Audience Experience Research Articles

Water management issues in the context of music festivals

In recent years, festivals, especially music festivals have become important vectors for promoting their host cities. Festivals are complex phenomena with high economic and socio-cultural impact. High CO2 emissions and huge resource consumption are commonly related to the festivals’ negative environmental impact. Ensuring the suitable amount of water for a large-scale event is essential for both the audience experience and the city residents, especially when their access to water is hindered by excessive water usage for the festival. Therefore, an accurate estimation of water consumption during festivals is a prerequisite for rigorous water planning. In the Covid-19 world, due to the worsening crisis of resources and to the increasing pressure exerted by audiences asking for more eco-conscious events, festival organizers are called to get together with other stakeholders and re-examine the water management issues. Water companies have already started to embrace digital solutions. Their further implementation will result in a large amount of environmental data that could contribute to a paradigm shift concerning festival sustainability. The present paper was conceived around this topic, with the goal of increasing the awareness of all the actors involved in festival operational processes. Outcomes of a desk research and a case study focused on the UNTOLD and Electric Castle music festivals are presented.

Engaging and supporting the public on the topic of grief and bereavement: an evaluation of Good Grief Festival.

Good Grief Festival was originally planned as a face-to-face festival about grief and bereavement. Due to COVID-19, it was held online over 3 days in October 2020. To evaluate the festival's reach and impact. Pre/post evaluation. Pre-festival online surveys assessed reasons for attending and attitudes to bereavement across four items (fear of saying the wrong thing, avoiding talking to someone bereaved, knowing what to do if someone bereaved was struggling, knowing how to help). Post-festival online surveys evaluated audience experiences and the four attitude items. Free-text responses, analysed using thematic analysis, generated suggestions for improvement and general comments. Between 5003 and 6438 people attended, with most attending two to five events. Pre-festival survey participants (n = 3785) were mostly women (91%) and White (91%). About 9% were from Black or minoritised ethnic communities. About 14% were age ⩾65 years, 16% age ⩽34 years. Around 75% were members of the public, teachers, students or 'other'; 25% academics, clinicians or bereavement counsellors. A third had been bereaved in the last year; 6% had never been bereaved. People attended to learn about grief/bereavement (77%), be inspired (52%) and feel part of a community (49%). Post-festival participants (n = 685) reported feeling part of a community (68%), learning about grief/bereavement (68%) and being inspired (66%). 89% rated the festival as excellent/very good and 75% agreed that they felt more confident talking about grief after attending. Higher ratings and confidence were associated with attending more events. Post-festival attitudes were improved across all four items (p < 0.001). Attendees appreciated the festival, particularly valuing the online format, opportunities for connection during lockdown and the diversity and quality of speakers. Suggestions included improving registration, more interactive events and less content. Good Grief Festival successfully reached a large public audience, with benefit in engagement, confidence and community-building. Evaluation was critical in shaping future events. Findings suggest festivals of this nature can play a central role in increasing death- and grief-literacy within a public health approach.

The role of John Williams’ music in Schindler’s List and Saving Private Ryan

It can be said that music is an essential part of a film, and a good commercial film has good music to render it to a large extent. There are three levels of music appreciation in film: analyzing the music itself, incorporating the music into the film world, and describing the audience experience. The Second World War is unprecedented in human history, and the film industry has made a variety of films to commemorate and reflect on this war, so that future generations will never have to repeat the mistakes. Spielberg’s Schindler’s List and Saving Private Ryan, for example, both presented the tragic history of the Second World War to audiences in documentary form. This article will critically analyze the role of music in these two films.

