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By 1800 London had as many theatre seats for sale as the city's population. This was the start of the capital's rise as a centre for performing arts. Bringing to life a period of extraordinary theatrical vitality, David Worrall re-examines the beginnings of celebrity culture amidst a monopolistic commercial theatrical marketplace. The book presents an innovative transposition of social assemblage theory into performance history. It argues that the cultural meaning of drama changes with every change in the performance location. This theoretical model is applied to a wide range of archival materials including censor's manuscripts, theatre ledger books, performance schedules, unfamiliar play texts and rare printed sources. By examining prompters' records, box office receipts and benefit night takings, the study questions the status of David Garrick, Sarah Siddons and Edmund Kean, and recovers the neglected actress, Elizabeth Younge, and her importance to Edmund Burke.
Theater audiences --- Theater --- Audiences, Theater --- Theatergoers --- Performing arts --- Theater attendance --- History --- Audiences
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Whether we are watching TV, surfing the Internet, listening to our iPods, or reading a novel, we are all engaged with media as a member of an audience. Despite the widespread use of this term in our popular culture, the meaning of the "audience" is complex, and it has undergone significant historical shifts as new forms of mediated communication have developed from print, telegraphy, and radio to film, television, and the Internet. Media Audiences explores the concept of media audiences from four broad perspectives: as "victims" of mass media, as market constructions & commodities, as users of media, and as producers & subcultures of mass media. The goal of the text is for students to be able to think critically about the role and status of media audiences in contemporary society, reflecting on their relative power in relation to institutional media producers.
Mass media --- Audiences --- #SBIB:309H400 --- 316.77 --- Media en publieksgroepen: algemene werken --- Communicatiesociologie --- Audiences. --- 316.77 Communicatiesociologie --- Audiences, Mass media --- Social aspects --- Mass media - Audiences
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Beginning in the 1950's, ""Euro Horror"" movies materialized in astonishing numbers from Italy, Spain, and France and popped up in the US at rural drive-ins and urban grindhouse theaters such as those that once dotted New York's Times Square. Gorier, sexier, and stranger than most American horror films of the time, they were embraced by hardcore fans and denounced by critics as the worst kind of cinematic trash. In this volume, Olney explores some of the most popular genres of Euro Horror cinema-including giallo films, named for the yellow covers of Italian pulp fiction, the S&M horror film,
Motion picture audiences --- Horror films --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- Spookfests (Motion pictures) --- Motion pictures --- Haunted house films --- Monster films --- History and criticism. --- Audiences
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Art --- art [discipline] --- audiences --- collaboration --- youth [people]
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Mit dem Radio entstand in den 1920er Jahren ein aktuelles Medium, das seine Botschaften schnell und ungehindert einem breiten Publikum zugänglich machen konnte. Lange war es das Instrument der populären Information und der Unterhaltung, der Bildung und der Propaganda schlechthin. Erst nach dem Zweiten Weltkrieg machte ihm das Fernsehen Konkurrenz und zwang es dazu, seine Stärken in den Bereichen Service und Begleitung auszubauen. Ausgangsthema dieses Buches ist die Funktion des Radios in der öffentlichen Kommunikation. Mit Beispielen aus Geschichte und Gegenwart des Radios in verschiedenen Ländern behandelt es sodann 1. die Bedingungen, die das duale System in Deutschland und in anderen Ländern für die Kommunikation des Radios schafft, 2. die Bedeutung des Radios für die Akteure, also für jene Gruppen und Individuen in Alltag, Politik, Wirtschaft und Kultur, die zum Gegenstand der Programme werden, 3. die Beteiligung der Rezipienten, also derjenigen, die von Radio als Hörerinnen und Hörer angesprochen werden, die darin aber auch selbst aktiv werden können. Der Schwerpunkt liegt auf den Inhalten des Hörfunks: auf den Ausdrucksmitteln, Textsorten und Formaten, die das Radio geschaffen hat, um die Begegnung von Kommunikator, Akteur und Rezipient zu ermöglichen. Ein Hauptkapitel widmet sich neben den Grundelementen der Radio-Sprache und Programmstrukturen den Sendeformen Nachricht, gebauter Beitrag, Live-Reportage, Moderation, Servicebeitrag sowie der Musik, Werbung und PR im Radio.
