Female Audience Research Articles

The Meaning Of Reality Shows On Television To Female Audiences

Özel televizyon kanallarında hafta içi gündüz kuşağında yayınlanmakta olan Reality Show programlarının ele alındığı bu çalışmada, kadın izleyicilerin bu tür programlara yönelik ilgisinin nedenleri araştırılmıştır. Amaç: Özellikle kadınlar tarafından yoğun biçimde izlendiği düşünülen bu programların, kadın izleyicilerin zihnindeki anlamlarını belirlemek, onlar için ne ifade ettiğini ortaya çıkarmak hedeflenmektedir. Çalışma, ticari birer program olarak üretilen gündüz Relaity Showlarının, kârı maksimize etmek için yapılandırılan biçim ve içeriklerinin izleyicideki anlam örüntülerini ortaya çıkarmak ve izleyicinin bu programlara dair düşüncelerini açığa çıkarmak üzere gerçekleştirilmiştir. Yöntem: Bu çerçevede nitel araştırma tekniklerinden biri olan görüşme tekniği kullanılmıştır. Araştırma evreni Türkiye'de özel televizyon kanallarında yayınlanmakta olan Reality Show programlarını izleyen kadın izleyicilerdir. Bu evren içinden "amaçlı örneklem" tekniği kullanılmak suretiyle seçilen 10 kadın izleyici ile görüşülmüştür. Kadınların hafta içi günde en az 2 saat bir ya da daha fazla Reality Show programını izlemeleri, ölçüt olarak belirlenmiştir. Bu nedenle bu ölçüte uyan kadın izleyiciler amaçlı olarak belirlenmiş ve yüz yüze görüşmeler yapılmıştır. Bulgular: Elde edilen verilere göre, kadınların gündüz Reality Showlarını yoğunlukla olumsuz olarak değerlendirdikleri ve bu programların onları negatif etkilediği bilgisine ulaşılmıştır. Kadınlar, gündüz Realiy Showlarında izledikleri hikâyelerden zaman zaman olumlu dersler çıkarsalar da genel olarak bu programların toplumdaki bireylere zarar verdiğini ve kötü örnek teşkil ettiğini düşünmektedir. Kadınların Reality Showları, belirli bir farkındalıkla izledikleri ancak, bu farkındalığın bu tür programları izlemeyi sonlandıracak bir boyut içermediği de ifade edilebilir. Özgünlük: Çalışmanın özel televizyon kanallarının en çok seyredilen program türlerinden biri olan Reality Show’ların, bu programları yoğun olarak seyreden kadın izleyicilerdeki anlam örüntülerini ortaya çıkaracak olması ve kadınlarda ne tür etkiler oluşturduğunu belirleyerek bilimsel veriler sunması bakımından önemli olduğu düşünülmektedir. Çalışmanın, ulaşılan verilerin bu tür programlara karşı izleyicide bir farkındalık yaratacak olması ve literatürde bu tür akademik çalışmaların son dönem televizyon kültürü bağlamında yeterli düzeyde yer almaması açısından özgün olduğu düşünülmektedir. Çalışma, bir izleyici çalışması olması ve izleyicilerin Reality Showlarla ilgili farklı düşüncelerini günümüz koşulları bağlamında açığa çıkarması nedeniyle de literatüre katkı sağlayacaktır.

Amaro's business model innovation: DNVB or platform?