Reading Unnaturally: A Response to Ellen Peel

Reading Unnaturally: A Response to Ellen Peel Jan Alber (bio) and Brian Richardson (bio) WE ARE GRATEFUL TO ELLEN PEEL for making a number of important points about the role of different cultural beliefs, the question of the status of impossibility in fictional worlds, and the reader of unnatural narratives. We especially appreciate the thoroughness of her scholarship and her impressive ability to keep pace in this quickly developing field. There is, however, one term, one association, and one concept that we want from the outset to distance ourselves from. We object to the term “strange” to describe the texts we work with. The term is much too general as well as being too vague. Our preferred terms are the much more clearly delimited “impossible” (Alber) and “antimimetic” (Richardson): there is a universe of texts that are strange in one way or another, but only a small proportion of them are impossible or antimimetic. We are also very wary of simple oppositions between Western and non-Western cultures and beliefs. We suggest that the binary opposition such a distinction demarcates does not do justice to the hybrid nature of cross-cultural contact, and this is especially true of indigenous authors who publish narratives that feature minority beliefs. [End Page 102] We suggest it is generally more useful to identify the often complex negotiations that animate works where indigenous beliefs are presented to multiple audiences, some of whom do not share those beliefs. The work of an author like Leslie Marmon Silko is especially adept at producing respect for Laguna Pueblo beliefs due to their emotional power, cultural efficacy, and metaphorical resonance, without insisting that they are literally true as well (see Richardson, Unlikely 142–43). A Western/non-Western binary opposition is inadequate to comprehend such works. Another area in which we disagree is the concept of the supernatural. We have both discussed this elsewhere and thus will not repeat our arguments here, but simply note that supernatural claims are frequently mocked by antimimetic writers like Shakespeare, Joyce, and Rushdie (see Richardson, Unnatural 10–11, 15–16 and Alber 11, 40–41, 95, 106–7, 220–22, 228–30). Peel’s comments on the reader of unnatural fiction are very lucid, helpful, and generative. This is the most vigorously debated area of unnatural narrative theory and arguably that which most invites additional exploration. Since the two of us have different responses to Peel’s specific proposals, we will shift from speaking together to speaking individually. Brian Richardson: I am pleased to accept her revision of my position, namely that impossible means perceived as impossible by the authorial audience. This is, I feel, an important step toward the extension and clarification of unnatural narrative theory, and I thank her for this important contribution. At the same time, I would point out that in many instances, all audiences will generally agree on the status of numerous impossible acts and events, as the flagrancy of such representations enhances their unnaturalness. Thus, few would disagree that it is impossible for a bad storm to blow a ship to the moon, as occurs in Lucian’s A True Story (see Richardson, Unnatural 96–98). Concerning conventionalization, however, I am content to retain my revised position, that the fact that a practice has become conventionalized does not alter its status as unnatural. Jan Alber: I do not accept the concept of the authorial audience and therefore have substantial problems with Peel’s redefinition. She sees “unnatural texts” as “texts that feature elements experienced as strikingly impossible or antimimetic by their authorial audiences” (Peel 77; emphasis in original). In other words, “unnaturalness requires an authorial audience that experiences a textual element as unnatural” (ibid.; emphasis original). Although this redefinition sounds very plausible to me, I wonder exactly how actual readers can determine if the authorial audience considers a text to be unnatural or not. Peel explains that the authorial audience experiences the text “in the way intended by the author” (76). However, neither Peel nor other representatives of the rhetorical theory of narrative present us with a convincing methodology that would somehow enable us to discern the worldview that the author and the authorial audience share. There...

A Phenomenological Study on the Re-watching Experience of Musical Audiences

본 연구는 관객의 뮤지컬 재관람 경험이 그들의 일상에 미치는 영향과 공연 관람으로부터 얻는 효과를 파악하기 위해 실행된 현상학적 연구이다. 본 연구는 현상학적 연구방법 중 하나인 지오르기(A. Giorgi)의 연구방법을 활용하였다. 분석 결과, 뮤지컬 재관람 관객은 재관람을 통해 개인의 취향을 형성하고 중독성, 호기심 등을 경험했으며, 공연의 변화 및 희소성에 흥미를 느끼는 것으로 나타났다. 뮤지컬을 재관람하면서 SNS를 활발하게 활용하고 작품에 몰입하는 현상을 나타냈으며, 때로는 금전적, 지역적 제약을 느끼기도 했지만 제약을 극복하면서 결과적으로 일상에 긍정적인 효과를 경험하였다. 또한 재관람의 빈도가 낮을수록 기존의 평가와 타인의 의견, 제작사에 대한 이해를 기준으로 공연을 선택하는 반면, 재관람의 빈도가 높을수록 자신의 감정과 판단을 기준으로 재관람을 결정하는 비율이 높다는 사실을 알 수 있었다. 이러한 분석 결과는 추후 뮤지컬 시장의 발전과 관객 개발, 주 관객층에 대한 이해를 높이는 것에 도움을 줄 수 있을 것으로 기대된다.