Mass communications --- Radio audiences. --- Radio broadcasting. --- Radio --- Radio industry and trade --- Broadcasting --- Mass media --- Audiences, Radio --- Radio broadcasting --- Radio listeners --- Audiences --- Radio programs --- Social aspects --- Rating
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Cinematic Appeals follows the effect of technological innovation on the cinema experience, specifically the introduction of widescreen and stereoscopic 3D systems in the 1950's, the rise of digital cinema in the 1990's, and the transition to digital 3D since 2005. Widescreen cinema promised to draw the viewer into the world of the screen, enabling larger-than-life close-ups of already larger-than-life actors. This technology fostered the illusion of physically entering a film, enhancing the semblance of realism. Alternatively, the digital era was less concerned with the viewer's physical response and more with information flow, awe, and the reevaluation of spatiality and embodiment. This study ultimately shows how cinematic technology and the human experience shape and respond to each other over time.
Motion picture audiences. --- Technology in motion pictures. --- Cinematography --- Digital cinematography. --- Digital filmmaking --- Digital moviemaking --- Photography --- Chronophotography --- Motion pictures --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- Technological innovations. --- Digital techniques --- Animated pictures --- Audiences
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L'auteur part du constat que toute entreprise se doit de savoir ce qui se passe sur son site Web. Illustré de nombreux cas, cet ouvrage présente des méthodes et des indicateurs pour mener une analyse efficace qui réponde en permanence aux besoins des différents services : production, vente, contrôle de gestion, communication, direction, etc.
Internet --- Web sites --- Sites Web --- Audiences --- Evaluation --- Publics --- Internet - Audiences --- Internet - Evaluation --- Web sites - Evaluation --- Internet - Publics --- Sites Web - Evaluation
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Charting the rise of the immersive theatre phenomenon, this is the first survey of immersive theories and practices for students, scholars and practitioners of contemporary performance. It includes original interviews with immersive artists and examines key topics such as site-specific performance and immersive technologies.--Publisher website.
Performing arts --- Participatory theater. --- Arts du spectacle --- Théâtre --- Audiences. --- Publics --- Participation du public --- Théâtre --- Theatrical science --- Participatory theater --- Audience participatory theater --- Immersive theater --- Participation theater --- Theater --- Audiences, Performing arts --- Performing arts audiences --- Arts audiences --- Audiences --- #SBIB:316.7C216 --- #SBIB:316.7C318 --- Cultuursociologie: toneel, poppenspel --- Culturele participatie
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With a focus on the social, economic, and cultural factors that influence how we watch and think about movies, this book centres its investigations on four areas of inquiry: Who watches films? Under what circumstances? What consequences and affects follow? And what do these acts of consumption mean?
Motion picture audiences --- Motion picture industry --- History --- Motion picture audiences. --- Publics --- Film --- Sociology of culture --- Cinéma --- History. --- Industrie --- Histoire --- Film criticism. --- Motion pictures -- Appreciation. --- Music, Dance, Drama & Film --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- Audiences --- Motion picture industry - History
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This book aims to understand the relationship between Libyan students' consumption of satellite TV news services and their perceptions of news issues. This involves examining students' news consumption habits and their motives for the choices they make. In the face of competition from well-resourced broadcasters such as Al Jazeera TV, what can Libyan news services do to retain audience interest and loyalty? Do they need to do anything different? Is there room for local and international news ...
Television broadcasting of news --- College students as consumers --- News audiences --- Journalism --- Press --- Audiences --- Consumers --- Television broadcasting --- Television coverage of news --- Television journalism --- Television news --- Broadcast journalism --- News
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