Diana C. Mutz
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691165110
- eISBN:
- 9781400865871
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691165110.003.0006
- Subject:
- Political Science, American Politics
This chapter utitlizes survey data to address the issue of whether those who watch in-your-face politics in the real world are also those likely to be affected by it. By combining content analyses of ...
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This chapter utitlizes survey data to address the issue of whether those who watch in-your-face politics in the real world are also those likely to be affected by it. By combining content analyses of forty different contemporary political programs with viewership data, the chapter gains some purchase on who watches political programs that include this kind of content as opposed to less in-your-face political programming. One would presume that the patterns of news consumption remains traditional—that is, that people who watch political television are those most interested in politics, the most partisan, and so forth. However, the greater variety of available political programming means that some of these demographic correlates may have changed.Less
This chapter utitlizes survey data to address the issue of whether those who watch in-your-face politics in the real world are also those likely to be affected by it. By combining content analyses of forty different contemporary political programs with viewership data, the chapter gains some purchase on who watches political programs that include this kind of content as opposed to less in-your-face political programming. One would presume that the patterns of news consumption remains traditional—that is, that people who watch political television are those most interested in politics, the most partisan, and so forth. However, the greater variety of available political programming means that some of these demographic correlates may have changed.
Uma Maheswari Bhrugubanda
- Published in print:
- 2018
- Published Online:
- February 2019
- ISBN:
- 9780199487356
- eISBN:
- 9780199093281
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199487356.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
If cinema has the power to possess people, persuade, or mesmerize them, how do we understand that compelling power? Is the display of devotion in the cinema hall the same as devotion in a temple? How ...
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If cinema has the power to possess people, persuade, or mesmerize them, how do we understand that compelling power? Is the display of devotion in the cinema hall the same as devotion in a temple? How have cinema and popular religion shaped each other? Through engaging with these questions, this book presents a genealogical study of the intersections between cinema, religion, and politics in South India. The first full-length study of the Telugu mythological and devotional films, this book combines a history of these genres with an anthropology of film-making and viewership practices. In the decades from the 1940s to the 2000s, it examines film texts, as well as methods of film-making and publicity, modes of film criticism as well as practices of viewership. The book draws on film and media theory to foreground the specificity of new technologies and the new kind of publics they create. Anthropological theories of religion, secularism, embodiment, and affect are combined with political theories of citizenship to complicate our understanding of the overlapping formations of film spectators, citizens, and devotees. It argues that the cinema offers a unique opportunity to explore the affective dimensions of citizenship and the formation of citizen–devotees.Less
If cinema has the power to possess people, persuade, or mesmerize them, how do we understand that compelling power? Is the display of devotion in the cinema hall the same as devotion in a temple? How have cinema and popular religion shaped each other? Through engaging with these questions, this book presents a genealogical study of the intersections between cinema, religion, and politics in South India. The first full-length study of the Telugu mythological and devotional films, this book combines a history of these genres with an anthropology of film-making and viewership practices. In the decades from the 1940s to the 2000s, it examines film texts, as well as methods of film-making and publicity, modes of film criticism as well as practices of viewership. The book draws on film and media theory to foreground the specificity of new technologies and the new kind of publics they create. Anthropological theories of religion, secularism, embodiment, and affect are combined with political theories of citizenship to complicate our understanding of the overlapping formations of film spectators, citizens, and devotees. It argues that the cinema offers a unique opportunity to explore the affective dimensions of citizenship and the formation of citizen–devotees.
Joseph E. Uscinski
- Published in print:
- 2014
- Published Online:
- March 2016
- ISBN:
- 9780814760338
- eISBN:
- 9780814762868
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814760338.003.0004
- Subject:
- Political Science, American Politics
This chapter outlines how news firms track audience preferences and tailor their content to respond to those preferences. It provides examples of news firms adjusting coverage before and after polls, ...
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This chapter outlines how news firms track audience preferences and tailor their content to respond to those preferences. It provides examples of news firms adjusting coverage before and after polls, showing the stark contrast between current and previous public opinion. With evolving technology, news firms have found more efficient and affordable ways to tap into audience opinions. Firms may alter programming, even the accuracy of programming, to cater to audience demands and retain viewers. Viewers demand gratification, and they will seek out news that gives it to them. News firms that do not provide it lose viewers and revenues. The problem for democratic governance is that gratifying news leaves audiences without the information they need to function in a democracy.Less
This chapter outlines how news firms track audience preferences and tailor their content to respond to those preferences. It provides examples of news firms adjusting coverage before and after polls, showing the stark contrast between current and previous public opinion. With evolving technology, news firms have found more efficient and affordable ways to tap into audience opinions. Firms may alter programming, even the accuracy of programming, to cater to audience demands and retain viewers. Viewers demand gratification, and they will seek out news that gives it to them. News firms that do not provide it lose viewers and revenues. The problem for democratic governance is that gratifying news leaves audiences without the information they need to function in a democracy.
