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The marketplace of attention : how audiences take shape in a digital age
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? James Webster explains how audiences take shape in the digital age.
Book
Staging Subversion: William Kemp and the Lord Chamberlain's Men
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.
Journal Article
The audience experience
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.
eBook
Media Framing in South Korean Drama “Crash Landing on You” towards North Korea
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,
Journal Article
Notes
\"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.
Journal Article