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Audi Alteram Partem in Criminal Proceedings: Towards a Participatory Understanding of Criminal Justice in Europe and Latin America
by Stefano RuggeriThis book analyses current developments in Europe and Latin America towards the greater involvement of the parties in the administration of criminal justice. Focusing on both national criminal proceedings and transnational cases, this study employs a comparative law approach to examine the shift experienced by Italy and Brazil from the long tradition of mixed criminal justice to unprecedented adversarial trends. The identification of common needs and divergences from the national approach to criminal justice paves the way for a subsequent analysis of new solution models emerging from international human rights law and EU law. To a great extent, these developments are due to the increasing impact of international human rights case-law on the criminal justice systems of the countries in question. The book concludes by proposing a set of qualitative requirements for a participatory model of criminal justice.
Audible Empire: Music, Global Politics, Critique
by Ronald Radano Tejumola OlaniyanAudible Empire rethinks the processes and mechanisms of empire and shows how musical practice has been crucial to its spread around the globe. Music is a means of comprehending empire as an audible formation, and the contributors highlight how it has been circulated, consumed, and understood through imperial logics. These fifteen interdisciplinary essays cover large swaths of genre, time, politics, and geography, and include topics such as the affective relationship between jazz and cigarettes in interwar China; the sonic landscape of the U.S.- Mexico border; the critiques of post-9/11 U.S. empire by desi rappers; and the role of tonality in the colonization of Africa. Whether focusing on Argentine tango, theorizing anticolonialist sound, or examining the music industry of postapartheid South Africa, the contributors show how the audible has been a central component in the creation of imperialist notions of reason, modernity, and culture. In doing so, they allow us to hear how empire is both made and challenged. Contributors: Kofi Agawu, Philip V. Bohlman. Michael Denning, Brent Hayes Edwards, Nan Enstad, Andrew Jones, Josh Kun, Morgan Luker, Jairo Moreno, Tejumola Olaniyan, Marc Perry, Ronald Radano, Nitasha Sharma, Micol Siegel, Gavin Steingo, Penny Von Eschen, Amanda Weidman.
Audible Geographies in Latin America: Sounds of Race and Place
by Dylon Lamar RobbinsAudible Geographies in Latin America examines the audibility of place as a racialized phenomenon. It argues that place is not just a geographical or political notion, but also a sensorial one, shaped by the specific profile of the senses engaged through different media. Through a series of cases, the book examines racialized listening criteria and practices in the formation of ideas about place at exemplary moments between the 1890s and the 1960s. Through a discussion of Louis Moreau Gottschalk’s last concerts in Rio de Janeiro, and a contemporary sound installation involving telegraphs by Otávio Schipper and Sérgio Krakowski, Chapter 1 proposes a link between a sensorial economy and a political economy for which the racialized and commodified body serves as an essential feature of its operation. Chapter 2 analyzes resonance as a racialized concept through an examination of phonograph demonstrations in Rio de Janeiro and research on dancing manias and hypnosis in Salvador da Bahia in the 1890s. Chapter 3 studies voice and speech as racialized movements, informed by criminology and the proscriptive norms defining “white” Spanish in Cuba. Chapter 4 unpacks conflicting listening criteria for an optics of blackness in “national” sounds, developed according to a gendered set of premises that moved freely between diaspora and empire, national territory and the fraught politics of recorded versus performed music in the early 1930s. Chapter 5, in the context of Cuban Revolutionary cinema of the 1960s, explores the different facets of noise—both as a racialized and socially relevant sense of sound and as a feature and consequence of different reproduction and transmission technologies. Overall, the book argues that these and related instances reveal how sound and listening have played more prominent roles than previously acknowledged in place-making in the specific multi-ethnic, colonial contexts characterized by diasporic populations in Latin America and the Caribbean.
