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Although many digital platforms continue to appropriate and
reconfigure familiar forms of media experience, this is an
environment which no longer consistently constructs an identifiable
'mass' audience in the terms understood by twentieth century
audience researchers. The notion of 'audiencing' takes on different
characteristics within a digital environment where platforms
encourage users to upload, share and respond to content, while the
platforms themselves monetise the digital traces of this activity.
This environment demands new ways of thinking about audience and
user engagement with media technologies, and raises significant
questions on methods of conceiving and researching audience-users.
This volume addresses ongoing debates in the field of audience
research by exploring relevant conceptual and methodological issues
concerning the systematic study of digital audiences. Drawing from
work conducted by researchers based in Australia and New Zealand,
the book uses theoretical frameworks and case study material which
are of direct relevance to audience researchers globally.
This book explores the evolution of audience receptions of Peter
Jackson's Hobbit trilogy (2012-14) as an exemplar of the
contemporary blockbuster event film franchise. Drawing on findings
from a unique cross-cultural and longitudinal study, the authors
argue that processes and imperatives associated with Hollywood
'blockbusterisation' shaped the trilogy's conditions of production,
format, content, and visual aesthetic in ways that left many
viewers progressively disenchanted. The chapters address public and
private prefigurations of the Hobbit trilogy, modes of reception,
new cinematic technologies and the Hobbit hyperreality paradox,
gender representations, adaptation and the transformation of
cinematic desire, and the role of social and cultural location in
shaping audience engagement and response. This book will appeal to
audience researchers, Q methodologists, scholars and students in
film and media studies, Tolkien scholars, and Hobbit fans and
critics alike.
This book explores the notion of software literacy, a key part of
digital literacy which all contemporary students and citizens need
to understand. Software literacy involves a critical understanding
of how the affordances and conceptual approaches of everything from
operating systems, creative apps and media editors, to
software-based platforms and infrastructures work to inform and
shape the ways we think and act. As a cultural artefact, programing
code plays a role in reproducing, reinforcing, and augmenting
existing cultural practices, as well as generating completely new
coded practices. A proposed three-tier framework for software
literacy is the focus for a two-year empirical investigation into
how tertiary students become more literate about the nature and
implications of software they encounter as part of their tertiary
studies. Two case studies of software learning and use in
university-level engineering and screen & media studies courses
are presented, investigating the mapping of students' trajectory of
the learning of desktop applications against this framework for
software literacy. Though the book's focus is primarily
educational, its content also has implications for any field that
makes use of software and information & communication
technology systems and applications. As such, the book will be of
interest to all readers whose work involves the challenges and
opportunities presented by software-based teaching and learning;
and to those interested in how software impacts the workplace and
leisure activities that make up our day-to-day lives.
Although many digital platforms continue to appropriate and
reconfigure familiar forms of media experience, this is an
environment which no longer consistently constructs an identifiable
'mass' audience in the terms understood by twentieth century
audience researchers. The notion of 'audiencing' takes on different
characteristics within a digital environment where platforms
encourage users to upload, share and respond to content, while the
platforms themselves monetise the digital traces of this activity.
This environment demands new ways of thinking about audience and
user engagement with media technologies, and raises significant
questions on methods of conceiving and researching audience-users.
This volume addresses ongoing debates in the field of audience
research by exploring relevant conceptual and methodological issues
concerning the systematic study of digital audiences. Drawing from
work conducted by researchers based in Australia and New Zealand,
the book uses theoretical frameworks and case study material which
are of direct relevance to audience researchers globally.
The first major study of mock-documentary - one of a number of
screen forms that play with the assumed boundaries between 'fact'
and 'fiction'. Examines mock-documentary through the specific
relationship which the form has with documentary. Part of a wider
discussion of the increasingly fragile association between factual
codes and conventions and the discourses which underpin the
documentary genre. Includes detailed discussions of a number of key
mock-documentary texts, ranging from Woody Allen's Zelig, Peter
Greenaway's The Falls, and the Beatles spoof The Rutles through to
such classic examples as Bob Roberts, This is Spinal Tap and Man
Bites Dog. Opens out this relatively new media form and by doing so
throws light on the status of the documentary itself. -- .
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