Audience Identification Research Articles

Moral Thresholds of Outrage

This article analyses the social construction of moral outrage, interpreting it as both an extemporaneous feeling and an enduring process, objectified in narratives and rituals and permeating public spaces as well as the intimate sphere of social actors’ lives. Based on ethnography carried out in Istanbul, this contribution focuses on the assassination of the Turkish Armenian journalist Hrant Dink in 2007. This provoked a moral shock and led to an annual commemoration in which thousands of people—distant in political, religious, ethnic positions—gather around a shared feeling of outrage. The article retraces the narratives of innocence and the moral frames that make Dink’s public figure different from other victims of state violence, thus enabling a moral and emotional identification of a large audience. Outrage over Dink’s murder has become a creative, mobilizing force that fosters new relationships between national history and subjectivity, and de-reifies essentialized social boundaries and identity claims.

MINIMIZED Design for the Packaging of Shenyang Specialties Against the Internet-Based Background

The focus herein is innovative design ideas for the packaging of Shenyang specialties under the concept of minimization. Through analyzing the current status of the packaging of Shenyang specialties, the relevance between minimized design and specialty package is discussed, while based on actual cases, studies are carried out to find solutions for problems including waste of resources resulted from excessive packaging, homogenization of package images, blurring of audience identification, and unitary sales channel. By redesigning the packaging of Shenyang specialties against the internet-based background and increasing visibility of specialty products, new ideas and methods for the package design of Shenyang specialties are provided taking minimized concept as the entry point, thus to realize value guidance and culture communication under the concept of minimization.

Reconciliation through Estrangement

AbstractWhile it is often assumed that reconciliation culminates in the comprehensive resolution of conflict between deeply alienated parties, the article argues that reconciliation can only be achieved through complex mechanisms of estrangement that reveal alternative vistas or collective renewal. Art performs an important role in this process. The article theorizes estrangement as both an artistic and a political technique that can have world-disclosing, rather than alienating, effects on its audience: what Svetlana Boym calls estrangement for, rather than from, the world. I tease out the implications of this insight by examining the South African theater pieceUbu and the Truth Commission, which employs a number of estrangements devices in order to problematize the ambiguities and uncertainties of the post-Apartheid transition period. By subverting audience identification, yet triggering emotional contagion, the play imaginatively opens up the possibility of a common world in which agonistic relations are productively negotiated, rather than fully suppressed.

Power in Silence: Captions, Deafness, and the Final Girl

Power in Silence: Captions, Deafness, and the Final Girl

Research on Communication Identification of Intangible Cultural Heritage Popular Science Publication Based on AHP and Entropy Method

Based on “uses and gratifications theory”, the authors build an evaluation model of the communication identification of intangible cultural heritage (ICH) popular science publication. The weighed score of the model is obtained according to experts and general audience survey. The result is as follow: the factors at all the levels of use and identification affect audience identification in the evaluation model of communication identification of ICH popular science publication. Among these factors, audience from whom to know this channel, clear demonstration and integrating into relevant situation of skills and knowledge, these three indicators have significant influence on the communication identification of ICH popular science publication. It not only helps audience to obtain knowledge, but also generates audiences’ interests and making a combination between new media and themselves by other people.

Woven Identities: Socioeconomic Change, Women’s Agency, and the Making of a Heritage Art in Jølster, Norway

Abstract This article* focuses on the recent history and contemporary practice of a kind of traditional tapestry weaving known as smettvev in the rural county of Jølster in mountainous western Norway. Jølster has a rich fibre arts tradition and a rapidly changing society and economy, which make it an exemplary study in material culture as its fibre arts transform to accommodate these changes. This article draws on ethnographic research and interviews with representative practitioners and community members to examine how conceptions about producer and audience identity and the role of this art form in everyday life have evolved in light of changing context. The article furthermore discusses the ways in which the forms and motifs associated with smettvev are being re-appropriated by local contemporary artists working in other mediums, as well as by individuals and institutions who see smettvev as a symbol of local identity and heritage.