PurposeThis teaching case aims to analyze the business model of Amaro, a company that directly sells lifestyle goods to end consumers (B2C), focused on the women's market. Amaro's original business model is introduced and a challenging dilemma is proposed: could Amaro innovate its business model, moving from a digitally native vertical brand (DNVB)-type company to a platform, specifically a vertical marketplace focused on the female audience? Would Amaro be prepared for this evolution or would it be more appropriate to focus on or strengthen the DNVB model?Design/methodology/approachThis teaching case was developed based on in-depth interviews with Amaro's leadership. The teaching notes were proposed based on business model innovation, competitive positioning and market trends concepts. The teaching case considers a new type of business model called DNVB. Students can review the concepts, create analyses and recommend which strategic options can leverage the company for a new growing cycle.FindingsUsing the case study in the classroom should promote the discussion and reflections on business model innovation and the future of retail in omnichannel contexts - Amaro offers products online (on an e-commerce platform and native mobile applications) and physically in locations called guide shops. The authors suggested the adoption of frameworks and tools (e.g. the competitive positioning map to allow students to visualize ways to compare strategies and make decisions).Research limitations/implicationsThe case introduces a fictional dilemma related to the decision to maximize offline or online investments or completely change the company's business model by adding a new vertical marketplace approach.Practical implicationsThis teaching case contributes to the student's learning about business model innovation and evolution. Case discussions could explore contemporary concepts such as value proposition, disintermediation and omnichannel commerce.Originality/valueOffering goods directly to the consumers by using modern technological architecture through vertical integration within the supply chain makes the DNVB business model an original topic in the start-up segment.

The Evolution of Female Audiences’ Perception of Female Superheroes in Films

The Evolution of Female Audiences’ Perception of Female Superheroes in Films

Visual Modernity of Contemporary Chinese Women from the Movie Full River Red

This article explores the visual modernity of contemporary Chinese women reflected in the image of geisha in the movie Full River Red. This paper mainly uses Laura Mulvey's gaze theory and Foucault's power theory, combined with the female image of geishas in the movie, to explore the social relations embodied in Chinese women's visual modernity. In the movie, a total of eight scenes of female scenes appears. There will be a flow of female power in every scene, and selected two representative plots for analysis. In the process of women going from being powerless to having power in the movie, it can be found that gaze has changed into another kind of "make themselves seen". Recently, a large number of female audiences have become viewers and the flow of power corresponds to the change of female power in real life. In general, based on the female cases in the film, and then to dissemination and reception of images and the changes in the production of image meanings and the other, discusses the relationship between this visual experience and Chinese female subjectivity.

Gender differences in pro-environmental nutrition behavior among football fans

Concerns about consequences of everyday nutrition have led to a gender gap in pro-environmental nutrition (PEN), implying that women decide more often to limit their meat consumption than men. For sport and football managers who increasingly deal with environmental sustainability while aiming to increase female audiences, the question arises of whether the gender gap in PEN also applies to football fans. Based on socialization theory, the safety-concerns hypothesis, ecofeminism, and a conceptual model on prosocial behavior, this study analyzed gender differences in environmental consciousness (EC) and everyday PEN and examined how gender moderates the impact of these two factors on the interest in vegan food in football stadiums. An online survey (n = 1605) of fans of a German Football League club was conducted to assess fans’ interest in the offer of a vegan sausage or burger. Empirical findings confirm the gender gap in EC. Women are significantly more likely to adopt PEN everyday if they have a high EC. Furthermore, women are significantly more likely to eat often/always a vegetarian diet everyday than men. Finally, women have a significantly higher interest in the offer of vegan food in the football stadium than men, irrespective of the EC level. Although we confirm the gender gap in EC and everyday PEN, sport managers learn from our findings that the growing female audience at football games is generally more interested in the availability of vegan food at the stadium than men are, irrespective of their EC or PEN in everyday life.

Strategic mouthing of words: the Chinese bromance drama Word of Honor, censorship and gender stereotypes

ABSTRACT Comparing the mouthed words and official dubbings of Word of Honor (WoH), a Chinese web drama adapted from a homoerotic danmei novel, this paper examines which parts of dangai works are changed to accommodate censorship. The paper explains the censorship standards of the Chinese National Radio and Television Administration (NRTA) regarding how the male image is conveyed: Men must achieve predictable social relationships with authorities and cannot be limited to their personal intimacies, let alone be regarded as objects of desire. On the other hand, the mouthed words hidden by the official dubbings are forms of strategic self-preservation. However, one must remain alert to how these mouthed words also support the dream of “a quiet time of equal rights for men and women” 1 for Chinese female audiences.