The Audible Past: Cultural Origins of Sound Reproduction
by Jonathan SterneThe Audible Past explores the cultural origins of sound reproduction. It describes a distinctive sound culture that gave birth to the sound recording and the transmission devices so ubiquitous in modern life. With an ear for the unexpected, scholar and musician Jonathan Sterne uses the technological and cultural precursors of telephony, phonography, and radio as an entry point into a history of sound in its own right. Sterne studies the constantly shifting boundary between phenomena organized as "sound" and "not sound. " In The Audible Past, this history crisscrosses the liminal regions between bodies and machines, originals and copies, nature and culture, and life and death. Blending cultural studies and the history of communication technology, Sterne follows modern sound technologies back through a historical labyrinth. Along the way, he encounters capitalists and inventors, musicians and philosophers, embalmers and grave robbers, doctors and patients, deaf children and their teachers, professionals and hobbyists, folklorists and tribal singers. The Audible Past tracks the connections between the history of sound and the defining features of modernity: from developments in medicine, physics, and philosophy to the tumultuous shifts of industrial capitalism, colonialism, urbanization, modern technology, and the rise of a new middle class. A provocative history of sound, The Audible Past challenges theoretical commonplaces such as the philosophical privilege of the speaking subject, the visual bias in theories of modernity, and static descriptions of nature. It will interest those in cultural studies, media and communication studies, the new musicology, and the history of technology.
Audience: Marketing in the Age of Subscribers, Fans and Followers
by Jeffrey K. RohrsProprietary audience development is now a core marketing responsibility.Every company needs audiences to survive. They are where you find new customers and develop more profitable relationships. And yet, most companies today treat their email, mobile, and social media audiences like afterthoughts instead of the corporate assets they are. With AUDIENCE, Jeff Rohrs seeks to change this dynamic through adoption of The Audience Imperative. This powerful mandate challenges all companies to use their paid, owned, and earned media to not only sell in the short-term but also increase the size, engagement, and value of their proprietary audiences over the long-term. As content marketing professionals have discovered, the days of "build it and they will come" are long gone. If you're looking for a way to gain a lasting advantage over your competition, look no further and start building your email, Facebook, Google, Instagram, mobile app, SMS, Twitter, website, and YouTube audiences to last.
Audience: Performance, Audience And Value (ISSN)
by Helen WoodThis accessible guide through audience studies’ histories outlines a contemporary Cultural Studies approach to audiences for the digital age. This book is not a survey of all existing audience research. Instead, its chapters survey parts of the field in order to draw some ‘through-lines’ from older traditions to contemporary debates, giving students a ‘way in’ to thinking about the current landscape from an ‘audience-sensitive’ perspective. In order to do this, the book utilises a series of verbs to organise and cut a path through audience research and register its ongoing relevance today. These verbs are: audience, anchor, mean, feel and work. The list is not exhaustive and the reader is invited to think about what verbs they would add or change throughout the book. Audience suggests renewing the importance of ‘form’ as a cultural process and in ‘circling-back’ to Cultural Studies’ ‘circuit of culture’, it proposes a modified framework for ‘the digital circuit’. Each chapter opens with a particular scenario for the reader to reflect upon and asks a specific question to help orient the account of research that is to come, especially for those new to Media and Cultural Studies and to audience studies.Written in an engaging and accessible style, this book is ideal for both students and researchers of Media and Cultural Studies.
Audience, Agency and Identity in Black Popular Culture (Studies in African American History and Culture)
by Shawan M. WorsleyAudience, Agency and Identity in Black Popular Culture analyses black cultural representations that appropriate anti-black stereotypes. Using examples from literature, media, and art, Worsley examines how these cultural products do not rework anti-black stereotypes into seemingly positive images. Rather, they present anti-black stereotypes in their original forms and encourage audiences not to ignore, but to explore them. Shifting critical commentary from a need to censor these questionable images, Worsley offers a complex consideration of the value of and problems with these alternative anti-racist strategies in light of stereotypes’ persistence. This book furthers our understanding of the historical circumstances that are influencing contemporary representations of black subjects that are purposefully derogatory and documents the consequences of these images.