Peter Lurie
- Published in print:
- 2011
- Published Online:
- March 2014
- ISBN:
- 9781617030208
- eISBN:
- 9781621033202
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617030208.003.0007
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter explores how the act of cinema-going in the racially organized and coded space of the southern Jim Crow movie house worked to construct and consolidate a white racial identity for ...
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This chapter explores how the act of cinema-going in the racially organized and coded space of the southern Jim Crow movie house worked to construct and consolidate a white racial identity for economically and/or spatially peripheral whites sampling the new goods, services, and pleasures available in modernizing, urbanizing environments. Drawing on recent scholarship on the social history of film viewership in the segregation-era South, it looks at the connections between white film spectatorship and the racializing activity of “consuming” racial violence in the form of spectacle lynching. The chapter examines these connections in William Faulkner’s fictions such as “Dry September” and Light in August in the context of viewership that is simultaneously inside and outside the operation of normative whiteness in Yoknapatawpha.Less
This chapter explores how the act of cinema-going in the racially organized and coded space of the southern Jim Crow movie house worked to construct and consolidate a white racial identity for economically and/or spatially peripheral whites sampling the new goods, services, and pleasures available in modernizing, urbanizing environments. Drawing on recent scholarship on the social history of film viewership in the segregation-era South, it looks at the connections between white film spectatorship and the racializing activity of “consuming” racial violence in the form of spectacle lynching. The chapter examines these connections in William Faulkner’s fictions such as “Dry September” and Light in August in the context of viewership that is simultaneously inside and outside the operation of normative whiteness in Yoknapatawpha.
Mark Gallagher
- Published in print:
- 2014
- Published Online:
- November 2015
- ISBN:
- 9780231169813
- eISBN:
- 9780231850643
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231169813.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter discusses Sylvester Stallone's 1981 films, Nighthawks and Victory. Nighthawks provides a view of Hollywood on the brink of a new global expansion. It also locates Stallone amid ...
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This chapter discusses Sylvester Stallone's 1981 films, Nighthawks and Victory. Nighthawks provides a view of Hollywood on the brink of a new global expansion. It also locates Stallone amid presumably complementary textual elements such as setting, genre signifiers, and other story — world attributes that suit his talents and existing persona. In contrast, Victory showcases the kinds of locations, casts, and storylines long associated with Hollywood internationalism during the late classical era. Building on the star template established through the Rocky films, Victory's promotion and publicity emphasize Stallone's physicality, and the film narrates his character's assimilation into European cultures, settings, and sports. In both films, casting choices, generic appeals, and narrative elements all indicate the industry's specific attempts to attract diverse viewership locally and internationally.Less
This chapter discusses Sylvester Stallone's 1981 films, Nighthawks and Victory. Nighthawks provides a view of Hollywood on the brink of a new global expansion. It also locates Stallone amid presumably complementary textual elements such as setting, genre signifiers, and other story — world attributes that suit his talents and existing persona. In contrast, Victory showcases the kinds of locations, casts, and storylines long associated with Hollywood internationalism during the late classical era. Building on the star template established through the Rocky films, Victory's promotion and publicity emphasize Stallone's physicality, and the film narrates his character's assimilation into European cultures, settings, and sports. In both films, casting choices, generic appeals, and narrative elements all indicate the industry's specific attempts to attract diverse viewership locally and internationally.
Miklós Kiss and Steven Willemsen
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9781474406727
- eISBN:
- 9781474430470
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474406727.003.0002
- Subject:
- Film, Television and Radio, Film
Chapter 1 briefly introduces the trend of narrative complexity in contemporary cinema. It concisely positions narrative complexity within broader shifts in the audiovisual media landscape, including ...
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Chapter 1 briefly introduces the trend of narrative complexity in contemporary cinema. It concisely positions narrative complexity within broader shifts in the audiovisual media landscape, including the relation to recent developments in a techno-economical context, as well as this changing context’s impact on modes of viewing. This introductory chapter also briefly reviews existing studies on taxonomies that have so far offered formal-structural approaches to narrative complexity.Less
Chapter 1 briefly introduces the trend of narrative complexity in contemporary cinema. It concisely positions narrative complexity within broader shifts in the audiovisual media landscape, including the relation to recent developments in a techno-economical context, as well as this changing context’s impact on modes of viewing. This introductory chapter also briefly reviews existing studies on taxonomies that have so far offered formal-structural approaches to narrative complexity.
Cara A. Finnegan
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039263
- eISBN:
- 9780252097317
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039263.003.0006
- Subject:
- History, Cultural History
This book has investigated how viewer engagement with photography happens at the local, historically specific level. It has shown how, from the Civil War to the Great Depression, photography shaped a ...