Shakespearean comedy and Japanese (wo)men's Shakespeare: A refraction for the twenty-first century

Two adaptations of Shakespeare comedies between 2008 and 2010 by the Tokyo-based all-male Studio Life company coincided with the better-known all-male Shakespeares directed by Ninagawa Yukio (based just outside Tokyo) and a moment of rising awareness of gender issues in Japanese society. This article explores the role of Studio Life's (and Ninagawa's) translator Matsuoka Kazuko, arguing that just as the all-male format rendered the chauvinistic aspects of Shakespearean comedy more palatable to a mainly female audience, so too does Matsuoka's achievement as the first female translator of Shakespeare's complete plays reveal the possibility of a Japanese woman ‘becoming’ Shakespeare.

When Appearance Social Comparison Benefits Women’s Body Satisfaction: Examining the Effects of Viewing Lean Sports

ABSTRACT While media representations of female athletes in lean sports often lead to negative body image perceptions in female audiences, media images depicting athletes playing sports may generate positive responses with respect to body image. Derived from the two lines of scholarship in sports media effects, this between-subjects, online experiment tests the effects of viewing images of female athletes playing lean sports (gymnastics, diving, artistic swimming, figure skating, and cheerleading). Results showed that female viewers (N = 625) engaged in greater appearance social comparison after viewing the images of female athletes playing lean sports (versus the control images), which in turn, was positively associated with their body satisfaction. Different levels of thinness and muscularity of female athletes in the media images did not significantly affect female viewers’ appearance social comparison or body satisfaction. Notably, post hoc analyses revealed several different findings across three age groups of women audiences (young adults, middle-aged adults, and older adults). Overall, this study sheds light on the positive impact of appearance social comparison after viewing lean sports. Furthermore, the findings indicate the importance of focusing on athlete performance in media practice in relation to lean sports.

"I think women can do anything": Postfeminist Sensibilities and the Male Gaze in Charlie's Angels (2019).

This article considers Mulvey's male gaze in today's postfeminist media culture in the latest remake of Charlie's Angels. Male gaze is analyzed as form, as production ecology, and as narrative. Since the inception of Charlie's Angels in the 1970s, the TV and feature film franchise has tried to balance feminist concerns with notions of femininity, in more and less successful ways. Although the 2000 remake of Charlie's Angels could be considered as an exemplar of objectifying and sexualizing women, the 2019 film barely presents such instances. Instead, it offers a male gaze directed at a female audience and internalized as a measure of success for its female protagonists and the implied female audience. Through practices of othering, and by placing male characters in morally inferior positions, the female audience is presented with hegemonic conceptions of white, middle-class femininity as an ideal that female viewers can and should aspire to be.

Upaya Kelompok Ektrimis Untuk Menunggangi Isu Palestina-Israel: Analisis Diskursus Terhadap Narasi Kelompok Pro-Khilafah

In Indonesia, as the country with the largest Muslim population in the world, there has also been a strong and massive reaction to what happened in Palestine. Ismail Fahmi, through his social network analysis on social media Twitter, found that the Palestinian-Israeli issue was in fact being ridden by pro-khilafah groups. This paper attempts to study pro-khilafah groups that are trying to ride on the Palestinian-Israeli issue. The approach adopted in this paper is qualitative by using the netnographic method. Netnography is the application of ethnography in cyber space to examine the culture and behavior that occur in computer-based activities. In the midst of this struggle for influence in the narrative of defense of Palestine, there is one small group which, if not observed closely, can freely raise a theme which is quite dangerous: the caliphate. This small group moves among other Palestinian support groups. The pro-khilafah narrative emphasizes elements of Islamic identity rather than humanitarian issues. He blatantly tried to draw a line of distinction between Judaism and Islam. From there, then the pro-khilafah activists entered into their ultimate goal, which is to promote the caliphate as a solution to the problems of the Palestinian people. The narratives built by the supporters of the caliphate are generally accompanied by the hashtags #khilafahsolusipalestina and #palestinaneedskhilafah. Widespread public support for Palestine is used by a few groups to smuggle their pro-caliphate agenda. This group, although small, has its audience, including women. The pro-khilafah promote war as an attraction for men who want action, and elements of the safety of Palestinian families, children and women for female audiences.

