It has been a recurring complaint both within and against film studies that it has largely ignored the activities of audiences. This book aims to address this absence (as compared to television studies) and to explain its cause. The authors argue that there is a social context in which the consumption of film can be understood or studied historically; demonstrating that a concentration on the place of film consumption within the changing cultural politics of the city can offer a compelling and productive focus of analysis. This book examines not only the different meanings of different sites of film exhibition and distribution (city-centre cinemas, local cinemas, art-house cinemas, multiplexes, terrestrial television transmission, video rental and retail, and satellite/cable), but also the meanings of the activities of film consumption associated with these sites. Through use of archival materials and ethnographic studies of the audience, the book examines the meanings of film consumption from the earliest film showings up to the 21st century.

Looks at the often secretive process of audience testing Hollywood movies and how it can help shape movies, with first-hand accounts from directors such as Ron Howard, Cameron Crowe, Drew Barrymore and Ed Zwick.

Cut through the noise and create the biggest possible audience for your work. This book offers a proven method for expanding your reach online so you can make a meaningful difference for others. Anyone who makes the bold decision to put their ideas out into the world wants to reach as many people as possible. Unfortunately, too many think it's a question of numbers-the more people you can get in front of, the better. But true reach is about expanding your audience while making a meaningful and enduring difference that has a lasting impact. Reach provides a clear and structured approach to creating a successful online presence that will create the biggest possible impact for any message. Becky Robinson shares a framework to cultivate followers that requires four commitments: value, consistency, endurance, and generosity. When you make these four commitments, you'll deliver memorable content on a regular basis while keeping the long-term view in mind and being committed to helping and sharing with others. Robinson offers guidance on having realistic expectations and meaningful goals, encouraging readers to reflect on what they want to accomplish and with whom they want to connect. Readers will also learn how to overcome discouragements, create and repurpose content, and focus on the everyday activities that will spread ideas. This is a long-term process-one that doesn't normally offer immediate results or guarantee the desired outcome. But, as Robinson reminds us, creating from a place of generosity can lead to benefits greater than you can imagine.

Despite a number of retrospective works on cultural studies, to date no other book dedicates itself to the historical and theoretical examination of British cultural studies' engagement with the »active audience theory« of the Birmingham School and its legacies. However, this book is no mere reconstruction of active audience theory as Huimin Jin develops new theoretical insights initially through a critical review of Stuart Hall's classical model of »encoding/decoding« and close readings of David Morley's groundbreaking ethnographic audience studies. Questioning the discourse model of the active audience proposed by Hall and Morley, Jin elaborates a new materialistic concept of audiences for the twenty-first century.

The creator of the Unmistakable Creative podcast makes a counterintuitive argument: By focusing your creative work on pleasing yourself, you can increase your productivity, happiness, and (eventually, paradoxically) the size of your audience. Creating for your own pleasure--whether you're writing a novel, composing songs, or painting a landscape--can seem pointless. It's tempting to focus on pursuing money and fame, rather than the process itself. But as Srini Rao warns, creating then turns into a chore that can harm your self-esteem and suck the pleasure out of life, rather than being a source of joy. Rao, host of the podcast The Unmistakable Creative, argues that we should counter this thinking by intentionally creating art for ourselves alone--an audience of one. In this book he shares the fascinating true stories of creatives who took this path, along with actionable tips and the research of creativity experts. You'll learn, for example: • How Oprah's intentional focus on her own work rather than the opinions of everyone else catapulted her into one of the most popular talk shows of all time. • How being process-driven can not only help you produce more work, but can make you happier outside of your creative time. • How to put together a creative "team of rivals" whose feedback can help you hone your craft and filter out useless feedback. By playing to an audience of one, we can find more happiness, increased productivity, and a greater sense of community.

This book offers a major reconceptualization of the term audience, one which involves a landscape, including the landscape of a given audiencesituated and territorializing features of any way of seeing and defining the world. It acknowledges, in the face of conventional discourse analysis, the contextual features of discourse, to produce complex and textured understanding of the concept of audience. The book will speak to students of rhetoric, mass communication, cultural studies, anthropology, and sociology alike. This book offers a major reconceptualization of the term audience, including the landscape of a given audiencethe situated and territorializing features of any way of seeing and defining the world. Given de Certeaus hypothesis that listening, watching, and reading all occur in places and result in produce transformed paths or spaces, the contributors to this landmark volume have provided innovative essays analyzing the transformations that take place in the geography between sender and receiver. The book acknowledges, in the face of conventional discourse analysis, the contextual features of discourse, to produce a complex and textured understanding of the concept of audience. The Audience and Its Landscape, presents the work of a vital cross-section of international scholars including Swedens Karl Erik Rosengren, the UKs Jay G. Blumler and Roger Silverstone, Australias Tony Bennett, Israels Elihu Katz, Canadas Martin Allor, and the United Statess Janice Radway, Byron Reeves, and John Fisk, to name a few. This book is truly groundbreaking in its depth and scope, and will speak to students of rhetoric, mass communication, cultural studies, anthropology, and sociology alike.

This essay collection builds on the latest research on the topic of theatre audiences in early modern England. In broad terms, the project answers the question, 'How do we define the relationships between performance and audience?'.