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This book has investigated how viewer engagement with photography happens at the local, historically specific level. It has shown how, from the Civil War to the Great Depression, photography shaped a collective consciousness that enabled viewers to negotiate anxieties of the period, from war, poverty, and economic depression to national identity and citizenship. By closely reading traces of viewers' encounters with photography, the book has written a rhetorical history of photographic viewership showing that viewers were active agents who used their experiences of photography to deliberate about issues of common concern. This conclusion reflects on what such project tells us about the nature of the viewer, how it challenges our definitions of what a photograph is, and how the rhetorical study of viewership enriches our histories of photography. It argues that viewership is not the same in all places and situations; rather, it emerges from the photographic encounter in ways that are simultaneously contextual, communal, contestable, and contingent.Less
This book has investigated how viewer engagement with photography happens at the local, historically specific level. It has shown how, from the Civil War to the Great Depression, photography shaped a collective consciousness that enabled viewers to negotiate anxieties of the period, from war, poverty, and economic depression to national identity and citizenship. By closely reading traces of viewers' encounters with photography, the book has written a rhetorical history of photographic viewership showing that viewers were active agents who used their experiences of photography to deliberate about issues of common concern. This conclusion reflects on what such project tells us about the nature of the viewer, how it challenges our definitions of what a photograph is, and how the rhetorical study of viewership enriches our histories of photography. It argues that viewership is not the same in all places and situations; rather, it emerges from the photographic encounter in ways that are simultaneously contextual, communal, contestable, and contingent.
Julie Nelson Davis
- Published in print:
- 2014
- Published Online:
- November 2016
- ISBN:
- 9780824839383
- eISBN:
- 9780824869533
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824839383.003.0003
- Subject:
- Society and Culture, Asian Studies
This chapter begins by analyzing the erotic handscroll The Scroll of the Sleeve and attributing the name of an artist and a publisher to the project. This approach takes seriously the decision by its ...
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This chapter begins by analyzing the erotic handscroll The Scroll of the Sleeve and attributing the name of an artist and a publisher to the project. This approach takes seriously the decision by its makers not to sign the work, in accordance with period censorship practices, but argues that artistic style and material presentation were, in effect, serving as markers for the contributions by Torii Kiyonaga and Nishimuraya Yohachi, respectively. The chapter compares The Scroll of Sleeve with extant works achieved through their partnership to elucidate this attribution while also inquiring further into the erotic themes as portrayed and their relationship to floating world cultural practices.Less
This chapter begins by analyzing the erotic handscroll The Scroll of the Sleeve and attributing the name of an artist and a publisher to the project. This approach takes seriously the decision by its makers not to sign the work, in accordance with period censorship practices, but argues that artistic style and material presentation were, in effect, serving as markers for the contributions by Torii Kiyonaga and Nishimuraya Yohachi, respectively. The chapter compares The Scroll of Sleeve with extant works achieved through their partnership to elucidate this attribution while also inquiring further into the erotic themes as portrayed and their relationship to floating world cultural practices.
Uma Maheswari Bhrugubanda
- Published in print:
- 2018
- Published Online:
- February 2019
- ISBN:
- 9780199487356
- eISBN:
- 9780199093281
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199487356.003.0005
- Subject:
- Literature, Film, Media, and Cultural Studies
Through ethnographic explorations of the question of viewership, this chapter shifts the focus from film texts to film-viewing contexts. It critically reflects upon the embodied character of viewer ...
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Through ethnographic explorations of the question of viewership, this chapter shifts the focus from film texts to film-viewing contexts. It critically reflects upon the embodied character of viewer engagement with mythological and devotional cinema through a special focus on the figure of the possessed spectator. It theorizes the interesting intersections between film viewership and religious practice through the concept of habitus. It engages with the question, does affective engagement necessarily preclude critical and rational engagement with the narrative? It argues that viewers bring with them to the cinema embodied dispositions and sensibilities, that is, a particular habitus that has been cultivated in traditional performative contexts and this shapes their responses. However, this does not necessarily render them passive or uncritical in their engagement with film.Less
Through ethnographic explorations of the question of viewership, this chapter shifts the focus from film texts to film-viewing contexts. It critically reflects upon the embodied character of viewer engagement with mythological and devotional cinema through a special focus on the figure of the possessed spectator. It theorizes the interesting intersections between film viewership and religious practice through the concept of habitus. It engages with the question, does affective engagement necessarily preclude critical and rational engagement with the narrative? It argues that viewers bring with them to the cinema embodied dispositions and sensibilities, that is, a particular habitus that has been cultivated in traditional performative contexts and this shapes their responses. However, this does not necessarily render them passive or uncritical in their engagement with film.