There has been limited adoption of Immersive Journalism (IJ) by the audience; simultaneously, the audience’s perspective is rarely considered in the production and research of IJ. At this point, however, it is crucial to incorporate an audience perspective to identify potentially unintended effects of IJ and improve on the innovation of IJ. This study investigates the audience’s experience and evaluation of IJ by qualitatively analyzing their thoughts after viewing two IJ cases. Our results indicate that the audience may pick up on intended effects, such as a sense of presence and an intense emotional experience, but some also express unease towards these effects. Furthermore, the audience struggles to comprehend this study’s two immersive journalistic cases as part of the journalistic genre. These findings provide insight into the gap between the initial hype and the current reality of IJ and provide the basis for propositions for future IJ productions.
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Audience studies is not the vibrant field it was in its 1980s and early 1990s heyday. Cultural studies today has a more balanced interest in production, audiences and texts. A renewed focus in audience studies on everyday meaning production, identity and relations of power could benefit from recent developments. Theorization of power especially has benefited from recent work on governmentality. In accord with recent work on ‘affect’, there is an opportunity for renewed vitality and urgency. Was audience studies damaged beyond repair by the charge that it is a populist field that celebrates rather than interrogates everyday media culture? Could a concept such as cultural literacy provide a bridge to help re-establish the critical credibility of audience studies or would it burden this field with its implied notions of standards, distinction and cultural exclusion? The article discusses recent work with youth audiences to inquire into the possibilities of ‘critical literacy’. It proposes taking up questions and insights raised by affect theory, to merge appreciation, criticism and understanding of the forces that drive (the possibility of) change, and to embed critical literacy in cultural studies’ ongoing interest in the construction of (cultural) citizenship.
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Skyler White is a protagonist in the top-ranking television series Breaking Bad. She is also one of the most hated characters on television. This paper focuses on how the character of Skyler and Anna Gunn – the actor that plays her – are turned into a ‘composite celebrity’ in audience discussions. This is achieved by analysing threads on the social news website Reddit that specifically discuss Skyler. We discovered three main speaking positions: ‘savvy’ viewing; moral realism; and public shaming. This type of audience research may help further discussion on how celebrity culture is supported by neoliberal changes in the public sphere and caught up in the devaluation of professionalism and professional status – which, as will be shown, has especially dire consequences for professional women. Breaking Bad showcases predominantly masculine narratives. The derogation of its key female character therefore does not come as a surprise. However, a feminist defence of both the character and the actor – although a minority perspective – is also voiced. This article reveals how the interlinking fields of celebrity gossip and television criticism are a space of vibrant and sometimes frightening discussion in which a neo-conservative gender agenda is simultaneously asserted and contested
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The moment of casting is a crucial one in any media production. Casting the ‘right’ person shapes the narrative as much as the way in which the final product might be received by critics and audiences. For this article, casting—as the moment in which gender is hypervisible in its complex intersectional entanglement with class, race and sexuality—will be our gateway to exploring the dynamics of discussion of gender conventions and how we, as feminist scholars, might manoeuvre. To do so, we will test and triangulate three different forms of ethnographically inspired inquiry: 1) ‘collaborative autoethnography,’ to discuss male-to-female gender-bending comedies from the 1980s and 1990s, 2) ‘netnography’ of online discussions about the (potential) recasting of gendered legacy roles from Doctor Who to Mary Poppins, and 3) textual media analysis of content focusing on the casting of cisgender actors for transgender roles. Exploring the affordances and challenges of these three methods underlines the duty of care that is essential to feminist audience research. Moving across personal and anonymous, ‘real’ and ‘virtual,’ popular and professional discussion highlights how gender has been used and continues to be instrumentalised in lived audience experience and in audience research.
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For this exploratory study we aim to provide knowledge and insights concerning the processes of setting up, implementing and managing online communities as a part of the product/services offer of media companies. The goal is to increase their reach amongst target groups, to strengthen involvement with their audiences and to entice their audiences to participate. This information should help us to understand the many different aspects important for developing and managing online communities. The research question for this phase is: Which critical success factors play a role in the process of setting up and managing online communities using social media in order to activate and/or engage target audiences? In this exploratory first phase we looked into literature relating to general guidelines and critical success factors in setting up and managing online communities. These aspects include, communication and interaction options, functionalities for sharing information, the content structure given, the importance of socialization within the community, the policies used and the usability of the platform (Ning Shen & Khalifa, 2008).
