Studio 17: Knowing Audiences
Studio 17: Knowing Audiences
The concept of the audience has been a topic of continued debate and discussion in the study of media and communication. In the twentieth century, fears around the propagandistic impact of media technologies on mass audiences led to criticism and censorship of media texts from a number of different theoretical and ideological perspectives. However, alternative approaches to audiences have emphasised the active nature of ‘audiencing’, and researchers highlight audience reception of media messages in their cultural and social contexts. In the twenty-first century, the whole conception of the audience has been further challenged by digital communications technologies which allow users to be producers as much as consumers, and the impact of social networks and the internet more broadly have suggested the emergence of a more participatory culture. This can be linked to a move away from studying the ‘text-audience’ relationship and towards a focus on the place of media reception in the routines of everyday life.
This studio will encourage students to adopt an ethnographic approach to the study of audiences, by selecting a particular audience group and applying qualitative research methods to investigate the meanings and perspectives audiences generate and apply to their media use.
Read the story by The Guardian. What does it suggest about TV? About horror movies? Who are the ‘experts’ here? How is this linked to arguments around the value of popular culture? We will discuss these issues in the studio.
Outline the first seven weeks of study
The first few weeks of the studio will survey the history and theory of audience studies, in order to set the context for the ethnographic study of contemporary media audiences:
- Magic bullet theories
- Agenda setting
- Uses and Gratifications
- Reception Theory
- Active Audiences
- Audiences and publics
- Audiences and social constructionism
- Fandom and subcultures
- Networked audiences and social media
The latter part of the ‘taught’ studio will consider the different research methods (surveys, interviews, focus groups, participant observation) that have been used to investigate audiences.
- Alasuutari P (ed.) (1999) Rethinking the Media Audience: The New Agenda. London ; Thousand Oaks, Calif: Sage Publications UK
- Barker M, Arthurs J and Harindranath R (2001) The Crash Controversy: Censorship Campaigns and Film Reception. Wallflower Press
- Barker M and Petley J (2001) Ill effects: the media/violence debate. 2nd ed. Communication and society. London: Routledge
- Gauntlett D (2011) Making is connecting: the social meaning of creativity, from DIY and knitting to YouTube and Web 2.0. Cambridge: Polity Press
- Hills M (2002) Fan cultures. Sussex studies in culture and communication, London: Routledge
- Jenkins H (2006) Fans, bloggers, and gamers: exploring participatory culture. New York ; London: New York University Press
- Sullivan JL (2012) Media Audiences: Effects, Users, Institutions, and Power. SAGE Publications, Inc.
Senior Lecturer and CCS Co-ordinator for BA (Hons) Film and Broadcast Production, MA Film and Broadcast Production, BA (Hons) Animation and MA Animation
Completed his PhD, Food Scares and News Media: A Case Study Approach to Science and Risk in the News, in 1999 at London Guildhall University.
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Studio 10: Critical Theory and Critical Design. Artefacts, Images, Sites, Processes in Graphics and Illustration
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Studio 16: Narrative and Storytelling will see you produce storygraphs, storyboards and various forms of narrative analysis in the seminars.
Studio 17: Knowing Audiences will encourage you to study an audience group using qualitative research methods in your investigations.
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Studio 22: Meaningful work explores the value of making and the idea of craft as meaningful work.
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Studio 24: Words in Space reflects on the role that words play in our visual world, performative spaces and the urban environment.