Audience Analysis
by Professor Denis McQuailDenis McQuail provides a coherent and succinct account of the concept of "media audience" in terms of its history and its place in present-day media theory and research. McQuail describes and explains the main types of audience and the main traditions and fields of audience research. Audience Analysis explains the contrast between social scientific and humanistic approaches and gives due weight to the view "from the audience" as well as the view "from the media." McQuail summarizes key research findings and assesses the impact of new media developments, especially transnationalization and new interactive technology. The book concludes with an evaluation of the continued relevance of the audience concept under conditions of rapid m
The Audience and Its Landscape (Cultural Studies)
by James HayThis book offers a major reconceptualization of the term “audience,” including the landscape of a given audience—the situated and territorializing features of any way of seeing and defining the world. Given de Certeau's hypothesis that listening, watching, and reading all occur in places and result in produce transformed paths or spaces, the contributors to this landmark volume have provided innovative essays analyzing the transformations that take place in the geography between sender and receiver. The book acknowledges, in the face of conventional “discourse analysis,” the contextual features of discourse, to produce a complex and textured understanding of the concept of audience.The Audience and Its Landscape, presents the work of a vital cross-section of international scholars including Sweden's Karl Erik Rosengren, the UK's Jay G. Blumler and Roger Silverstone, Australia's Tony Bennett, Israel's Elihu Katz, Canada's Martin Allor, and the United States's Janice Radway, Byron Reeves, and John Fisk, to name a few. This book is truly groundbreaking in its depth and scope, and will speak to students of rhetoric, mass communication, cultural studies, anthropology, and sociology alike.
Audience and Reception in the Early Modern Period (Routledge Studies in Cultural History #109)
by John R. DeckerEarly modern audiences, readerships, and viewerships were not homogenous. Differences in status, education, language, wealth, and experience (to name only a few variables) could influence how a group of people, or a particular person, received and made sense of sermons, public proclamations, dramatic and musical performances, images, objects, and spaces. The ways in which each of these were framed and executed could have a serious impact on their relevance and effectiveness. The chapters in this volume explore the ways in which authors, poets, artists, preachers, theologians, playwrights, and performers took account of and encoded pluriform potential audiences, readers, and viewers in their works, and how these varied parties encountered and responded to these works. The contributors here investigate these complex interactions through a variety of critical and methodological lenses.
Audience as Performer: The changing role of theatre audiences in the twenty-first century
by Caroline Heim'Actors always talk about what the audience does. I don’t understand, we are just sitting here.' Audience as Performer proposes that in the theatre, there are two troupes of performers: the actors and the audience. Although academics have scrutinised how audiences respond, make meaning and co-create while watching a performance, little research has considered the behaviour of the theatre audience as a performance in and of itself. This insightful book describes how an audience performs through its myriad gestural, vocal and paralingual actions, and considers the following questions: If the audience are performers, who are their audiences? How have audiences’ roles changed throughout history? How do talkbacks and technology influence the audience’s role as critics? What influence does the audience have on the creation of community in theatre? How can the audience function as both consumer and co-creator? Drawing from over 140 interviews with audience members, actors and ushers in the UK, USA and Austrialia, Heim reveals the lived experience of audience members at the theatrical event. It is a fresh reading of mainstream audiences’ activities, bringing their voices to the fore and exploring their emerging new roles in the theatre of the Twenty-First Century.
Audience Development and Cultural Policy (New Directions in Cultural Policy Research)
by Steven HadleyEncouraging more – and different – people to attend the arts remains a vital issue for the cultural sector. The question of who consumes culture, and why, is key to our understanding of the arts. This book examines the relationship of audience development to cultural policy and offers a ground-breaking perspective on how the practice of audience development is connected to ideas of democratic access to culture. Providing a detailed overview of arts marketing, audience development and cultural democracy, the book argues that the work of audience development has been profoundly misunderstood by the field of arts management. Drawing from a rich range of interviews with key individuals in the audience development field, the book argues for a re-conceptualisation of audience development as an ideological function of cultural policy. Of importance for students, academics and researchers working in arts management and cultural policy, the book is also vital reading for anyone working in the arts, cultural and heritage sectors with an interest in understanding how our relationship with the audience has been constructed.
Audience Economics: Media Institutions and the Audience Marketplace
by Philip M. NapoliFocusing on the electronic media—television, radio, and the Internet—Audience Economics bridges a substantial gap in the literature by providing an integrated framework for understanding the various businesses involved in generating and selling audiences to advertisers. Philip M. Napoli presents original research in order to answer several key questions: <P><P>How are audiences manufactured, valued, and sold? How do advertisers and media firms predict the behavior of audiences? How has the process of measuring audiences evolved over time? How and why do advertisers assign different values to segments of the media audience? How does audience economics shape media content?Examining the relationship between the four principal actors in the audience marketplace—advertisers, media firms, consumers, and audience measurement firms—Napoli explains the ways in which they interact with and mutually depend on each other. He also analyzes recent developments, such as the introduction of local people meters by Nielsen Media Research and the establishment and evolution of audience measurement systems for the Internet. A valuable resource for academics, students, policymakers, and media professionals, Audience Economics keeps pace with the rapid changes in media and audience-measurement technologies in order to provide a thorough understanding of the unique dynamics of the audience marketplace today.
