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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.
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.
Uses and gratifications theory was developed from a number of prior communication theories and research conducted by fellow theorists. The theory has a heuristic value because it gives communication scholars a "perspective through which a number of ideas and theories about media choice, consumption, and even impact can be viewed". [11] [12] [13]
A single theory can go viral overnight, pulling in new audiences and keeping a movie or TV show relevant for years after its release. #10 House Dies In The Season 8 Finale And Wilson Begins ...
Audience immersion is a storytelling technique which attempts to make the audience feel as though they are a part of the story or performance, a state which may be referred to as "transportation" into the narrative, permitting high levels of suspension of disbelief. [1]
Active audience theory is seen as a direct contrast to the Effects traditions, however, Jenny Kitzinger, professor of Communications at Cardiff University, argues against discounting the effect or influence media can have on an audience, acknowledging that an active audience does not mean that media effect or influence is not possible. [5]
Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; [1] and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. [2]
Last year, “Parasite” made Oscar history by becoming the first non-English-language film to win best picture, which should have signaled a new, more internationally open-minded attitude at the ...