الجمهور، إلاّ أنّ صياغة أسس متينة لمنظومة عالميّة للتّربية على وسائل الإعلام من شأنه أن يَحُدّ من هيمنة نموذج سوسيو-اقتصاديّ رأس ماليّ طغى على نشاط قطاع الإعلام في العالم وأسهم في المُتاجرة بالمضامين الإعلاميّة وأفرغها من أبعادها التّنمويّة للإنسان والمجتمع.

وتساعد المقاربة النّسقيّة العلميّة في التّفكير بعمق في تفاصيل منظومة عالمية للتّربية على وسائل الإعلام تكون متوازنة من حيث العلاقات الدّاخليّة والخارجيّة لمختلف الأنساق المكوِّنة لها. وهي تكشف لنا ذلك الخلل النّسقيّ الذي تقوم عليه التّجارب السّائدة في مجال التّربية على وسائل الإعلام، حيث أنّ التّعويل على بناء مؤسّسات مختصّة في التّربية على وسائل الإعلام لا يكفي للدّفع نحو صناعة إعلام الجودة، وإنّما هو يصنع إعلاما بديلا هاويا، على المدى المتوسّط أو البعيد. فالهدف حينئذ يجب أن يتركّز على تسليح جمهور الميديا، وليس فئة النّاشئة والشّباب فقط، بآليات توجيه الإعلام نحو إنتاج مضامين إعلاميّة جيّدة ونحو منحى تعديلها الفوريّ والآنيّ. كما يُوظَّف المنهج النّسقيّ للبحث في مستقبل منظومة التّربية على وسائل الإعلام وكشف أهدافها وتوجّهاتها. ويمكن لحقل علوم الإعلام والاتّصال بالتّعاون مع العلوم الاجتماعيّة والعلوم الاقتصاديّة الاشتغال وفق مقاربة نقديّة للجمهور على إعادة التّفكير في جمهور الميديا وتوحيد المفاهيم بشأنه، وذلك انسجاما مع السّياق السّوسيو-اقتصاديّ لقطاع الإعلام.

The introduction of the digital terrestrial television (DTT) in Chile brings new problems to the television audience measurement process. In a multisignal context, with the emergence of new contents and squarely in front of the contemporary technological convergence, the correct representation of the viewing behaviors faces unprecedented methodological challenges. This creates the conditions for developing new methodologies as a result of professional experience and research in the field itself. Thus, the TV audience measurement in Chile takes a new methodological approach, through the “Audio Matching”. With this, the measurement through audimeters (people meters) enters a new era, facing the dual challenge of analog and digital measurement in a mixed television broadcast. In addition, it does respond effectively to the new realities in the television consumption related to the time shifted television viewing. In turn, this new methodological approach is compatible with future measurement systems for other areas and consumption platforms.

In the last five years, the emergence of social media platforms as new technologies to allow two-way interaction between artists, audiences, and society at large has been held up as a ‘game changer’ by many in the theatre industry. Social media provides artists and their audiences with new tools to share theatre work, and share their thoughts about theatre work, which are accessible to a global audiences and cannot be gatekept in the way that traditional theatre venues, programs, criticism and archives are. In Theatre, Social Media, and Meaning Making, I offer a broad based survey of this emerging field of practice.  I look at well-known and less well-known examples from across the US, UK, Europe and Australia, including stage works such as Adam Cass’s I Love You Bro, Liesel Zink’s Various Selves, The Builders Association’s Continuous City, Brett Bailey’s Exhibit B, Peta Brady’s Involuntary Dances and Rita Marcalo’s Involuntary Dances,  live and as live broadcasts by companies such as the National Theatre, and immersive, telematic, networked and participatory performance on Second Life, Upstage, Waterwheel, Twitter, Facebook, and other two-way interactive platforms such as Paul Sermon’s Telematic Dreaming, Blast Theory’s Desert Rain, Ian Upton’s Ritual Circle, RSC and Mudlark’s Such Tweet Sorrow, RSC Google Creative Lab’s A Midsummer Night’s Dreaming , Punchdrunk’s Sleep No More, New Paradise Laboratories Fatebook: Avoiding Catastrophe One Party At A time, Jeffrey Cranor’s tweet plays, La Pocha Nostra’s Ethno-Cyberpunk Trading Post, Wafaa Bilal’s Domestic Tension, Brian Lobel’s Purge, Sarah Rodigari’s Reach Out Touch Faith, and @Platea’s Co-Modify, along with archives like Hemispherica and AusStage. I examine these examples, in the light of theatre theory by Lynne Connor (2013), Christopher Balme (2014), Toni Sant (2014, 2013, 2009, 2008), and others to ask critical questions about the emergence of social media engaged theatre practices. Do they really deliver distinctive shifts in theatre practice, meaning making, and impact? Or do they just get audiences to talk about work they are no longer watching, an advance in the theatre marketing at the cost of theatre’s active, interactive aesthetics? The first book to bring aesthetic, critical, audience development, marketing and assessment uptake of social media in theatre together, Theatre, Social Media, and Meaning Making will appeal to scholars, students, as well as industry practitioners working betwixt and between old and new forms when they use social media to evoke emotion, entertain, educate, or empower.

