What is the value of audience to technical communicators? A survey of audience research

2002 ◽  
Author(s):  
R. Houser
Keyword(s):  
Audience Research ◽  
Technical Communicators

French and Spanish Queer Film

2016 ◽  
Author(s):  
Chris Perriam ◽  
Darren Waldron
Keyword(s):  
Focus Groups ◽  
Sense Of Community ◽  
National Identities ◽  
Audience Research ◽  
Large Sample ◽  
Current State ◽  
Trans People ◽  
Screening Questionnaires ◽  
On Line ◽  
The Uk

This book advances the current state of film audience research and of our knowledge of sexuality in transnational contexts, by analysing how French LGBTQ films are seen in Spain and Spanish ones in France, as well as how these films are seen in the UK. It studies films from various genres and examines their reception across four languages (Spanish, French, Catalan, English) and engages with participants across a range of digital and physical audience locations. A focus on LGBTQ festivals and on issues relating to LGBTQ experience in both countries allows for the consideration of issues such as ageing, sense of community and isolation, affiliation and investment, and the representation of issues affecting trans people. The book examines films that chronicle the local, national and sub-national identities while also addressing foreign audiences. It draws on a large sample of individual responses through post-screening questionnaires and focus groups as well as on the work of professional film critics and on-line commentators.

From i-doc to VR experience: New forms of user engagement in immersive digital documentaries

2020 ◽  
Vol 17 (1) ◽  
pp. 37-48 ◽  
Author(s):  
Florian Mundhenke
Keyword(s):  
User Experience ◽  
Digital Storytelling ◽  
Computer Game ◽  
Spatial Arrangement ◽  
The Other ◽  
User Engagement ◽  
Audience Research ◽  
Head Mounted Displays ◽  
Digital Formats ◽  
The One

Audience research proves that possibilities of interaction in i-docs are often not fulfilled by the user, who is not really part of a ‘work in progress’ (as intended by the makers). With the shift and development of new digital formats (360-degree-films, nonfictional VR experiences, AR apps), the question of the possible interactive potential should be addressed once again. Since VR projects are fully immersive (mostly using head-mounted displays), there is no possible distraction from outside on the one hand. On the other hand, there is a shift from the computer game style aesthetic of early i-docs, with their pure spatial arrangement of events, to a more inclusive digital storytelling modality with the user experiencing his own world-building. This will be discussed with taking into consideration the non-fictional VR experience as a mode of actively combining immersion and storytelling for a satisfactory user experience. Afterwards two very different examples of nonfictional VR production will be presented, and their modalities will be briefly touched; the utilized approach and its user response will be discussed. A look at the future of possible developments concludes the essay.

scholarly journals Audience research at the crossroads

1998 ◽  
Vol 1 (2) ◽  
pp. 193-217 ◽  
Author(s):  
Sonia Livingstone
Keyword(s):  
Audience Research

Affect, emotion, and media audiences: the case of resilient reception

2018 ◽  
Vol 40 (8) ◽  
pp. 1186-1201 ◽  
Author(s):  
Andre Cavalcante
Keyword(s):  
United States ◽  
The United States ◽  
Cultural Representations ◽  
Audience Research ◽  
Audience Studies ◽  
Media Audiences ◽  
Communications Technologies

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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