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Fans constitute a very special kind of audience. They have been marginalized, ridiculed and stigmatized, yet at the same time they seem to represent the vanguard of new relationships with and within the media. ‘Participatory culture’ has become the new normative standard. Concepts derived from early fan studies, such as transmedial storytelling and co-creation, are now the standard fare of journalism and marketing text books alike. Indeed, usage of the word fan has become ubiquitous. The Ashgate Research Companion to Fan Cultures problematizes this exaltation of fans and offers a comprehensive examination of the current state of the field. Bringing together the latest international research, it explores the conceptualization of ‘the fan’ and the significance of relationships between fans and producers, with particular attention to the intersection between online spaces and offline places.
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VHL University of Applied Sciences (VHL) is a sustainable University of AppliedSciences that trains students to be ambitious, innovative professionals andcarries out applied research to make a significant contribution to asustainable world. Together with partners from the field, they contribute to innovative and sustainable developments through research and knowledge valorisation. Their focus is on circular agriculture, water, healthy food & nutrition, soil and biodiversity – themes that are developed within research lines in the variousapplied research groups. These themes address the challenges that are part ofthe international sustainability agenda for 2030: the sustainable developmentgoals (SDGs). This booklet contains fascinating and representative examplesof projects – completed or ongoing, from home and abroad – that are linked tothe SDGs. The project results contribute not only to the SDGs but to their teaching as well.
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This article examines the impact of the COVID-19 pandemic on the sign language interpreting profession drawing on data from a fourth and final survey conducted in June 2021 as part of a series of online “living surveys” during the pandemic. The survey, featuring 331 respondents, highlights significant changes in the occupational conditions and practices of sign language interpreters due to the sudden shift towards remote video-mediated interpreting. The findings reveal a range of challenges faced by interpreters, including the complexities of audience design, lack of backchanneling from deaf consumers, the need for heightened self-monitoring, nuanced conversation management, and team work. Moreover, the study highlights the physical and mental health concerns that have emerged among interpreters as a result of the shift in working conditions, and a need for interpreters to acquire new skills such as coping with the multimodal nature of online interpreting. While the blend of remote, hybrid, and on-site work has introduced certain advantages, it also poses new challenges encompassing workload management, online etiquette, and occupational health concerns. The survey’s findings underscore the resilience and adaptability of SLIs in navigating the shift to remote interpreting, suggesting a lasting transformation in the profession with implications for future practice, training, and research in the post-pandemic era.
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This paper will describe the rationale and findings from a multinational study of online uses and gratifications conducted in the United States, Korea, and the Netherlands in spring 2003. A survey research method of study was conducted using a questionnaire developed in three languages and was presented to approximately 400 respondents in each country via the Web. Web uses and gratifications were analyzed cross-nationally in a comparative fashion and focused on the perceived involvement in different types of on-line communities. Findings indicate that demographic characteristics, cultural values, and Internet connection type emerged as critical factors that explain why the same technology is adopted differently. The analyses identified seven major gratifications sought by users in each country: social support, surveillance & advice, learning, entertainment, escape, fame & aesthetic, and respect. Although the Internet is a global medium, in general, web use is more local and regional. Evidence of media use and cultural values reported by country and online community supports the hypothesis of a technological convergence between societies, not a cultural convergence.
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From the early 2000s onward the Netherlands has witnessed unexpected and unprecedented polarization. Right-wing populist activism challenged the right of newcomers to belong in Dutch society. Coinciding with this populist swing, participatory media (web communities such as Marokko.nl, blog sites such as GeenStijl – which translates as ‘BadForm’ – and later Facebook and Twitter) have become available as sites for like-minded groups, including some with recent migration backgrounds, to convene and build communities that cross from the social into the virtual and back. They have become spaces for exchange, sharing, and discussion where emotion colours most interactions. Following discussion among cultural theorists, this paper will trace how affect intersects with discursive practice in order to understand how cultural citizenship as a discussion of the right to cultural difference is being practiced and contested. The paper examines whether and how participatory platform media have changed the role and the mission of the engaged media-audience researcher, and what she might need to do now that audiences arguably have become a new type of public.
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