Sensations of Celebrity:Jack Sheppardand the Mass Audience

2002 ◽  
Vol 44 (3) ◽  
pp. 423-463 ◽  
Author(s):  
Matthew Buckley
Keyword(s):  
Mass Audience

‘THE TOWN, THE TOWN, GOOD PIT, HAS ASSES EARS!’: Unstable Audiences in Della Cruscan Poetic Conversation

Romanticism ◽  
2020 ◽  
Vol 26 (3) ◽  
pp. 235-244
Author(s):  
Katie Holdway
Keyword(s):  
Political Instability ◽  
Mass Audience ◽  
The Town

In his famously disparaging poetic retorts to the poetry of the British Della Cruscan movement, the Baviad and Mæviad, Tory satirist William Gifford made every effort to separate the readers of Della Cruscan poetry into two distinct audiences: Della Cruscan ‘writer-readers’ who read and actively responded to pieces written by other members of the coterie with poetry of their own, and the non-participating mass audience. According to Gifford, this latter audience – metonymized as ‘the Town’ in the Baviad – ignorantly follows the whims of fashion, absorbing Della Cruscan poetry, but never actually responding to it. Through an analysis of both Della Cruscan poetry and Gifford's retorts, this essay aims to re-establish the links between these two kinds of audiences. I will argue that Gifford's attempts to suppress these links stemmed from a deep-seated fear – fuelled by post-Revolutionary political instability – that the Della Cruscan coterie offered a platform whereby members of the mass reading audience could join their poetic conversations pseudonymously, and ultimately be granted a voice, regardless of their gender or political affiliations.

The Creation of a Regional Voice: The Care and Feeding of the Northwest Biosolids Management Association

2007 ◽  
Vol 2 (4) ◽  
Author(s):  
M. Lono-Batura ◽  
D. Thompson
Keyword(s):  
United States ◽  
British Columbia ◽  
Information Network ◽  
Sludge Management ◽  
Non Profit ◽  
Mass Audience ◽  
Management Association ◽  
Private And Public ◽  
Environmentally Sound ◽  
Sound Management

The biosolids producers in southwest Canada and the northwest United States have banded together to form a biosolids information network with the purpose of advancing the environmentally sound management of biosolids through education and information, regulations development and research and demonstration. This organization currently known as the Northwest Biosolids Management Association (NBMA) has grown from a gritty band of 14 sludge management visionaries to a fully incorporated non-profit association of over 200 members in both the private and public sectors. What spark ignited this conflagration of creativity? What calamity could possibly convince 200 relatively sober agencies to pony up a collective $200,000 American every year? What great cosmic bellows continues to force the airs of inspiration into the dry and desiccated souls of Biosolids managers across beautiful British Columbia and beyond? The answers lie in the modern day alchemy that is biosolids management. It is the inspiration gained from spinning gold out of something less aesthetically pleasing. It is the satisfaction in communicating to a mass audience the technical and counter intuitive science of residuals treatment. Creation and maintenance of a Biosolids information network is an essential tool in fostering the environmentally sound use of this extremely useful product.

Stealing ‘souls’? Article 8 and photographic intrusion

2018 ◽  
Vol 69 (4) ◽  
pp. 531-558
Author(s):  
Rebecca Moosavian
Keyword(s):  
Personality Theory ◽  
Relevant Factor ◽  
Distinctive Features ◽  
Mass Audience ◽  
The World

In Article 8 ECHR privacy right jurisprudence, photographs are deemed distinct forms of information that are particularly intrusive in nature. This article is concerned with explaining why this is so. Part 1 examines the notion of ‘intrusion’ itself. It argues that ‘intrusion’ functions as a legal metaphor and plays an important role in constructing a binary between an outer self presented to the world and a ‘spiritual’, emotional interior that privacy purports to protect from transgression. Part 2 argues that this ‘spiritual intrusion’ metaphor is influential in the continental personality right that informs the ECtHR’s approach to Article 8 protection for photographed individuals. This leads to potentially stronger protection for image, including a basic Article 8 right to control one’s image. Yet there is a divergence of approach in the English courts, where personality theory has limited influence; here there is traditional scepticism towards an image right and photographic capture is largely neglected. Part 3 argues that photography becomes a relevant factor at publication stage, where courts agree that the distinctive features of the medium may cause or exacerbate intrusion. This is because photography creates a permanent, infinitely replicable ‘truthful’ record of the individual’s image that can be disseminated to the objectifying gaze of a mass audience. But the medium also leads viewers to overlook its inherent complexities and ambiguities. Ultimately, Article 8 jurisprudence, particularly in the ECtHR, occasionally adopts reasoning that contains echoes of the ‘photographs steal souls’ mythology.

scholarly journals Mass media as a mediator of communicative and cultural memory

2020 ◽  
Author(s):  
V. F. Oleshko ◽  
◽  
E. V. Oleshko ◽  
Keyword(s):  
Social Interaction ◽  
Graduate Students ◽  
Mass Media ◽  
Cultural Memory ◽  
Intergenerational Communication ◽  
Russian Society ◽  
Modern Media ◽  
Mass Audience ◽  
Modern Russian

In the monograph, the process of mediatization is considered in the context of not only the conditions for the development of journalism as a convergent and ubiquitous digitalization of content, but also as a tool for social interaction. Using the example of modern media as a mediator of communicative and cultural memory, the most important indicators of the development of modern Russian society based on civilizational humanistic traditions are identified and systematized. By using the sociological data obtained by the authors of this monograph, as well as studying the practices of identifying representatives of the “analog” and “digital” generations of the mass audience, it is possible to capture significant elements of the process of mediatization. Particular attention is paid to intergenerational communication based on discursive texts and modeling of media activities. The monograph is of interest to philologists, media researchers, specialists in the field of related humanitarian disciplines, and will also be useful to practicing journalists, graduate students, and students of creative specialties.