A “Golden Age” Puzzle with Female Audiences of Yeşilçam: Nostalgia, Melodrama and Gender

This study focuses on the ways in which the feeling and rhetoric of nostalgia are constructed and made sense of on the basis of the memories of women who went to the movies in the 1960s and 1970s and who watched mostly Yeşilçam melodramas. Experiencing cinema and going to the movies with diverse goals and meanings, these female audiences of Yeşilçam not only provided information about the cinema practices of the past when talking about their memories, but also expressed their feelings, desires and beliefs related to the past. Looking at memories of female cinema audiences suggests looking at the structures of feeling involved in the transformation of experience to memory, and of memory to history in the relationship between the individual and the collective. In line with this suggestion, this article analyzes the feelings of nostalgia in the narratives of historical female audiences by using oral history methods, which I call the myth of the “golden age” and “desire for wooden chairs”, within the framework of experiences and memories of cinema. The analysis shows that female audiences (as historical screen audiences) construct an ambivalent narrative between sense of nostalgia and anti-nostalgia when they recall memories of Yeşilçam melodramas, and sheds light on how women experience and make sense of nostalgia in different ways.

Carceral Feminism on Repeat

Film Quarterly contributing editor Laurie Ouellette examines the inconsistencies at the core of Law and Order: Special Victim’s Unit status as a feminist phenomenon. Since its debut in 1999, the program has been praised for promoting understandings of rape and domestic violence as introduced by the women’s movement, earning a reputation as a key popular culture home for feminist opinions. In this column, Ouellette examines the elephant in the room—SVU’s staunch support of the criminal justice system—in light of the cultural reckoning prompted by the murders of George Floyd, Breonna Taylor, and others. She concludes that SVU’s incorporation of feminist sensibilities, including solidarity with victims, covers up the persistent violence of policing but may also explain why female audiences horrified by this reality have not quit SVU.

MOTIVES AND SATISFACTION OF INDONESIAN WOMEN IN WATCHING THAI SERIES “KINNPORSCHE THE SERIES”

The internet does not only impact communicating media, but broadcast media is also affected by the emergence of internet-based broadcasting platforms. Through this platform, audiences can watch foreign shows with various genres, including the boys' love genre, such as KinnPorsche The Series, which comes from Thailand. This study aims to determine the motives and satisfaction of Indonesian female audiences in watching the boys' love series "KinnPorsche The Series." Researchers use the Uses and Gratification theory with four indicators: entertainment, social integration and interaction, personal identity, and information. This type of research is quantitative research with online survey research methods. The data analysis technique used is quantitative descriptive analysis. The results of this study show that the highest motives and satisfaction are on the entertainment indicators, and the lowest is on the integration and social interaction indicators. Female viewers get satisfaction in indicators of integrity and social interaction, personal identity, and information, and do not get satisfaction in entertainment indicators. Although the entertainment indicator has the highest motive value and satisfaction, it is not satisfied. Thus, subsequent researchers should analyze what factors make the entertainment indicator occupy the highest value.

Television, women, and self-objectification: Examining the relationship between the consumption of female TV dramas and sexism, the internalization of beauty ideals, and body surveillance in China

In China, a newly arising genre of TV dramas known as “female TV drama” has become very popular among female audiences and brought about great changes to the television industry in recent years. Under the framework of objectification theory, this study examines the relationship between the consumption of female TV dramas and sexism, the internalization of beauty ideals, and body surveillance among female audiences in China. Drawing on data collected from a questionnaire survey, we found that women’s consumption of female TV dramas is directly and indirectly associated with the levels of body surveillance, but is only indirectly associated with self-objectification. The relationship between women’s consumption of female TV dramas and their self-objectification is mediated by the internalization of beauty ideals. The consumption of female TV dramas can impose threats on women’s well-being and pursuit of gender equality in contemporary China.

