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Audience theory offers explanations of how people encounter media, how they use it, and how it affects them. Although the concept of an audience predates modern media, [1] most audience theory is concerned with people’s relationship to various forms of media. There is no single theory of audience, but a range of explanatory frameworks.
Reader-response criticism is a school of literary theory that focuses on the reader (or "audience") and their experience of a literary work, in contrast to other schools and theories that focus attention primarily on the author, content, or form of the work.
For example, a film may be received as a comedy by some viewers, while others might perceive it as a tragedy, depending on their own experiences and cultural backgrounds. Reception theory further highlights the complex nature of media consumption, as audiences are not passive recipients but active participants in the construction of meaning.
Reception theory is generally referred to as audience reception in the analysis of communications models. In literary studies, reception theory originated from the work of Hans-Robert Jauss in the late 1960s, and the most influential work was produced during the 1970s and early 1980s in Germany and the US (Fortier 132), with some notable work ...
The audience motivations they were able to identify helped lay the groundwork for their research in 1972 and eventually uses and gratifications theory. [16] McQuail, Blumler and Joseph Brown suggested that the uses of different types of media could be grouped into 4 categories: diversion, personal relationships, personal identity, surveillance ...
Rhetorical criticism analyzes the symbolic artifacts of discourse—the words, phrases, images, gestures, performances, texts, films, etc. that people use to communicate. . Rhetorical analysis shows how the artifacts work, how well they work, and how the artifacts, as discourse, inform and instruct, entertain and arouse, and convince and persuade the audience; as such, discourse includes the ...
J. R. R. Tolkien's bestselling fantasy novel The Lord of the Rings had an initial mixed literary reception. Despite some enthusiastic early reviews from supporters such as W. H. Auden, Iris Murdoch, and C. S. Lewis, scholars noted a measure of literary hostility to Tolkien, which continued until the start of the 21st century.
In Wander's example involving Heidegger and art in society, the primary audience are those within a society where questions elicit official answers, the secondary audience are ideologues and censors already accounted for, and the tertiary audience (i.e., third persona) "may or may not have been part of the speaker's awareness, existing in the ...