Audience Identification and Raidio na Gaeltachta

Audience Identification and Raidio na Gaeltachta

Ontological hesitations and performing codes unknown: Haneke, Kiarostami, Binoche and the ‘idea’ of the screen actor

This article will look at, to paraphrase Worthen, ‘the idea of the screen actor’ by thinking through screen acting in relation to Michael Haneke’s Code Unknown (2000) and Abbas Kiarostami’s Certified Copy (2010). The framing of performance in both these films raises questions around the ethics of spectatorship, particularly in terms of audience identification with character and the implications of this for the politics of representation. Central to this is the labour of the actor, in using their voice and body to elicit identification from the audience. The actress in question is Juliette Binoche, star of both films, whose repertoire and particular range of emotional expressivity would suggest her to be clearly entrenched in an illusionist/realist mode of acting a role. Binoche’s performances usually, therefore, invite the audience’s strong emotional identification with her characters and I will examine how the films under discussion strategically utilise this performance (rather than star) persona. I will start by examining Code Unknown, firstly locating it within broader traditions of modernist ideas of performance and attempting to outline the crucial part that the ‘idea’ of screen acting has to play in the ethical relationships created between the film and its spectators. I will then discuss Certified Copy, examining how Kiarostami wrong foots the audience in terms of actor, character and performance in the film. However, I will argue that the ethics of spectatorship with regard to acting on screen are handled somewhat differently by the two directors. Whereas Haneke’s treatment of Binoche’s performance seems designed to engender an awareness in the spectator of their ‘duping’ by the performer, Kiarostami moves through this to show an appreciation of the performer as presenting rather than representing a reality.

The screenplay and the spectator: Exploring audience identification in narrative structure

Abstract In ‘The protagonist’s dramatic goals, wants and needs’, published in Journal of Screenwriting in 2010, screenwriting analyst Patrick Cattrysse offers a revision of character ‘want’ and ‘need’, a common trope in screenwriting guides and manuals, to develop a protagonist’s arc throughout a story. His revision expands on this theory to include the audience and their subconscious connection with a character. This connection can generate feelings of sympathy and empathy, which can lead to identification. It can also create feelings of fear or anxiety in the audience based on their knowledge of the character. In ‘Her body, himself: Gender in the Slasher’ (1987), film analyst Carol Clover identifies the ‘Final Girl’ theory, a trope found in the horror ‘slasher’ subgenre. The Final Girl is easily identifiable for both screenplay readers and film spectators and is an ideal theoretical model to explore the revision that Cattrysse speaks of, in a practical setting. This article investigates how the screenplay and screenwriter can play a leading role in better understanding the implied reader or spectator in film studies. It concludes that scholarly research into screenwriting can benefit the writer in a practical setting.

Media audience homophily: Partisan websites, audience identity and polarization processes

The study suggests that media consumers favor certain websites not only due to their content but also due to their audience. A new concept is introduced: “audience homophily,” which describes one’s preference for partisan media websites catering to a homogeneous, likeminded consumership. This attraction is explained in terms of the need for self-consistency, and I suggest that over time such behavior will polarize political identity through a spiral of reinforcement. Based on both a survey-experiment ( N = 300) and a panel study combined with web-tracking technology that recorded online-exposure behavior ( N = 397), it was found that individuals with more extreme ideology present higher levels of audience homophily and that, longitudinally, audience homophily is somewhat associated with ideological polarization, intolerance, and accessibility of political self-definition.