The Research on the Portrayal of Soft Masculinity by K-pop Idols on Social Media

As a result of the Korean Wave, K-pop as a form of music has flourished over the world. The music genre is also noted for its visual-oriented production, and K-pop boy groups are pointed out for their identifiable aesthetics, which defy hegemonic notions of masculinity. Despite numerous research carried out on the new form of soft masculinity that many idols exhibit and how this alternate masculinity will influence society, there is a gap in carrying out specific case-by-case evaluations of idols on how soft masculinity is purposefully performed through social media. This project will hence analyze how a soft masculine image is portrayed online with media by conducting in-depth case studies of four popular male idols through three major social media platforms YouTube, Instagram, and TikTok, where official content is released. Patterns were then identified and summarized into findings. Results showed that fashion pieces are soft in color and material, they engage in child-like activities and behaviors, and are more expressive and vulnerable with their emotions. By doing so, they are able to curate an approachable image without completely leaning toward femininity, making them more appealing to female audiences. This alternate form of masculinity has challenged traditional norms, but most fans still recognize soft masculinity as a performed persona for media. In real life, hegemonic masculinity still prevails.

Gender-oriented vocabulary in advertising texts

Lexical means of expressing gender orientation in advertising texts are considered in the article. The relevance of the chosen topic is due to the need to take into account gender specificity in advertising slogans, which contributes to the accurate pragmatic impact and more effective construction of advertising communication. The study was based on the texts presented in the ads of popular magazines "Maxim" and "Cosmopolitan". The article considers examples of advertising texts with the indication of the lexical means of gender orientation, which supports the conclusion that the lexical means of gender orientation in the advertising text can include the vocabulary indicating the gender of the addressee, which contributes to the orientation of the advertising campaign to a specific target audience. The article presents an analysis in quantitative and percentage terms, which clearly demonstrates that, for example, adverbs in advertising for a female audience are much more common than in male advertising. The use of verbs in advertising texts, both for male and female advertising, is a priority, since the main semantic load is expressed through them. However, verbs predominate in male-oriented advertising texts, which indicates a man's ability to take decisive action. The verb is expressive and meaningful, dynamic.

Women’s Programs from the Perspective of Conspicuous Consumption: A Study on Gelin Evi (Bridal House) Audiences

The roles of the concepts of "bride" and "groom" of marriage, which make up the basic building block and enable society to exist, are changing day by day through popular culture and media in a globalizing and digitalizing world. The media, which is communicated with the mass media, realizes this with images and symbols and directs the meaning, duties and perception of these two concepts. Television, which is the most important of these tools, has become an indispensable part of our daily life since its invention and is still classified as a tool that still maintains its importance in the changing, developing and innovative media field. This tool changes the perception of the "bride" in the society in the direction of "skilled bride, competent bride", and imposes the opinion that social status will be achieved by owning expensive luxury products by emphasizing the external appearance, through "daytime TV women's programs". These programs, in which the practices of conspicuous consumption, which are a part of popular culture, are exhibited, target female audiences of domestic women, who spend most of their time at home, and by creating program contents that have been planned before, they have also affected the way of application of traditional customs and traditions. Bride candidates competing in the "Gelin Evi (Bridal House)" program, which was broadcast between 2015 and 2019 and decided to continue broadcasting again in 2022, created a competitive environment among them, also creating a competitive environment for their homes, their own bridal dowry, clothing, jewelry, food items and arrangements, wedding, and miscellaneous items. It is a program that selects the most assertive bride by scoring the ceremonies and the bridal belongings mentioned in the previous sentence within the scope of the competition. From this point of view, the aim of this study was to reveal the map of this program on the society within the framework of conspicuous consumption policies, and in-depth structured interviews were conducted with 20 women who were the audience of the program. At this point, it has been understood that the program on 20 women included in the research has changed the perception of the bride and created individuals who argue that the bride, who has flashy and exaggerated luxury consumption products, is one step ahead.