“The most inspiring bikini photos you’ll see this summer”: A thematic analysis of mass audiences’ interpretations of ostomy selfies

2018 ◽  
Vol 20 (10) ◽  
pp. 3858-3878 ◽  
Author(s):  
Mark A Rademacher
Keyword(s):  
Social Media ◽  
Crohn’S Disease ◽  
Thematic Analysis ◽  
News Coverage ◽  
The Body ◽  
Online Health Communities ◽  
News Stories ◽  
Mass Audience ◽  
The Creation ◽  
Health Communities

How people with ostomies—a surgically created opening in the body that expels bodily wastes—use social media to challenge ostomy stigma represents a growing area of research, especially the creation, posting, and circulation of ostomy selfies within online health communities. This project contributes to this research by examining reactions by a mass audience to news stories about a viral ostomy selfie posted by ostomate Bethany Townsend to a Crohn’s disease Facebook page. By analyzing the user-generated comments associated with this news coverage, this study illuminates how ostomy selfies are interpreted outside the highly sympathetic audiences that populate online health communities. Analysis reveals positive and negative reactions, posted by ostomates and non-ostomates alike, coexist within the comments. Implications of the conflicting reactions to ostomies, in general, and ostomy selfies, in particular, are discussed with regard to the effort to destigmatize ostomies in society.

Produced by Irving Thalberg

2020 ◽  
Author(s):  
Ana Salzberg
Keyword(s):  
Popular Culture ◽  
Conceptual Understanding ◽  
Golden Age ◽  
Theoretical Perspective ◽  
Turning Points ◽  
Romeo And Juliet ◽  
Mass Audience ◽  
Production Code ◽  
Studio Era

Irving Thalberg was not just a critically important producer during Hollywood’s Golden age, but also an innovative theorist of studio-era filmmaking. Drawing on archival sources, this is the first book to explore Thalberg’s insights into casting, editing, story composition and the importance of the mass audience from a theoretical perspective. The book argues that Thalberg’s views represent a unified conceptual understanding of production – one that is still significant in the modern day. It examines Thalberg’s impact on film-historical turning points, including the transition from silent to sound cinema and the development of the Production Code, and features in-depth analyses of his productions at Metro-Goldwyn-Mayer from 1924 to 1936. Indeed, each chapter offers a reading of Thalberg’s films through his own theoretical lens, thus highlighting his insights into production and introducing new ways of considering his classic pictures, including The Big Parade (1925), The Broadway Melody (1929) and Romeo and Juliet (1936). The work concludes by assessing his resonance in popular culture, tracing the mythology of Thalberg as it evolved after his death in 1936.

Conclusion: Noah’s Kin

2017 ◽  
Author(s):  
Susan Scott Parrish
Keyword(s):  
African American ◽  
Harlem Renaissance ◽  
American Culture ◽  
Public Awareness ◽  
African American Culture ◽  
Mass Audience ◽  
The Harlem Renaissance

This chapter considers the question of what made the recent disaster called Katrina in 2005, and its mediation, distinct from its 1927 forerunner. It argues that what was most different about the two events is that artists and commentators in 2005 could be more openly critical of the racial and class dimensions of their disaster before a multiracial mass audience. The chapter also considers a poem that appeared in print in April 1927, which must have seemed a providential coincidence to many readers. The poem, called “Noah Built the Ark,” moves from the halcyon days in Eden to the point at which “God got sorry that he ever made man.” Like other works of the Harlem Renaissance, the poem called upon the currency of folk form to create a public awareness of traditions within African American culture.

The Future of Television in the US

2018 ◽  
Author(s):  
Jennifer Holt
Keyword(s):  
Third Party ◽  
Television Industry ◽  
Mass Audience ◽  
The Us ◽  
The Future ◽  
Creative Workers ◽  
Digital Landscape

This chapter examines the issues that are most significant to the developing digital landscape of television in the US, particularly as the industry attempts to navigate the new rules and protocols of digital distribution and ‘connected viewing’. In an environment of ubiquitous mobile screens, third party providers, the fragmentation of the mass audience, increased demands on creative workers, and enhanced surveillance of the digital audience, the television industry is experiencing a host of previously unimagined pressures, even in the multi-channel universe of cable in the 1980s and 1990s. As a result, debates on the future of television in the US are proliferating, as are the complications involved as content providers are forced to look in multiple directions to deliver programming.

The News Media’s Shift to Upscale Audiences

2019 ◽  
pp. 69-108
Author(s):  
Christopher Martin
Keyword(s):  
Middle Class ◽  
News Media ◽  
Mass Audience ◽  
Long Time ◽  
The U.S

Chapter 3 analyzes how the U.S. news media made a significant and devastating shift from targeting a mass audience to an upscale, middle class audience beginning in the late 1960s. The chapter draws on dozens of images of the newspapers’ own advertising aimed at corporate advertisers in the long-time industry publication Editor and Publisher, which illustrate the newspaper industry’s change in direction.

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