Solidarity Framing at the Union of National and Transnational Public Spheres

Researchers have often overlooked transnational media due to a perceived lack of outlets and audiences that are truly transnational in scope. For communication scholars who examine the European Public Sphere, the dominant paradigm currently focuses on the “Europeanization” of national public spheres. While this approach has yielded important insights, the last 20 years have seen the proliferation of transnational media outlets, two of which are based in Europe. This paper focuses on the means by which one such media outlet, France 24, constructs and maintains a public sphere that is transnational in identity and reach. This is illustrated through a framing analysis of the France 24 program, Talking Europe, where our findings indicate that pan-European broadcasters simultaneously construct audience identification with national and transnational public spheres, by presenting frames of integration, harmonization, and solidarity. Ultimately, the analysis underscores three important outcomes: (1) transnational media play a vital role in our understanding of transnational public spheres, (2) transnational media are defined not only by geographic reach and audience share but also by particular forms of news coverage and content frames, and (3) framing theory can be used as a means of examining transnational media and transnational public spheres in future and ongoing research.

The Transformation of the Popular Israeli: The Increasing Dominance of Israelis Originally from North Africa and the Middle East

In this paper, we offer an important preliminary discussion of the recent changes in the Israeli popular culture. We analyze the transformation in representations of the typical and desirable Israeli in Israeli television over time. Focusing on reality and drama shows, our findings demonstrate how the positive presence of Mizrahi characteristics (Israelis who originated from Arab countries in Northern Africa and the Mediterranean) in Israeli television have shown a significant increase, and dominate the various reality shows broadcasts. Based on our analysis, we argue how the image of the Mizrahi Israelis, previously depicted in popular culture as weak, unsavory, and an object of ridicule, has morphed over time into a popular, appealing character that evokes audience identification. The cultural traits of the popular Israeli character have become increasingly aligned with what is identified as Mizrahi Israeliness.

Quem tem mais interesse pelo uso da informática na educação? Os professores mais jovens ou os mais velhos? – Um estudo correlacional

Currently, generations of people who differ due to the use of technology are living in the society. Based on the ease with which dominate the media, a first observation about these generations may suggest a radical break between the younger and the older, but this perspective is flawed. Studies show that does not exist a class of older people resistant to computers and that the younger generation should not be seen as homogeneous [3, 5, 16]. This applies to the educational context, that includes teachers from different generations. Thus, given the interest that teachers have on the use of computers in education, would be the level of this interest related to the age of the teacher? If yes, who has more interest? The younger or older teachers? This is an important aspect to be considered in the characterization of the user profile in the development of educational software, as well as in the identification of the target audience for teacher training courses that approach issues related to technology. So, based on a study of correlation between the ages and indicators of teachers' interest that participated of an extension course at distance for the production of learning objects, this paper aims to answer these questions and discusses ways of generalization of its results.

Proposta de organização de verbete em glossários terminológicos bilíngues - língua brasileira de sinais e língua portuguesa

http://dx.doi.org/10.5007/2175-7968.2015v35nesp2p557Este trabalho, que se insere na linha de pesquisa da Tradução e Terminologia, apresenta como objeto de estudo os termos base utilizado nos discursos políticos e educacionais que permeiam os eventos de conferências nacionais. Em respeito à Lei 10436/2002 e o Decreto 5626/2005 é direito do Surdo ter acesso às informações em Língua Brasileira de Sinais – Libras. Uma das formas de garantir esse direito é a presença do tradutor e do intérprete que ao atuar em áreas com temas especializados devem deter o conhecimento das terminologias específicas utilizadas em contextos diversos. O estudo em curso tem como base a Metodologia para elaboração dicionários e glossários de Faulstich (1995). A pesquisa segue a abordagem da Socioterminologia e, como procedimento: i) reconhecimento e identificação do público-alvo; ii) delimitação da área pesquisada; iii) coleta e organização dos dados; iv) organização do glossário e teste de validade. O resultado da pesquisa é a apresentação de uma proposta de organização de verbete de um Glossário Bilíngue de Terminologia voltado para a área de conferências, que possa servir como fonte de consulta e formação dos tradutores e dos intérpretes que atuam nos eventos de conferências nacionais.