Gençler Yerli Dizileri Nasıl İzliyor? Türkiye’de Yeni Televizyon Ekosistemi Çerçevesinde Eleştirel Bir İzleyici Araştırması

Medya ortamını değiştiren dijital teknolojiler, televizyon yayıncılığı alanında da OTT platformların ortaya çıkmasıyla önemli bir değişime sahne olmuştur. Türkiye’de ulusal çapta faaliyet gösteren OTT platformlarının erişime açılmasıyla, televizyon yapım pratikleri ve izleyici tercihleri/deneyimleri açısından bir değişimin başladığı görülmektedir. Bu noktadan hareketle, bu çalışmanın amacı Türkiye’deki genç dizi izleyicilerinin OTT platformlarındaki yerli dizi izlemeye ilişkin görüş ve tutumları ile izleme davranışlarına yansıyan deneyim ve pratiklerin tutarlılığını incelemektedir. Bu bağlamda anket ve odak grup görüşmelerinden oluşan iki aşamalı bir araştırma tasarlanmıştır. İlk aşamada internet üzerinden paylaşılan anketle dizi izleyicilerinin geleneksel televizyon ve OTT platformlardaki dizi deneyiminin farklılıkları ve benzerlikleri belirlenmeye çalışılmıştır. Çalışmanın ikinci aşamasında ise anket bulguları doğrultusunda yerli dizi izleyicilerinin yarısının 18-34 yaş aralığında olduğu verisine dayanarak sınırlı bir örneklem üzerinden araştırma soruları derinleştirilmiştir. Bu kapsamda üç oturumda on sekiz katılımcıyla görüşülmüştür. Her iki araştırmadan elde edilen veriler birlikte değerlendirilmiş; üç tematik başlıkta toplanmış, tablolar aracılığıyla görselleştirilmiş ve yakın dönem izleyici çalışmalarında öne çıkan eleştirel kuramlar bağlamında analiz edilerek yorumlanmıştır. Bulgular, yerli OTT platformlarında yerli dizi izleme alışkanlıkları, deneyimleri ve buna karşı olan tutumların pratikten ve kişisel tecrübeden doğmadığını aksine katılımcıların söylemleri ile pratikleri arasında büyük bir çelişki olduğunu göstermektedir.

From real spaces to virtual spaces: The metaverse and decentralized cinema

Developments in computer and communication technologies, which constitute the starting point of concepts such as decentralization, virtuality, simulation, augmented reality and metaverse, have also brought new forms of expression and designs in art to the agenda. In addition to the decentralized data architecture and metaverse areas that emerged in parallel with the development of network technologies, applications that increase the user's interaction and beleaguered experience such as virtual reality, augmented reality and mixed reality have increased their effectiveness in this field. The metaverse spaces that emerge with the cooperation of software, art and architecture offer their users a more similar life simulation of natural life through augmented reality vehicles or screens. Here, users can perform new experiences for artistic production and consumption as well as daily life practices such as socialization and communication. Metaverse spaces, which include the design of a three-dimensional virtual universe that can be supported by augmented reality, are free from all the constraints of the real world as a cinematic plateau. It is seen as a great advantage that the real film set can create a cinematic work without expensive equipment such as cameras, lights, and sound away from all the negativities of the natural shooting conditions. The fact that the production, distribution and screening of cinema works can be realized within this field brings a new understanding of decentralized cinema to the agenda. Decentralized cinema, which has begun to rise in the expanding virtual geography of the metaverse virtual space with its advantages such as virtual characters and scenes and creative space fictions, is an art form worth examining. This study focuses on the possible future transformations of cinema in terms of production and representation in the context of the relationship of virtual and augmented reality technologies with developing metaverse areas. The emergence of a new cinematic ecology; The opportunities and obstacles it provides to producers are examined with the philosophical criticism method through concepts such as virtual and augmented reality, web 3.0, metaverse in terms of audience experiences it offers for screening. As a result of the study, it was concluded that the metaverse area has many advantages in terms of the production of cinema works, democratization of the production and distribution of works, digital privacy and security for metaverse artists, and recognition of ownership for digital works of art.

