The Impact of External Audience on Second Graders\u27 Writing Quality

The overarching purpose of writing is to communicate; as such, the intended audience is a critical consideration for writers. However, elementary school writing instruction commonly neglects the role of the audience. Typically, children are asked to compose a piece of text without a specific audience that is usually evaluated by the classroom teacher. Previous studies have found a relationship between audience specification and higher quality writing among older children; this study examines the impact of audience specification on young children’s writing. Using a within-subjects design, the study compared writing quality when second-grade students wrote for internal versus external audiences and found that children are more likely to produce higher quality writing when writing for an external audience than when writing for their teacher

Girls and the Media: Girlhood Studies Agenda and Prospects in Italy

Within the Italian context, girlhood studies can hardly be considered a specific field: adolescence and gender construction in Italy have historically been investigated by sociology and psychology, although, in recent years, media studies have also focused on youth media consumption as a cultural process in the broader sense, investigating the relevance of the media in the identity-building process. Actually, the lack of a definition of girlhood studies as such did not prevent Italian research from providing theoretical contributions and significant research on girlhood, mostly in the fields of reception studies, audience studies and textual analysis. On these premises, the article aims at discussing the relationships between girlhood and the media nowadays, keeping in mind firstly the recent transformations in media consumption within the networked society; secondly the coexistence of contradictory representations of girlhood in both the local and the global and the way it is assembled in the young audience discourse; and thirdly the phenomenon of identity co-creation in creative fandom practices.Within the Italian context, girlhood studies can hardly be considered a specific field: adolescence and gender construction in Italy have historically been investigated by sociology and psychology, although, in recent years, media studies have also focused on youth media consumption as a cultural process in the broader sense, investigating the relevance of the media in the identity-building process. Actually, the lack of a definition of girlhood studies as such did not prevent Italian research from providing theoretical contributions and significant research on girlhood, mostly in the fields of reception studies, audience studies and textual analysis. On these premises, the article aims at discussing the relationships between girlhood and the media nowadays, keeping in mind firstly the recent transformations in media consumption within the networked society; secondly the coexistence of contradictory representations of girlhood in both the local and the global and the way it is assembled in the young audience discourse; and thirdly the phenomenon of identity co-creation in creative fandom practices

Building bridges, filling gaps : toward an integrative interdisciplinary and mixed method approach for future audience research in relation to the mediation of distant suffering

Based on extensive literature research and 11 expert interviews with academics familiar with the field of audience studies and mediation of distant suffering, this article provides a metadiscussion of the different paradigms and methodologies that can be used for further empirical audience research. It is argued that the “middle-way” paradigms such as critical realism, grounded theory, and pragmatism can productively serve as the basis for a common epistemic language in interdisciplinary research. A mixed-methods approach may serve well for a broad and holistic study of the audience. It is further argued that future empirical research of media users in relation to distant suffering could benefit from an interdisciplinary, mixed-methods approach

Theorizing Audience and Spectatorial Agency

This chapter analyses Georgian audiences and spectatorial agency through several lenses: psychoanalytic film theory, theories of the public sphere and of mass publicity, and media studies of cultural convergence. The first section reads Georgian theatre’s heterogeneous playbills as a syntactical rendering of the audience, the imaginary community of the nation in process of negotiation. The second section shows theatrical paratexts blurring the boundary between theatre and coffee house, creating a theatrical public sphere in which the audience exercises daily public agency in saving or damning the play. The third section highlights the mingling of vulnerability and charisma in the celebrity prologue-speaker, a figure who both judges and entrances the audience while also embodying actors’ exposure to possible audience wrath. The final section looks at the theatres’ encouragement of spouting clubs as a means of channelling spectatorial agency

Reframing the Audience in Shakespeare Studies

Playwrights write their plays to be performed as theatrical events. These temporally-bound events, in which drama reaches its full potential, introduce factors that do not exist in textual forms of literature

Activism, affect, identification: trans documentary in France and Spain and its reception

This article explores the documentation of trans activism in France and Spain since the 2000s. The first part addresses questions surrounding the place of affect and narrative in documentary film, particularly in relation to trans issues. The second part o f the article analyses an audience case study from a screening at the International Gay and Lesbian Film Festival in Barcelona of Valérie Mitteaux's Girl or Boy, My Sex is not my Gender (2011), considering how different viewers respond to the representatio n of trans identities. The article builds on qualitative research whilst extending the exploration of sexuality and gender in previous audience studies to a consideration of documentary film, seeking to provide a more nuanced understanding of what audience claims for identification in politicised contexts mean

Going native - Brand New China, Advertising, Media and Commercial Culture, Jing Wang (2008) [Book Review]

Jing Wang's book is confused about its audience and fails to give an adequate account of either the specific knowledge available to advertising research or the nature of Chinese consumption. In addition its critique of cultural studies is misplaced and misguided

Pleasure and meaningful discourse: an overview of research issues

The concept of pleasure has emerged as a multi-faceted social and cultural phenomenon in studies of media audiences since the 1980s. In these studies different forms of pleasure have been identified as explaining audience activity and commitment. In the diverse studies pleasure has emerged as a multi-faceted social and cultural concept that needs to be contextualized carefully. Genre and genre variations, class, gender, (sub-)cultural identity and generation all seem to be instrumental in determining the kind and variety of pleasures experienced in the act of viewing. This body of research has undoubtedly contributed to a better understanding of the complexity of audience activities, but it is exactly the diversity of the concept that is puzzling and poses a challenge to its further use. If pleasure is maintained as a key concept in audience analysis that holds much explanatory power, it needs a stronger theoretical foundation. The article maps the ways in which the concept of pleasure has been used by cultural theorists, who have paved the way for its application in reception analysis, and it goes on to explore the ways in which the concept has been used in empirical studies. Central to our discussion is the division between the ‘public knowledge’ and the ‘popular culture’ projects in reception analysis which, we argue, have major implications for the way in which pleasure has come to be understood as divorced from politics, power and ideology. Finally, we suggest ways of bridging the gap between these two projects in an effort to link pleasure to the concepts of hegemony and ideology

(Re)contextualising audience receptions of reality TV

This paper seeks to recontextualise key findings from recent studies of reality TV audiences in light of insights drawn from across the wider field. It suggests that modes of engagement and response adopted by different reality TV audiences appear broadly consistent with those identified in relation to a wide variety of genres viewed in diverse national contexts, as charted in the Composite Multi-dimensional Model of audience reception (Michelle 2007). To further illustrate these parallels, this paper analyses online audience responses to a specific event that occurred during the 2006 reality game show, Rock Star: Supernova, applying the Composite Multi-dimensional Model as its conceptual schema. In so doing, this paper seeks to demonstrate how we might move beyond the traditional focus on specificities of genre and format to recognise and begin to theorise broader continuities in the nature of audience engagement that may persist beyond the transition to new, hybrid, and increasingly interactive media formats