If Orange Is the New Black, I Must Be Color Blind: Comic Framings of Post-Racism in the Prison-Industrial Complex

The acclaimed Netflix original series, Orange Is the New Black (OITNB) assembles a cast of characters representing a large swath of the population normally excluded from popular, mainstream television, including women of color, lower-class women, and queer/trans* women. Within the “tribal” organization of the fictitious Litchfield prison, the show's protagonist, Piper Chapman, naively struggles to understand the overt racialization of her new surroundings. Deploying a Burkean understanding of the comic frame, we argue that the first season of OITNB encourages audience identification primarily through the show's white, educated, upper-class central figure. Specifically, through Piper's animation of a comic corrective, OITNB enables poignant but limited critiques of U.S. post-racial fantasies (including myths of color blindness and racial equality) that so powerfully buttress the Prison-Industrial Complex.

All My Sons

All My Sons

Does the Co-Viewing of Sexual Material Affect Rape Myth Acceptance? The Role of the Co-Viewer’s Reactions and Gender

While media research has long ago acknowledged that watching TV is a social activity, only a few studies have examined the effects of co-viewing on adult reactions to a televised text. In the current investigation, we used social-cognitive theory combined with previous research on the intra-audience effect, audience identification, transportation, and attitude change to develop hypotheses connecting co-viewers’ reactions, co-viewers’ gender, and viewer’s post-exposure attitudes. Participants watched a movie segment that ended in a rape scene. We manipulated their confederate co-viewers’ displayed reaction (enthusiastic or bored) and gender, and subsequently measured perceived co-viewers’ attributions of responsibility for the rape, the viewers’ transportation, identification with the male protagonist, and acceptance of the rape myth (the tendency to attribute responsibility for sexual violence to the victim). Results demonstrated that for those participants who correctly perceived the engagement manipulation, the effect of the confederate co-viewer’s engagement manipulation on rape myth acceptance was positive and significant. In addition, both manipulations had an indirect effect on rape myth acceptance, sequentially mediated through transportation and identification.

Animating Transnational Capitalism

Transnational media animation builds consent for global capitalist social relations, including themes of individualism (consistently appearing as self-gratification and self-interest of elite protagonists), deference to authority (repeatedly framing protagonist actions as defense of hierarchies which define acceptable behavior and values), and consumerism (with franchised series and ubiquitous media product tie-ins for audience identity and affiliation with protagonists). Animation conventions allow for narratives with more intentional and transparent messages for multi-generational “family” entertainment, the major media market that now predominates internationally. Multiple examples from popular television and animation feature films produced for Asia, Latin America, Europe, and the US reveal a dramatic increase in cooperative transnational media production and uniform images and representations, suggesting that media structures affect entertainment content.

Family Register in British English: The First Approach to its Systematic Study

The present study looks into an unexplored area of research as it is the family register. An alternative to recording family conversations is the use of popular TV series, as their success lies in the audience's identification with their characters and their communicative style. This work analyses two highly popular series in UK. The results suggest that this register has its own communicative richness and internal variation, the knowledge of which may be of great help for students and professionals travelling to English-speaking countries and living or relating with native speakers in family environments.

Regulating and Transgressing the Borders of the Berlin Republic in Doris Dörrie's <em>The Hairdresser</em>

This article considers how, in The Hairdresser ( Die Friseuse , 2010), Doris Dorrie exposes the normalizing biopolitics of the Berlin Republic by offering an intersectional approach to thinking about discrimination in Germany and by establishing similarities between her white female protagonist and ethnic minorities. I examine how Dorrie employs ethnic minorities for her narrative by comparing The Hairdresser with Rainer Werner Fassbinder’s Ali: Fear Eats the Soul ( Angst essen Seele auf , 1974), another film with an intersectional approach to depicting discrimination in Germany and one that is implicitly referenced by Dorrie’s cinematography. I argue that although Dorrie’s film could be viewed as advancing the discussion on discrimination in Germany by considering the intersection of additional categories such as disability and citizenship, her film is inhibited by neoliberal tendencies, its comedic genre conventions, Dorrie’s wish to establish an easy solidarity between Germans and ethnic Others, and her attempts to forge audience identification with the protagonist.