Design, Assessment and Deployment of an Efficient Golf Game Dynamics Management System Based on Flexible Wireless Technologies.

The practice of sports has been steadily evolving, taking advantage of different technological tools to improve different aspects such as individual/collective training, support in match development or enhancement of audience experience. In this work, an in-house implemented monitoring system for golf training and competition is developed, composed of a set of distributed end devices, gateways and routers, connected to a web-based platform for data analysis, extraction and visualization. Extensive wireless channel analysis has been performed, by means of deterministic 3D radio channel estimations and radio frequency measurements, to provide coverage/capacity estimations for the specific use case of golf courses. The monitoring system has been fully designed considering communication as well as energy constraints, including wireless power transfer (WPT) capabilities in order to provide flexible node deployment. System validation has been performed in a real golf course, validating end-to-end connectivity and information handling to improve overall user experience.

Analysis of Teenagers' Receptions About Free Association in the "Little Mom" Series on We Tv

Film is one of the mass communication media that has a major influence on the wider community. The Little Mom film series directed by Guntur Soehardjanto tells the story of teenage pregnancy which is the result of promiscuity. The purpose of this study was to analyze adolescents' reception of promiscuity in the Little Mom series. This study used a qualitative descriptive research method using Stuart Hall's reception analysis. It is expressed in three possible positions, namely dominant hegemony, negotiating position, and oppositional position carried out by the subject under study. Reception analysis refers to the study of the meaning of production and audience experience in relation to interacting with media texts. Stuart Hall explained that reception can be described through a process called encoding-decoding. Encoding is the process of translating the message carried out by the source while decoding is the recipient's attempt to translate the message obtained from the source. The research data collection technique was Roland Bartes' semiotic analysis of 5 scenes and structured interviews with 4 informants in Marga Sakti Sebelat District who were selected by purposive sampling to determine informant criteria and snowball sampling to determine the four informants in the study. The results of the study show that in the first scene, second scene, and third scene, the informants are dominated by oppositional positions. In the fourth scene, informants 1, 2 and 4 are in an oppositional position and informant 3 is in a negotiating position. In the fifth scene, informants 1, 3 and 4 are in an oppositional position and informant 2 is in a negotiating position. There are no informants who are in a position of dominant hegemony.

Design of Wayang Show With 360° Video (Virtual Reality) as a Media to Intoduce Teenage About Wayang Cepak Tegal

Nowadays, wayang cepak in Tegal City are increasingly rarely known by young people, especially teenagers wayang performances being rarely attended. From this study, it is known that adolescents tend to be more interested in westernized modern culture so that they are indicated to have less respect and are increasingly unfamiliar with their own existing traditional culture. The purpose of this research is to reintroduce the wayang cepak in the form of digital media which is shown to teenagers in Tegal City aged 15-21 years. The delivery of story content through Virtual Reality has the potential to provide an immersive viewing experience that can be viewed from a 360° video perspective using the Luther-Sutopo version of the Multimedia Software Development Method for the segmentation of teenagers aged 15-21 years. To find out and collect data the researchers used qualitative methods. The results of this study are expected to help re-introduce and invite teenagers to generate a sense of love for wayang cepak. As well as looking for alternative ways to watch wayang shows from a 360° perspective as a whole for Virtual Reality users. Virtual Reality is an effective promotional media that utilizes new technology to add to the audience's new experience of an environment as a whole, so that here it is hoped that the audience will enjoy the Wayang Cepak performances that contain the values of good moral teachings through various stories.

