Bridging the Gap: A Pentadic Analysis of Theresa May’s Conservative Conference Speech “Britain after Brexit: A Vision of a Global Britain”

This qualitative study of British Prime Minister Theresa May’s Conservative conference speech “Britain after Brexit: A Vision of a Global Britain” delivered in the fall of 2016 uses pentadic criticism as the basis for its analysis. This contemporary study identifies women as an underrepresented minority in the realm of politics around the world and media as a powerful channel for their portrayal. As the role of women in political leadership is more prevalent in times of crisis around the world, it is exceedingly important to understand the role that the media can play in their portrayal for both foreign and domestic audiences alike. This study reaffirms that more women in leadership within politics is needed for equitable gender representation in politics. May’s speech and her portrayal within the media for both foreign and domestic audiences show that it is possible for women to bridge the gap of gender and politics

New Audiences for the Arts: The New Audiences Programme Report

This 269 page report gives a detailed overview of a £20 million funding programme ‘New Audiences’, designed to foster new practice in audience development by arts organisations in England. It was the culmination of a five-year scheme which supported 1200 audience development initiatives across the country. Glinkowski was one of a team of seven researchers who compiled the report: ACE Research Officers, Clare Fenn, Adrienne Skelton and Alan Joy compiled the statistical information for the report appendices; the main body of the report, from Executive Summary to Conclusions, was written by a team of three consultant researchers, Glinkowski, Pam Pfrommer and Sue Stewart, working under the supervision of the ACE Head of New Audiences, Gill Johnson. The report was a summary, compilation and interpretation of key themes emerging from the material contained within around 1150 evaluations of projects funded by the £20 million ‘New Audiences’ programme during the 5-year period from 1998-2003. The interpretative work and writing up was undertaken collaboratively by the consultant researchers and Glinkowski’s particular input was to the Executive Summary; Introduction; General Audiences; Disability; Social Inclusion; Rural; Older People; General Findings; and Conclusion sections of the report. He was also the principal author (although in keeping with ACE practice on advocacy material, not formally credited) of the ‘New Audiences Advocacy Document’ (ISBN 0728710331), produced in conjunction with the main report with introduction by Tessa Jowell, Secretary of State, Department of Culture, Media and Sport and Peter Hewitt, Chief Executive of Arts Council England. The full report is published online, with a companion volume summarising all projects undertaken within the ‘New Audiences’ programme. Additionally, Glinkowski was commissioned to contribute case studies to the ‘New Audiences’ website (http://www.newaudiences.org.uk/index.php), including 'Open Studios/Artists Presentation Research' (http://www.newaudiences.org.uk/project.php?id=680)

Bodytraffic

BODYTRAFFIC uses the creative spirit of its Los Angeles home as a backdrop for delivering performances that inspire audiences around the globe to simply love dance. Since its founding in 2007 by Artistic Director Tina Finkelman Berkett, the company has held fast to its mission of championing contemporary dance, educating audiences, and inciting positive change. Its goal is simple: get the world moving.https://digitalcommons.kennesaw.edu/danceprograms/1006/thumbnail.jp

Effects of \u3ci\u3eThe Met: Live in HD\u3c/i\u3e on the Democratization of Opera in America

The Met: Live in HD satellite broadcasts of live opera performances began in 2006 and have since become popular with audiences around the world. While this could be an excellent avenue to democratize opera and make it available to new audiences, the available data indicates that most Live in HD viewers are already opera enthusiasts and have previously attended live opera performances. This thesis examines the history of the Metropolitan Opera’s broadcasting efforts, the demographics of American opera audiences, trends in Live in HD’s repertoire, and strategies to increase Live in HD’s appeal to a broader, more diverse audience that can revitalize opera’s popularity in the United States

Book review: museums in the new mediascape: transmedia, participation, ethics by Jenny Kidd

This is an important contribution to debates around museums today, and a book that consistently asks intelligent and challenging questions of museum critics, practitioners and audiences, writes Richard Martin

Effects of \u3ci\u3eThe Met: Live in HD\u3c/i\u3e on the Democratization of Opera in America

The Met: Live in HD satellite broadcasts of live opera performances began in 2006 and have since become popular with audiences around the world. While this could be an excellent avenue to democratize opera and make it available to new audiences, the available data indicates that most Live in HD viewers are already opera enthusiasts and have previously attended live opera performances. This thesis examines the history of the Metropolitan Opera’s broadcasting efforts, the demographics of American opera audiences, trends in Live in HD’s repertoire, and strategies to increase Live in HD’s appeal to a broader, more diverse audience that can revitalize opera’s popularity in the United States

Family & Consumer Sciences and Cooperative Extension in a Diverse World

The role of Family & Consumer Sciences (FCS) as a program area in Extension dates back before the Smith Lever Act of 1914. As we celebrate 100 years, reaching a new set of audiences poses a challenge to Extension. These audiences include new Americans, new family structures, urban populations, new occupations, and virtual clients from around the world. This commentary examines the role that FCS will play in the next 100 years to face these challenges

Youth and intimate media cultures: gender, sexuality, relationships, and desire as storytelling practices in social networking sites

This paper investigates how young people give meaning to gender, sexuality, relationships, and desire in the popular social networking site (SNS) Netlog. In arguing how SNSs are important spaces for intimate politics, the extent to which Netlog is a space that allows contestations of intimate stories and a voicing of difference is questioned. These intimate stories should be understood as self-representational media practices; young people make sense of their intimate stories in SNSs through media cultures. Media cultures reflect how audiences and SNS institutions make sense of intimacy. This paper concludes that intimate stories as media practices in the SNS Netlog are structured around creativity, anonymity, authenticity, performativity, bricolage and intertextuality. The intimate storytelling practices focusing on creativity, anonymity, bricolage and intertextuality are particularly significant for a diversity of intimacies to proliferate

Towards Elucidating Psychological Arousal in Response to Music Theatre

This thesis explores the psychological effects of observing experimental music theatre performance video recording. Experiencing music theatre can evoke a range of aesthetic and psychological emotions in audiences. These include joy, sadness, fear, unease, excitement, and empathy. Immersion in stories and characters can lead to temporary shifts in mood, perception, and relationships with the artwork. Watching experimental performance can activate areas of the brain associated with reward and emotion and in some cases, memory formation. These neural responses contribute to a sense of enjoyment, distress, and personal growth. The psychological impact of music theatre can be argued to extend beyond any single performance and shape how audiences interpret and respond to the world around them. By considering theatrical elements, and synthesising them with music, music theatre is a uniquely powerful medium for influencing the mind and shaping human psychology. Music Theatre productions create a sense of discovery and challenge assumptions about what is possible within the art form. By incorporating avant-garde technique, intermediality, and unconventional spaces, and often using complex musical language, music theatre can be perceptively alienating to some observers. This exposure to abstract and ambiguous performance activates cognitive processes as audiences work to make meaning from them. This leads to a heightened sense of engagement and generating confusion, frustration, or discomfort. Overall, this thesis demonstrates that music theatre produces profound and lasting psychological effects on audiences. This leads to wider discussions around philosophy, art, and culture and how composers can galvanise music theatre work for future audiences