Audience Engagement And The Role Of Arts Talk In The Digital Era
by Lynne ConnerThis book offers readers an understanding of the theoretical framework for the concept of Arts Talk, provides historical background and a review of current thinking about the interpretive process, and, most importantly, provides ideas and insights into building audience-centered and audience-powered conversations about the arts.
Audience Engagement in the Performing Arts: A Critical Analysis (New Directions in Cultural Policy Research)
by Ben WalmsleyThis book explores the concept of audience engagement from a number of complementary perspectives, including cultural value, arts marketing, co-creation and digital engagement. It offers a critical review of the existing literature on audience research and engagement, and provides an overview of established and emerging methodologies deployed to undertake research with audiences. The book focusses on the performing arts, but draws from a rich diversity of academic fields to make the case for a radically interdisciplinary approach to audience research. The book’s underlying thesis is that at the heart of audience research there is a mutual exchange of value wherein audiences ideally play the role of strategic partners in the mission fulfilment of arts organisations. Illustrating how audiences have traditionally been side-lined, homogenised and vilified, it contends that the future paradigm of audience studies should be based on an engagement model, wherein audiences take their rightful place as subjects rather than objects of empirical research.
Audience Evolution: New Technologies and the Transformation of Media Audiences
by Philip M. NapoliToday's consumers have unprecedented choice in terms of the technologies and platforms that access, produce, and distribute media content. The development and overlap of television, the internet, and other media technologies is fragmenting and empowering media audiences more than ever. <P><P>Building on his award-winning book, Audience Economics, Philip M. Napoli maps the landscape of our current media environment and describes its challenge to traditional conceptions of the audience. He examines the redefinition of the industry-audience relationship by technologies that have moved the audience marketplace beyond traditional metrics. Media providers, advertisers, and audience measurement firms now deploy more sophisticated tools to gather and analyze audience information, focusing on factors rarely considered before, such as appreciation, recall, engagement, and behavior. Napoli explores the interplay between political and economic interests in the audience marketplace and their effect on audience evolution. He recounts the battles waged between stakeholders over the assessment of media audiences and their efforts to restrict the functionality of new technologies. As Napoli makes clear, the very meaning of the media audience continues to evolve in response to changing technological, economic, and political conditions.
Audience Experience and Contemporary Classical Music: Negotiating the Experimental and the Accessible in a High Art Subculture (Audience Research)
by Gina EmersonThis book responds to recent debates on cultural participation and the relevance of music composed today with the first large-scale audience experience study on contemporary classical music. Through analysing how existing audience members experience live contemporary classical music, this book seeks to make data-informed contributions to future discussions on audience diversity and accessibility. The author takes a multidimensional view of audience experience, looking at how sociodemographic factors and the frames of social context and concert format shape aesthetic responses and experiences in the concert hall. The book presents quantitative and qualitative audience data collected at twelve concerts in ten different European countries, analysing general trends alongside case studies. It also offers the first large-scale comparisons between the concert experiences and tastes of contemporary classical and classical music audiences. Contemporary classical music is critically discussed as a ‘high art subculture’ rife with contradictions and conflicts around its cultural value. This book sheds light on how audiences negotiate the tensions between experimentalism and accessibility that currently define this genre. It provides insights relevant to academics from audience research in the performing arts and from musicology, as well as to institutions, practitioners and artists.
Audience Feedback in the News Media (Routledge Research in Journalism)
by Bill ReaderAs long as there has been news media, there has been audience feedback. This book provides the first definitive history of the evolution of audience feedback, from the early newsbooks of the 16th century to the rough-and-tumble online forums of the modern age. In addition to tracing the historical development of audience feedback, the book considers how news media has changed its approach to accommodating audience participation, and explores how audience feedback can serve the needs of both individuals and collectives in democratic society. Reader writes from a position of authority, having worked as a "letters to the editor" editor and has written numerous research articles and professional essays on the topic over the past 15 years.
