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Although four-quadrant movies are generally family-friendly, this is not a requirement. [3] Titanic, which was the highest-grossing film ever following its theatrical run, has been cited as a strong example of a four-quadrant movie that blended action and romance in a historical setting to appeal to all four quadrants. [4]
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.
Researchers have identified a strong relationship between prior film experience and conscious awareness of visual manipulations, especially for people with practical experience in production. [22] One study compared the participants’ ability to understand narrative in Hollywood versus experimental film, by measuring interpretational awareness.
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]
Biodemography is one of a small number of key subdisciplines arising from the social sciences that has embraced biology such as evolutionary psychology and neuroeconomics. However, unlike the others which focus more narrowly on biological sub-areas ( neurology ) or concepts (evolution), biodemography has no explicit biological boundaries.
During the early 20th century, developing mass media technologies, such as radio and film, were credited with an almost irresistible power to mold an audience's beliefs, cognition, and behaviors according to the communicators' will. [17] [18] The basic assumption of strong media effects theory was that audiences were passive and homogeneous.
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.
The North American definition refers to an interdisciplinary field of media theory and media design involving the study of media environments. [21] The European version of media ecology is a materialist investigation of media systems as complex dynamic systems. [22] In Russia, a similar theory was independently developed by Yuri Rozhdestvensky.