Geolocational Soundwalk as ecological choreography: Walking and listening towards ecological awareness

This article, which is based on a thesis written for an MA in Contemporary Theatre, Dance and Dramaturgy at Utrecht University, considers the ecological potential of performing arts through a lens of a newly proposed concept of ecological choreography with reference to a stimulation of ecological experience of interconnectedness and an attention on the format of a geolocational soundwalk (through a study case of Sandbox). A geolocational soundwalk is an example of ecological choreography due to its characteristics of practical mechanics and the use of sound. Choreography, here defined as an organisation of things in space and time, refers to performance’s way of producing such ecological experiences. Relying on a combination of geographical location and sound excerpts instigated by these coordinates, a geolocational soundwalk’s audience experiences interconnectedness immediately when encountering the medium itself. The interdependence of its elements is ingrained into the artwork’s structure and any missteps from the audience which disturb the interconnectedness are visible, revealing the web of complex connections. In combination with presenting topics such as degradation of public space and the return of natural sounds during the pandemic, Sandbox produces an experience of interconnectedness for the attendee. When listening to sound excerpts and stories about the physical place they are walking, the web of connections between the location, the mechanics of the soundwalk as well as ecological topics is revealed. The embodied experience, which is the ecological contribution of performance, is what makes the soundwalk an example of the concept of ecological choreography.

Sonorous Desert: What Deep Listening Taught Early Christian Monks—and What It Can Teach Us by Kim Haines-Eitzen

Reviewed by: Sonorous Desert: What Deep Listening Taught Early Christian Monks—and What It Can Teach Us by Kim Haines-Eitzen Katie Kleinkopf Kim Haines-Eitzen Sonorous Desert: What Deep Listening Taught Early Christian Monks—and What It Can Teach Us Princeton, NJ: Princeton University Press, 2022 Pp. 168. $19.95; £14.99. Listen. No, really. Stop for a moment and just listen. What do you hear? People talking? Birds chirping? What about the sound of your heartbeat or breath? Now, listen again and consider how your own soundscape informs your experience of and connection to the place in which you reside. This phenomenon dwells at the center of Kim Haines-Eitzen's remarkable and deeply personal book, Sonorous Desert: What Deep Listening Taught Early Christian Monks—and What It Can Teach Us. Not a typical academic monograph (though one built on a considerable foundation of historical, scientific, and literary sources), Sonorous Desert perhaps more closely aligns with other recently published works on our present quest for quiet attention in a world dominated by incessant noise and increasingly invasive technology. In order to accomplish this task, Haines-Eitzen draws on both her personal and professional background to offer a meditation on the phenomenon of deep listening through the lens of ancient Christian monastics. Sound connects each chapter, bridging not only the deserts of the Middle East with the American Southwest, but also the early Christian landscape of desert ascetics with Haines-Eitzen's current life in a COVID-ravaged world. This book seeks to find the balance between humanity's yearning for silence and solitude with the inextricable pull and necessity of community, and it does so through the experience of sonic landscapes across time and space. Chapters progress with a story-like unfolding through Haines-Eitzen's own personal quest to record natural soundscapes as well as the lessons she learned along the way. Her own anecdotes and discoveries during her time in disparate deserts frame most chapters and drive her over-arching questions. The tales of the ancient ascetics, like those of Antony, the Desert Fathers, and the hermit Paul, act as mini-listening workshops, akin to the ornithological labs Haines-Eitzen herself attended. With these works (which may be deeply familiar to many scholars, though, perhaps, unknown to students, her primary audience), Haines-Eitzen teaches us how to listen. She draws our attention to the sonorous landscape of the desert both past and present, the onomatopoeia lost in English translations of ancient Greek words, and our own culturally constructed idea that we should separate "human" sounds from "natural" ones. The sonorous anecdotes from ascetic vitae and sayings ground each chapter in an aural landscape, convincingly arguing that soundscapes formed an active element of ascetic practice. In order to help her audience experience these places for themselves, the coda of each chapter contains its own QR code where we can listen to field recordings collected by Haines-Eitzen herself. Not only do these recordings allow us to hear what we have only previously imagined, but they enable us to close our eyes and feel the bridge across space and time—to experience not only the same [End Page 652] phenomena as Haines-Eitzen during the time of her recordings, but perhaps, as she would suggest, what ancient people experienced thousands of years ago. To use sound as a source requires a different methodology than scholars of the ancient world typically employ. As with a scientist collecting field samples, Haines-Eitzen asks us to be still, to feel, and to experience. To listen deeply with our whole bodies. Listening, as she explains, is far more than hearing. It is a vibration, both a presence and a stillness. How did it feel, she asks, to dwell in the desert, this place between earth and sky, God and demons, noise and silence, solitude and community? Ultimately, it is this paradox on which we are (as were early Christian monks) urged to ruminate. As much as we and our late ancient counterparts may have wanted to, it is impossible to escape fully into silence and solitude. Silence, Haines-Eitzen concludes, is a human construct—one created purely of imagination. Something sought and...