Multimodal Remote Research on Social Anxiety Using a New Teleconferencing Paradigm

BackgroundSocial anxiety is a prevalent mental health concern. Models of social anxiety incorporate multifaceted components from cognitive appraisals to attention as factors maintaining the disorder. Multimodal research investigating multiple facets of social anxiety simultaneously offers an important avenue to advance our understanding of the disorder.MethodsThe current study tested a novel, internet-based simulated teleconferencing interaction social stressor challenge and included the collection of self-report, eye-tracking, and auditory vocal data during the challenge. Participants (N = 262) completed two interactions. The pre-recorded male and female audience members (assigned to display interest or uninterest) discussed a topic and then prompted the participant to speak on that topic.ResultsFidelity indices revealed that most participants rated the interactions with the simulated audience as realistic; reported heightened subjective distress during the simulated teleconferencing interactions; and correctly rated audience members’ level of interest. As predicted, social anxiety predicted participants’ subjective distress during the simulated teleconferencing interactions. Findings from audio vocal and eye tracking analyses largely corresponded to prior research – indicating that social anxiety influences audio vocal responses and patterns of attention during social stressors.ConclusionsTaken together, these findings suggest that the simulated teleconferencing interaction framework introduced here offers a potentially useful approach for the remote investigation of mechanisms underpinning social anxiety.

From private pleasure to erotic spectacle: Adapting Bridgerton to female audience desires

In this article, we look at how medium and genre shaped the Netflix adaptation of the first two Bridgerton novels and mediated the depictions of sex and desire to fit medium-specific expectations surrounding sexual content made for women. The showrunners for Netflix’s Bridgerton (2020–present) articulated a desire to depict sex from a female perspective, and with a ‘female gaze’, but the series is also instrumental in defining that perspective in ways that often differ from the approach of the novels’ female author. The contrast between the original and the adaptation reveals social norms and beliefs about content that excites women as well as stark differences in print and television norms. In attempting to use a female gaze, the adaptation also constructs the female gaze as distinctly separate from what is depicted in the novels and as limited to specific forms of ‘looking’. We first explore how this is implicated in choices that were made about the adaptation of violent or aggressive sex for the show. Bridgerton avoids depictions of aggression present in the novel and falls back on traditional depictions of appropriate feminine desire. Secondarily, we discuss depictions of sexual consent in the novel and the series with a particular emphasis on the implications colour-blind-casting has for the depiction of violations of consent.

An Exploration of Critical Incidents Impacting Female Students’ Attitude Towards STEM Subjects

Science, Technology, Engineering and Math (STEM) subjects are extremely important to any nation's economy. For society to flourish sustainably there should be equal involvement of men and women in these professions. Even though the number of women in STEM areas has increased over the past several decades, there is still a sizable underrepresentation of women overall and in key positions. In the winter term 2020/21, among all the 1,090,804 students in STEM subjects at German universities, only 347,197 were female students (31,8%) (Statistisches Bundesamt, 2022). According to research by Corbett and Hill (2015), the following factors limit girls and women from majoring, for example, in computer science: Cultural prejudices, gender biases, and microinequities (subtle discriminatory actions) all contribute to a lack of sense of belonging in these sectors.
 Overall, this study aims to better understand the key situations that affect girls' and young women's decision for or against a career in STEM. In particular, the research is interested in finding out about subtle or obvious discriminatory but also facilitating actions which influence attitude towards STEM subjects. An online questionnaire was distributed to a student panel via a market research institute, which was answered by 777 German female students aged 16-20 years in May 2022. The questionnaire collected female students’ memorable positive and negative critical incidents which had an impact on their attitude towards STEM subjects. On the one hand, female students reported a learning environment in school leading to fear, frustration or anxiety which result into them questioning their math or science competence. On the other hand, female students also reported very positive, memorable experiences and appraisal situations in and offsite the classroom which increase their positive attitude about STEM subjects and might lead to a future career choice in a STEM subject. The authors hope to spark a conversation about how institutions might better tailor their offers to a female audience.