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Subversive energies abounded in early modern English theater. This was partly due to evolving political and economic systems as England moved toward a capitalist society. As commercial enterprises, the early modern theaters became sites wherein the emerging conflicts of political and socioeconomic changes both pressured the theatrical venture and were dramatized by it. Nowhere are these conflicts more manifest than in the clown characters. The theatrical clown may have functioned as a means of controlling the audience’s (or specific audience members’) subversive energies. By controlling audience responses, and encouraging audience interaction when, and only when, it served the drama, the clown may have been upholding the political and socio-economic status quo by encouraging textual veneration and ensuring a well-ordered and controlled theatrical event.1However, examining the careers of the actors who played the clown characters–their improvisations which resisted government censorship, the connections they forged with what we would today call working-class audience members, and their subversion of the play-text itself–suggests that early modern theatrical clowns could not be so simply categorized.

The Audience Experience identifies a momentous change in what it means to be part of an audience for a live arts performance. Together, new communication technologies and new kinds of audiences have transformed the expectations of performance, and The Audience Experience explores key trends in the contemporary presentation of performing arts. The book also presents case studies of audience engagement and methodology, reviewing both conventional and innovative ways of collecting and using audience feedback data. Directed to performing arts companies, sponsors, stakeholders and scholars, this collection of essays moves beyond the conventional arts marketing paradigm to offer new knowledge about how audiences experience the performing arts.

Feature films, television shows, homemade videos, tweets, blogs, and breaking news: digital media offer an always-accessible, apparently inexhaustible supply of entertainment and information. Although choices seems endless, public attention is not. How do digital media find the audiences they need in an era of infinite choice? InThe Marketplace of Attention, James Webster explains how audiences take shape in the digital age. Webster describes the factors that create audiences, including the preferences and habits of media users, the role of social networks, the resources and strategies of media providers, and the growing impact of media measures -- from ratings to user recommendations. He incorporates these factors into one comprehensive framework: the marketplace of attention. In doing so, he shows that the marketplace works in ways that belie our greatest hopes and fears about digital media. Some observers claim that digital media empower a new participatory culture; others fear that digital media encourage users to retreat to isolated enclaves. Webster shows that public attention is at once diverse and concentrated -- that users move across a variety of outlets, producing high levels of audience overlap. So although audiences are fragmented in ways that would astonish midcentury broadcasting executives, Webster argues that this doesn't signal polarization. He questions whether our preferences are immune from media influence, and he describes how our encounters with media might change our tastes. In the digital era's marketplace of attention, Webster claims, we typically encounter ideas that cut across our predispositions. In the process, we will remake the marketplace of ideas and reshape the twenty-first century public sphere.

The Korean Wave or well known as Hallyu has become more popular time by times. It shows when the entertainment industry could reach overseas audience and the example is through K-Drama called “Crash Landing on You”. This drama caught the audience attention by the story that they offers and this drama involving the story about South Korea and North Korea that also received several criticism from South Korean and North Korean audience about the story that the drama offers. This journal will discuss about the framing in the drama based on Goffman and Entman perspective and what kind of framing that they implement in this drama. Keyword: Benefits of Concept Framing, Crash Landing on You, Framing, K-Drama Korean Broadcasting, Natural Framework, North Korea, Primary Framework, Social Framework, South Korea,

Scottish cinema is explored as a cultural industry and as an experience using a range of research methods. Documentation kept by cinema managers and diaries of cinema-goers are examined and patterns and conclusions are drawn from the results.

\"Notes,\" a feature relating and recording information on Thomas Wolfe and Wolfe studies, includes history (cultural, literary, and otherwise), biography, criticism, and reference. THE ROARING TWENTIES For those of us living in Wolfe world, the first two years of the twenty-first century's third decade (which are covered in this installment of \"Notes\") weren't as auspicious as the corresponding years in the previous century In 1920 Thomas Wolfe graduated from the University of North Carolina and began his studies with George Pierce Baker at Harvard. (The Letters of Thomas Wolfe to His Mother [1968] 46-47) In a follow-up postcard, Wolfe admitted that he had written the preceding letter while under the influence of a friend's \"homemade wine,\" but he added that \"I've read it over and I think I'll let it stand on the whole\" (47). Beginning that spring, the COVID-19 pandemic pretty much shut down in-person gatherings, which resulted in the cancellation of the Thomas Wolfe Society's annual meeting for the first time in the organization's history.

Ophelia’s death takes place decorously offstage. The audience learns about it only through Gertrude’s narrative about an innocent young woman who gathers flowers and sings, oblivious to her impending death. This account of Ophelia’s apparently benign death raises questions. Why does Gertrude tell this story? Why was she there, and why did no one help Ophelia? Scott Trudell articulates concerns shared by many audience members: “Ophelia’s drowning fascinates and disturbs us, especially given the onlookers’ perplexing failure to intervene. We wonder how much of Gertrude’s portrayal of Ophelia as a harmless aesthetic object ‘incapable of her own distress’ is calculated to subdue Laertes and the rebellious mob at his heels.”1 The questionable circumstances of this story about an event that the audience does not witness draw attention to the possibly fictionalized nature of this account, and thus to the teller and her motivation. This motivation for her fiction-making goes deeper than political expedience. Gertrude is the appropriate teller for a poetic protest against the vilification of women that she and Ophelia suffer in the fallen Eden of Denmark’s corrupted court.