Beyond a Lush Life: Representation and Performativity at America's [Only] Queer Jazz Festival

Beyond a Lush Life: Representation and Performativity at America's [Only] Queer Jazz Festival

Unpacking COVID-19 and conspiracy theories in the UK black community.

Conspiracy theories are associated with significant COVID-19 health consequences including lower engagement with protective behaviours. This study uses sensemaking theory, a process of constructing meanings through interpersonal exchanges that enable people to interpret their world to explain the theoretical process underlying the development of conspiratorial beliefs around COVID-19 within Black African and Caribbean communities in the UK. Qualitative, in-depth interviews were used. Twenty-eight members of the communities were recruited: semi-structured interviews were analysed using grounded theory. Our findings provide an explanation of how an environment of crisis combined with current and historical mistrust, perceived injustice and inequality provided a context in which alternative conspiracy narratives could thrive. The nature of these conspiratorial beliefs made more sense to many of our respondent's than institutional sources (such as the UK Government). Critically, these alternative beliefs helped respondents shape their decision-making, leading to non-engagement with COVID protective behaviours. We conclude that the uncertainty of the pandemic, combined with historical and contemporary perceived injustice and mistrust, and a lack of specific identity-aligned messaging, created a perfect environment for conspiratorial sense-making to thrive. This alternative sensemaking was inconsistent with the health-protection messaging espoused by the Government. To ensure all groups in society are protected, and for health promotion messages to take purchase, the experiences of different target audiences must be taken into account, with sensemaking anchored in lived experience.

Waardes, Verwagtings en Bevredigings van Suid-Afrikaanse T elevisienuuskykers

THIS Investigation examines the audience experience with television news in South Africa and presents a process model of uses and gratifications based upon an expectancy-value approach. The prime objective was accomplished when three reliable scales for the measure ment of values attached to television news Items; expectations about finding such news-items; and gratification of these ex pectations were developed. A significant correlation between all three scales was in dicated, although the correlation between values and expectations was much stronger than the correlation between values and gratifications. While the correlation between expectations and gratifications was still significant, it was also much lower than the correlation between values and expecta tions. This finding provides evidence against the criticism that since a gratification is ex pected and sought, it must necessarily be obtained. Instead, it is found that television news programmes in South Africa, while ef fective, are imperfect providers of news related gratifications sought. To cast addi tional light on the relative lower correlation between expectations and gratifications, the degree of dependence on television news as primary source was taken into ac count.

Modeling the effects of vaccination, nucleic acid testing, and face mask wearing interventions against COVID-19 in large sports events.

The transmission of SARS-CoV-2 leads to devastating COVID-19 infections around the world, which has affected both human health and the development of industries dependent on social gatherings. Sports events are one of the subgroups facing great challenges. The uncertainty of COVID-19 transmission in large-scale sports events is a great barrier to decision-making with regard to reopening auditoriums. Policymakers and health experts are trying to figure out better policies to balance audience experiences and COVID-19 infection control. In this study, we employed the generalized SEIR model in conjunction with the Wells-Riley model to estimate the effects of vaccination, nucleic acid testing, and face mask wearing on audience infection control during the 2021 Chinese Football Association Super League from 20 April to 5 August. The generalized SEIR modeling showed that if the general population were vaccinated by inactive vaccines at an efficiency of 0.78, the total number of infectious people during this time period would decrease from 43,455 to 6,417. We assumed that the general population had the same odds ratio of entering the sports stadiums and becoming the audience. Their infection probabilities in the stadium were further estimated by the Wells-Riley model. The results showed that if all of the 30,000 seats in the stadium were filled by the audience, 371 audience members would have become infected during the 116 football games in the 2021 season. The independent use of vaccination and nucleic acid testing would have decreased this number to 79 and 118, respectively. The combined use of nucleic acid testing and vaccination or face mask wearing would have decreased this number to 14 and 34, respectively. The combined use of all three strategies could have further decreased this number to 0. According to the modeling results, policymakers can consider the combined use of vaccination, nucleic acid testing, and face mask wearing to protect audiences from infection when holding sports events, which could create a balance between audience experiences and COVID-19 infection control.