Audience Genre Expectations in the Age of Digital Media
by Leo W. Jeffres David J. Atkin Kimberly A. NeuendorfThis volume bridges the divide between film and media studies scholarship by exploring audience expectations of film and TV genre in the age of digital streaming, using qualitative thematic and quantitative data-driven analyses. Through four ground-breaking surveys of audience members and content creators, the authors have empirically determined what audiences expect of various genres, the extent to which these definitions match those of scholars and critics, and the overall variation and complexity of audience expectations in the age of media abundance. They also examine audience habits and preferences, drawing from both theory and original empirical analyses, with a view toward the implications for the moving image in a rapidly changing media environment. The book draws from the data to develop a number of new concepts, including genre repertoire, genre hybridity, audience interest maximization, and variety seeking, and a new stage of genre development, genre bending. It is an ideal resource for students and scholars interested in the symbiotic relationship between audiences and the moving image products they consume, as well as the way the current digital media environment has impacted our understanding of film and TV genres.
Audience Genre Expectations in the Age of Digital Media
by Kimberly A. Neuendorf David J. Atkin Leo W. JeffresThis volume bridges the divide between film and media studies scholarship by exploring audience expectations of film and TV genre in the age of digital streaming, using qualitative thematic and quantitative data-driven analyses. Through four ground-breaking surveys of audience members and content creators, the authors have empirically determined what audiences expect of various genres, the extent to which these definitions match those of scholars and critics, and the overall variation and complexity of audience expectations in the age of media abundance. They also examine audience habits and preferences, drawing from both theory and original empirical analyses, with a view toward the implications for the moving image in a rapidly changing media environment. The book draws from the data to develop a number of new concepts, including genre repertoire, genre hybridity, audience interest maximization and variety seeking, and a new stage of genre development, genre bending. An ideal resource for students and scholars interested in the symbiotic relationship between audiences and the moving image products they consume, as well as the way the current digital media environment has impacted our understanding of film and TV genres.
The Audience in Everyday Life: Living in a Media World
by S. Elizabeth BirdThe Audience in Everyday Life argues that a media audience cannot be studied in front of the television alone--their interaction with media does not simply end when the set is turned off. Instead, we must study the daily lives of audiences to find the undercurrents of media influence in everyday life. Bird provides a host of useful tools and methods for scholars and students interested in the ways media is consumed in everyday life.
The Audience in the News (Routledge Communication Series)
by Dwight DeWerth-PallmeyerIn recent years, communication scholars have taken a renewed interest in analyzing the audience and its impact on the communication process. Similarly, news editors and producers have often turned toward a marketing orientation which seeks to give new readers and viewers what they want, or at least what they say they want. Yet, there has still been little written about just how the audience factors into the news which is produced. Seeking to fill that niche, this book argues that audience images are quite important in the construction of news, but not easily detected. That is because journalists are not principally interested in their audience; they are interested in the news. USE THIS PARAGRAPH ONLY FOR GENERAL CATALOGS... This volume argues that although journalistic images of the audience may be "incomplete," they do exist and powerfully help shape the work of journalists in producing journalistic texts. Using a case study of news workers and news texts at two Chicago newsgathering organizations, the Chicago Tribune and WGN-TV, this book: * examines notions of audience and how they have been treated by academicians, * presents a detailed description of the ways in which audience is embedded within the news construction process, * presents a very representative set of journalistic news values, * presents differing ideas of audience at three key levels of the news organizations -- reporters and news gatherers, editors and producers, and senior editors, producers, and news directors, and * seeks to summarize and position this study within the larger body of mass communication research.
