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In 2020-21, the classic HBO show The Sopranos (1999-2007) saw a rapid increase in viewership and was proclaimed to be one of the “hottest shows of lockdown” by outlets like The Guardian and GQ. This resurgent popularity of The Sopranos raises important analytical questions for media scholars—how do audiences understand a complex text like The Sopranos in a radically different televisual and cultural context? Did they adapt the show to fit the particularities of the present moment or was it simply a nostalgic escape from the bleak conditions of the pandemic? Perhaps most importantly though, did the distinct televisual environment of the 2020s bring with it markedly new ways for audiences to understand ‘old’ shows? The New Audience for Old TV is the first book to investigate how audiences re-read and re-interpret resurgent shows when watching in new cultural contexts. Based on a series of original research interviews with young fans, it considers how new contexts of interpretation, including the COVID-19 pandemic, Subscription Video on Demand (SVOD), and post #MeToo gender politics, informed the unique experience of watching. Using the metaphor of the anamorphic painting, it introduces the analytical framework of a ‘retrospective reading’ to reveal the new meanings that are being made available for ‘old’ TV. Ultimately, The New Audience for Old TV uncovers fresh insights into audiences’ experiences with ‘prestige’ TV and the new avenues of meaning-making in the age of streaming.
This book by two leading experts takes a fresh look at the nature of television, starting from an audience perspective. It draws on over twenty years of research about the audience in the United States and Britain and about the many ways in which television is funded and organized around the world. The overall picture which emerges is of: a medium which is watched for several hours a day but usually at only a low level of involvement; an audience which views mainly for relaxation but which actively chooses favourite programmes; a flowering of new channels but with no fundamental change in what or how people watch; programmes costing millions to produce but only a few pennies to view; a wide range of programme types apparently similar to the range of print media but with nothing like the same degree of audience 'segmentation'; a global communication medium of dazzling scale, speed, and impact but which is slow at conveying complex information and perhaps less powerful than generally assumed. The book is packed with information and insights yet is highly readable. It is unique in relating so many of the issues raised by television to how we watch it. There is also a highly regarded appendix on advertising, as well as technical notes, a glossary, and references for further reading.
An intimate portrait of a marriage intertwined with a meditation on reality TV that reveals surprising connections and the meaning of an authentic life. A VINTAGE ORIGINAL. In Lucas Mann's trademark vein--fiercely intelligent, self-deprecating, brilliantly observed, idiosyncratic, personal, funny, and infuriating--Captive Audience is an appreciation of reality television wrapped inside a love letter to his wife, with whom he shares the guilty pleasure of watching "real" people bare their souls in search of celebrity. Captive Audience resides at the intersection of popular culture with the personal; the exhibitionist impulse, with the schadenfreude of the vicarious, and in confronting some of our most suspect impulses achieves a heightened sense of what it means to live an authentic life and what it means to love a person.
The concept of the audience is changing. In the twenty-first century there are novel configurations of user practices and technological capabilities that are altering the way we understand and trust media organizations and representations, how we participate in society, and how we construct our social relations. This book embeds these transformations in a societal, cultural, technological, ideological, economic and historical context, avoiding a naive privileging of technology as the main societal driving force, but also avoiding the media-centric reduction of society to the audiences that are situated within. Audience Transformations provides a platform for a nuanced and careful analysis of the main changes in European communicational practices, and their social, cultural and technological affordances.
In this study, Falero explores how online communities of participatory audiences have helped to re-define authorship and audience in the digital age. Using over a decade of ethnographic research, Digital Participatory Culture and the TV Audience explores the rise and fall of a site that some heralded as ground zero for the democratization of television criticism. Television Without Pity was a web community devoted to criticizing television programs. Their mission was to hold television networks and writers accountable by critiquing their work and “not just passively sitting around watching.” When executive producer Aaron Sorkin entered Television Without Pity’s message boards on The West Wing in late 2001, he was surprised to find the discussion populated by critics rather than fans. His anger over the criticism he found there wound up becoming a storyline in a subsequent episode of The West Wing wherein web critics were described as “obese shut-ins who lounge around in muumuus and chain-smoke Parliaments.” This book examines the culture at Television Without Pity and will appeal to students and researchers interested in audiences, digital culture and television studies.
The first examination of the most popular tv network for kids. Essays are both scholars as well as journalists, Nick employees, and psychologists.
The revitalisation of audience studies is not only about new approaches and methods; it entails a crossing of disciplines and a bridging of long-established boundaries in the field. The aim of this volume is to capture the boundary-crossing processes that have begun to emerge across the discipline in the form of innovative, interdisciplinary interventions in the audience research agenda. Contributions to this volume seek to further this process though innovative, audience-oriented perspectives that firmly anchor media engagement within the diversity of contexts and purposes to which people incorporate media in their daily lives, in ways often unanticipated by industries and professionals.
This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Knowing, measuring and understanding media audiences have become a multi-billion dollar business. But the convention that underpins that business, audience ratings, is in crisis. Rating the Audience is the first book to show why and how audience ratings research became a convention, an agreement, and the first to interrogate the ways that agreement is now under threat. Taking a historical approach, the book looks at the evolution of audience ratings and the survey industry. It goes on to analyse today's media environment, looking at the role of the internet and the increased difficulties it presents for measuring audiences. The book covers all the major players and controversies, such as Facebook's privacy rulings and Google's alliance with Nielsen. Offering the first real comparative study, it will be critical for media students and professionals.
This book won the Ohio Professional Writer's, Inc. 2014 Communication Competition Award Now in its second edition, The Televiewing Audience is a user's guide for the only household appliance that doesn't come with one. Watching television seems relatively effortless - it is, after all, a major form of entertainment in the U.S. and overseas - yet this book argues that there is nothing simple about watching television; it is a learned activity which is in a constant state of revision and upgrading. Now more than ever, televiewing requires the generation and application of critical thinking to guide program selection, inform appreciation, generate greater pleasure, and inspire dialogue after consumption. This book is about becoming a more thoughtful and informed consumer, designed to shatter the anonymity of the televiewer, and to create a sense of community, for we rarely think of ourselves as instrumental in the televiewing experience or think of the experience as a shared event. Designed for courses related to broadcasting, media effects, media literacy, and audience studies, this book provides a comprehensive overview of the ways in which television influences the way we think about ourselves and our culture. It places us center-stage in the extremely complicated, competitive, creative, and costly endeavor that is television.
This accessible guide through audience studies’ histories outlines a contemporary Cultural Studies approach to audiences for the digital age. This book is not a survey of all existing audience research. Instead, its chapters survey parts of the field in order to draw some ‘through-lines’ from older traditions to contemporary debates, giving students a ‘way in’ to thinking about the current landscape from an ‘audience-sensitive’ perspective. In order to do this, the book utilises a series of verbs to organise and cut a path through audience research and register its ongoing relevance today. These verbs are: audience, anchor, mean, feel and work. The list is not exhaustive and the reader is invited to think about what verbs they would add or change throughout the book. Audience suggests renewing the importance of ‘form’ as a cultural process and in ‘circling-back’ to Cultural Studies’ ‘circuit of culture’, it proposes a modified framework for ‘the digital circuit’. Each chapter opens with a particular scenario for the reader to reflect upon and asks a specific question to help orient the account of research that is to come, especially for those new to Media and Cultural Studies and to audience studies. Written in an engaging and accessible style, this book is ideal for both students and researchers of Media and Cultural Studies.