The blurring of television’s technological and formal boundaries through transmedia storytelling and distribution has provided media producers in the UK with new ways of negotiating their audience’s relationship with content, bringing together multiple modes of ‘engagement’ with the same core screen content. Audiences may watch content, but may also write, read, edit, share, talk, interact and play, with ‘engagement’ occurring across and between individual media and involving multiple behaviours. Simultaneously, claiming to offer ‘better’ or ‘deeper’ viewer ‘engagement’ has become a marker of quality for UK broadcasters to the extent that it now operates as a political and strategic currency. Both the BBC and Channel 4 have positioned viewer ‘engagement’ as central to future-proofing their content and distribution strategies. Industry bloggers have explored the nature of ‘engaged’ vs ‘non-engaged’ viewers, heralding the former as the truly valuable members of the television audience. Within academia, a similar emphasis is occurring, with ‘engagement’ being examined in terms of how the (predominantly US) media industry measure and rationalise their audiences (Napoli, 2011; Jenkins, Ford and Green, 2013).
Within these discussions, however, what ‘engagement’ actually means in terms of audiences experience fin remains elusive. This paper will use industry practitioner interviews and audience focus groups to explore how the tensions and alignments in how ‘engagement’ with transmedia content is articulated and understood by those who create and those who experience such content. For many industry practitioners, being ‘engaged’ with content has become shaped by medium specificity and primarily linked with non-viewing behaviours including social media discussions, creating and sharing content, seeking out further information, or the exploration of additional website and app-based content. For audiences, however, it remains rooted in the text, emerging from well-crafted narratives and characters, that construct an emotional connection, regardless of the medium the story is told in. This paper will map and explore the nuanced differences in how ‘engagement’ is defined in order to offer a framework for examining how the experience of screen content shifts or remains consistent as it moves between and across the different media platforms of transmedia texts.

การวิจัยเรื่อง “บุพเพสันนิวาส” กับวัฒนธรรมการบริโภคละครโทรทัศน์ของชนชั้นกลาง ด้วยมุมมองชาติพันธุ์วรรณนา เป็นงานวิจัยเชิงคุณภาพด้วยวิธีชาติพันธุ์วรรณนา โดยใช้การสังเกตการณ์อย่างมีส่วนร่วม และการสัมภาษณ์เจาะลึก โดยใช้แนวคิดการวิเคราะห์ผู้รับสารของ David Morley และแนวคิดเทคโนโลยีการสื่อสารเป็นตัวกำหนดมาเป็นกรอบในการศึกษาโดยแบ่งกลุ่มตัวอย่างออกเป็น 3 กลุ่ม ได้แก่ กลุ่มที่รับชมผ่านพื้นที่ส่วนตัวในครอบครัว (private space) กลุ่มรับชมในพื้นที่กึ่งส่วนตัวกับกลุ่มเพื่อน (in between space) และกลุ่มที่รับชมในโรงภาพยนตร์หรือพื้นที่สาธารณะ (public space) ทั้งนี้เพื่อทำความเข้าใจว่า เมื่อการบริโภคละครโทรทัศน์ของชนชั้นกลางในกรุงเทพฯ ในพื้นที่แตกต่างกันจะส่งผลต่อพฤติกรรมการรับชม การตีความ ความเข้าใจของผู้รับสารหรือไม่