Audience of One: Donald Trump, Television And The Fracturing Of America
by James PoniewozikOne of the Top 10 Politics and Current Events Books of Fall 2019 (Publishers Weekly) An incisive cultural history that captures a fractious nation through the prism of television and the rattled mind of a celebrity president. Television has entertained America, television has ensorcelled America, and with the election of Donald J. Trump, television has conquered America. In Audience of One, New York Times chief television critic James Poniewozik traces the history of TV and mass media from the Reagan era to today, explaining how a volcanic, camera-hogging antihero merged with America’s most powerful medium to become our forty-fifth president. In the tradition of Neil Postman’s masterpiece Amusing Ourselves to Death, Audience of One shows how American media have shaped American society and politics, by interweaving two crucial stories. The first story follows the evolution of television from the three-network era of the 20th century, which joined millions of Americans in a shared monoculture, into today’s zillion-channel, Internet-atomized universe, which sliced and diced them into fractious, alienated subcultures. The second story is a cultural critique of Donald Trump, the chameleonic celebrity who courted fame, achieved a mind-meld with the media beast, and rode it to ultimate power. Braiding together these disparate threads, Poniewozik combines a cultural history of modern America with a revelatory portrait of the most public American who has ever lived. Reaching back to the 1940s, when Trump and commercial television were born, Poniewozik illustrates how Donald became “a character that wrote itself, a brand mascot that jumped off the cereal box and entered the world, a simulacrum that replaced the thing it represented.” Viscerally attuned to the media, Trump shape-shifted into a boastful tabloid playboy in the 1980s; a self-parodic sitcom fixture in the 1990s; a reality-TV “You’re Fired” machine in the 2000s; and finally, the biggest role of his career, a Fox News–obsessed, Twitter-mad, culture-warring demagogue in the White House. Poniewozik deconstructs the chaotic Age of Trump as the 24-hour TV production that it is, decoding an era when politics has become pop culture, and vice versa. Trenchant and often slyly hilarious, Audience of One is a penetrating and sobering review of the raucous, raging, farcical reality show—performed for the benefit of an insomniac, cable-news-junkie “audience of one”—that we all came to live in, whether we liked it or not.
An Audience of One: Reclaiming Creativity for Its Own Sake
by Srinivas RaoThe creator of the Unmistakable Creative podcast makes a counterintuitive argument: By focusing your creative work on pleasing yourself, you can increase your productivity, happiness, and (eventually, paradoxically) the size of your audience.Creating for your own pleasure--whether you're writing a novel, composing songs, or painting a landscape--can seem pointless. It's tempting to focus on pursuing money and fame, rather than the process itself. But as Srini Rao warns, creating then turns into a chore that can harm your self-esteem and suck the pleasure out of life, rather than being a source of joy.Rao, host of the podcast The Unmistakable Creative, argues that we should counter this thinking by intentionally creating art for ourselves alone--an audience of one. In this book he shares the fascinating true stories of creatives who took this path, along with actionable tips and the research of creativity experts. You'll learn, for example: * How Oprah's intentional focus on her own work rather than the opinions of everyone else catapulted her into one of the most popular talk shows of all time. * How being process-driven can not only help you produce more work, but can make you happier outside of your creative time. * How to put together a creative "team of rivals" whose feedback can help you hone your craft and filter out useless feedback.By playing to an audience of one, we can find more happiness, increased productivity, and a greater sense of community.
Audience-ology: How Moviegoers Shape the Films We Love
by Kevin GoetzDiscover the fascinating and secretive process of audience testing of Hollywood movies through these first-hand stories from famous filmmakers, studio heads, and stars.Audience-ology takes you to one of the most unknown places in Hollywood—a place where famous directors are reduced to tears and multi-millionaire actors to fits of rage. A place where dreams are made and fortunes are lost. This book is the chronicle of how real people have written and rewritten America&’s cinematic masterpieces by showing up, watching a rough cut of a new film, and giving their unfettered opinions so that directors and studios can salvage their blunders, or better yet, turn their movies into all-time classics. Each chapter informs an aspect or two of the test-screening process and then, through behind-the-scenes stories, illustrates how that particular aspect was carried out. Nicknamed &“the doctor of audience-ology,&” Kevin Goetz shares how he helped filmmakers and movie execs confront the misses and how he recommended ways to fix the blockbusters, as well as first-hand accounts from Ron Howard, Cameron Crowe, Ed Zwick, Renny Harlin, Jason Blum, and other Hollywood luminaries who brought you such films as La La Land, Chicago, Titanic, Wedding Crashers, Jaws, and Forrest Gump. Audience-ology explores one of the most important (and most underrated) steps in the filmmaking process with enough humor, drama, and surprise to entertain those with only a spectator&’s interest in film, offering us a new look at movie history.