Beyond influence: Contextualization and optimization for new narrative techniques and story-formats. Perspective paper

In a society where advances and innovations occur on a daily basis, outreach and meaningful engagement with the general public become more challenging. The amount of information produced and repackaged surpasses existing systems in place to ensure truthful and factual engagement with the public, especially with complex matters regarding health science. This perspective paper discusses the value of contextualization and optimization for creating transparent and engaging content. We reflect on the innovative Transformative Storytelling Technique as a new category creating hybrid content to guide the experience of audiences, starting with the case of informal caregivers helping individuals living with neurological conditions. Moreover, we share our perspective on the important considerations for current and future development of highly targeted content using this technique. We include reflexions around the risks and ethical principles needed in the utilization and dissemination of “guided” content for the general public.

Theater of Ancestral Mediation

Theater of Ancestral Mediation

‘I can live without you’: Self-branding as individuation in young Chinese women’s transnational mobilities

In recent years, significant numbers of young middle-class Chinese women have moved abroad to construct an individual ‘biography’ beyond the unequal gendered expectations of the post-reform context. This article reports on a 2019 qualitative study combining interviews and visual analysis of WeChat and Instagram posts to consider how young Chinese women temporarily living in Australia maintain relationships with upper middle class family who have supported their daughters’ overseas ventures. In the wake of sweeping privatization which has encouraged parents to invest in their only children as their ‘only hopes’, online media has allowed parents to be ‘pervasively present’ for distant daughters in these transnational movements. We document participants’ curated self-branding for family on WeChat as a means of managing and negotiating this sometimes interventionist presence. Our participants’ practices reveal a complex juggling act: managing individual desires to optimize the overseas experience but carefully modulating such experience for the parental audience. Post-pandemic follow-up interviews in 2022 also suggest complications in the use of transnational mobility to extend the possibilities of flourishing, with parental pressure to return to a more proximate zone of surveillance in China. Such practices indicate the gendered contradictions young women face: pushed but also desiring to succeed individually in an unequal marketplace, while being further tethered to the family unit.

빌 모리슨의 [그녀에 대한 영화The Film of Her]에 나타난 파운드 푸티지 기법 연구 - 들뢰즈의 ‘차이와 반복’ 개념을 중심으로

Found footage is a technique for creating new images by recycling images such as movies, news, and advertisements. Bill Morrison's The Film of Her (1996) utilizes found footage techniques to unfold a woman’s memories of working as a film archivist by a voice-over narrator. A film archivist, while working in the library's copyright section, stumbles upon paper prints of a film printed on paper in the library's archives, and introduces a video announcing its value. The central characters appearing in The Film of Her are women in early film history. The frequent appearance of women in early film history is evidenced by the scene of a woman coming alive from the canvas of a portrait in Melius's films, or when a character named Uncle Josh jumps into the screen to rescue a woman from a ghastly man. Above all, a woman in a nude outfit of unknown origin further emphasizes the meaning of the film. The narrator reveals that she (HER) in her youthful state remained frozen in her time but that she was resurrected by the found footage technique. Bill Morrison's found footage is an acknowledgment of the archive fever and desire for creation and signifies the promise of a new film through the recycling of archive collections. As images from various eras unfold sequentially or simultaneously, Morrison's audience experiences the resonance effect of time and the puissance of difference and repetition.