ผลการศึกษาพบว่า ความแตกต่างเชิงพื้นที่มีผลต่อพฤติกรรมการชมละครโทรทัศน์เพียงเล็กน้อย กล่าวคือ รูปแบบของการบริโภคหรือการชมละครโทรทัศน์ในพื้นที่ที่แตกต่างพื้นที่กันแทบไม่มีผล โดยกลุ่มตัวอย่างชนชั้นกลาง และจุดยืนทางวัฒนธรรมมีความใกล้เคียงกัน การเข้าถึงตัวบทส่วนใหญ่เป็นการเข้าถึงผ่านปัจจัยภายนอก ความสามารถในการรับรู้ของผู้รับสารแต่ละกลุ่มแทบไม่แตกต่างกันเท่าใดนัก เช่นเดียวกับความสามารถจดจำและความสามารถในการเข้าใจเนื้อหา ทั้งยังสามารถตีความตัวบทและเนื้อหาที่มีความสลับซับซ้อนได้ รวมถึงมีพฤติกรรมการรับชมพร้อมกับเวลาออกอากาศอย่างตั้งอกตั้งใจ

This article contends that just as television viewers and Internet users can vote to evict the ‘real’ people occupying the Big Brother house or the Survivor community, audiences have for more than a century been contributing to successful media outlets. By using a
series of case studies drawn from Britain, Australia and the United States,
this article surveys the history of participatory media from the late 19th
century to the present day. It considers the appearance of periodicals
featuring significant contributions from their readers in the 1880s; the
enormous popularity of the confessional magazine in the 1920s; the way in
which mass-market women’s magazines implicated themselves in the lives
of their readers during the inter-war years; the rise of talkback radio; and
the emergence of ‘real life’ media genres – in magazines and television –
in the 1980s and 1990s.

يُقدّم هذا البحث مدخلاً إلى دراسة خطابات الرياضة بلاغيًّا؛ سواء من منظور توجهات البحث التقليدية في البلاغة، أم من منظور بلاغة الجمهور. ويهدف هذا البحث إلى وضع أساس نظري، وتقديم مثال تطبيقي على دراسة خطابات جمهور كرة القدم. يتضمن الأساس النظري قوائم بأهم الموضوعات، والأسئلة البحثية، وإجراءات التحليل، وطرائق جمع البيانات الخاصة بتحليل خطابات جمهور كرة القدم من منظور بلاغي. ويحلل البحث، استنادًا إلى هذا التأسيس النظري، مثالاً تطبيقيًا، يعالج فيه واحدًا من أهم الخطابات الرياضية في العالم العربي في الشهور الأخيرة؛ هو النشيد المغربي (في بلادي ظلموني). ويُحلل النشيد انطلاقًا من مفهوم مركزي في بلاغة الجمهور هو مفهوم الاستجابة البليغة، مركزًا تحديدًا على النقلات الحوارية والضمائر الشخصية.

يستعرض هذا البحث بعض أهم السمات التي امتاز بها خطاب الربيع العربي، مقارنة بغيره من الحركات الاجتماعية الأكثر جذرية في التاريخ العربي. مستكشفًا أثر هذه السمات على الدرس الأكاديمي لخطاب الربيع العربي. ويتتبع التحديات التي طرحها الربيع العربي على توجهات دراسة خطابه السياسي، مركزًا على توجه بلاغة الجمهور. ويقدم مراجعة نقدية لهذه الدراسات، مقترحًا آفاقًا غير مطروحة على نطاق واسع في حقل تحليل خطاب الربيع العربي.

This study examined Audience Perception of Public and Private Owned Media as Tools of Propaganda, a Comparative Analysis of Osun State Broadcasting Corporation (OSBC) and Rave FM. The study was guided by seven objectives, specifically to find out whether residents of Ifelodun Local Government are exposed to OSBC and Rave FM, to determine the level of their listenership to programmes on both stations, to examine their views and opinions on the use of both media as a propaganda tool, to investigate whether news and other programmes on both stations are deceitful and only pander to the whims and caprices of the owners, to ascertain whether ownership influence some of the programmes on both stations, to know whether the two stations are considered fair, objective and non-partisanship in their news reportage and to know whether factors of age, sex, status and educational attainment make people to differ in their opinion about the usage of the two media as tools of propaganda. Survey method was adopted while Saunders, Lewis and Thornhill Model was used to determine the sample size of respondents selected from the population of the study. The study found that the average respondents said news and other programmes on both stations are deceitful and only pander to the whims and caprices of the owners. This is even more pronounced in government owned media. It recommended that owners of media organizations should detach their personality from media operations.