共查询到20条相似文献，搜索用时 31 毫秒
1.
Quality scholarly research outputs, such as peer reviewed journal articles published in reputable journals, are essential for early career researchers' (ECRs) vocational success while also offering benefits for their institutions. Research outputs destined for audiences beyond academia are also increasingly valued by funders, end users, and tertiary institutions. While there is an expectation that ECRs may create diverse research outputs for an array of audiences, the kinds of research output texts produced by ECRs for varied audiences warrants further investigation. In addition, the routes of dissemination that ECRs use to share their academic research outputs to secure impact beyond academia are not well understood. Drawing on semi‐structured interviews of 30 respondents in Australia and Japan, we explore the research‐sharing practices of ECRs, finding that ECRs may potentially create a wide range of research‐informed texts for end users beyond academia, using an array of methods for dissemination. The examples of the output text types and dissemination routes we provide in this paper can be used to inspire ECRs and also more senior academics to share their research more broadly, and perhaps more effectively, and can be used by publishers to improve research impact and support ECRs' research translation. 相似文献
2.
This national survey of broadband users (N = 200) investigates people’s participatory behavior on Internet video websites by analyzing their use of interactive features. It seeks to identify a group of “interactive audiences” who take full advantage of web interactivity and may be most valuable to advertisers. This study defined audience interactivity based on people’s frequency in using interactive features and three groups were identified—non-interactive audience, average audience, and interactive audience. It compared three audience groups based on traditional audience valuation criteria such as demographics and media consumption levels, as well as newly proposed criteria including online engagement level and electronic word-of-mouth value. Results indicated that interactive audiences are younger, more engaged online, and have higher electronic word-of-mouth value than non-interactive audiences. Because audience interactivity is related to audience value, findings suggest that advertisers should invest more in this highly engaged and influential group online. The results also reveal the need for expanding audience valuation criteria, particularly in the online space, to include other variables such as online engagement level and electronic word-of-mouth influence. The study then offers practical implications for website managers and marketers. 相似文献
3.
Does Hollywood dominate world cinema markets with American taste, culture, and values through the exportation of films produced mainly for its domestic (US and Canada) market? Or does Hollywood supply the films that world audiences demand and, because of the logistics of distribution, screen these films first in the domestic market prior to exhibition in foreign markets? In this article, the authors empirically analyzed the global market for motion pictures to provide statistical evidence that can speak to these questions. They examined data on nearly 2,000 films exhibited from 1997–2007, inclusive, in the United States and Canada, Australia, France, Germany, Mexico, Spain, and the United Kingdom—markets that today collectively account for over 75% of worldwide cinema box-office revenue. The empirical evidence provides support for the hypothesis that the supply of Hollywood films has accommodated global demand as the relative size of the U.S. domestic market has decreased. There is no evidence that box-office success in the United States creates a contagion that spreads to other film exhibition markets; however, box-office success in international markets appears to be less uncertain for films that have been successful in their U.S. releases. 相似文献
4.
Katherine Sender 《The Communication Review》2015,18(1):37-52
Critiques of reality television assume that audiences enjoy watching participants’ humiliation or adopt the reforming injunctions of the shows. This audience research project investigates how people who watch personal makeover shows (The Biggest Loser, Queer Eye for the Straight Guy, Starting Over, and What Not to Wear) use these texts in meaningful ways. Data from 1,800 survey respondents and 130 interviewees demonstrate that audiences use the shows to be self reflexive, while they also are highly reflexive about media production processes. Furthermore, they are reflexive about their participation in research about a disparaged television genre. Audiences’ perception of surveillance and shame in the shows suggest how reflexivity can provide a critical distance from the programs but is not necessarily ideologically freeing. 相似文献
5.
The formation of a diasporic community within a host society may be signalled through community members’ creative contributions in the realm of cultural production. The ways in which diasporic audiences engage with diasporic cultural texts potentially offers social and cultural trajectories of their understandings of themselves as they negotiate their new environment. This article examines these trajectories, focusing on the ways New Zealand audiences of Asian descent engage with Asian diasporic films. It addresses three key questions: How do audiences’ referential reflections on diasporic films intersect with and contribute to their diasporic journeys and perceptions of themselves in New Zealand society? What kinds of values and beliefs do diasporic audiences feel are important to affirm and negotiate, both within representations of diasporic communities and in their New Zealand-based lives? And what roles do diasporic films play in this ongoing negotiation process? 相似文献
6.
Yu Guoming 《媒体管理杂志》2013,15(1):51-53
The globalization phenomenon has reopened the debate on the concentration of media and entertainment industries, particularly in the film distribution market. Some authors consider that the dominant position of U.S. companies comes from the higher identification of American films with the tastes of the European audience. Others argue that the Hollywood success is mainly due to its control of the distribution system. U.S. films account for an average of 63.4% of the European market. In return, European films represent 3.6% of the North American box office. There are around 450 active film distribution companies in Europe, the majority of them being nationally controlled firms, and only a small percentage of them belong to U.S. majors. Nevertheless, these U.S. subsidiaries are ranked among the top 10 leading film distributors in Europe according to market share. This article attempts to make a further contribution in market concentration analysis, looking at the situation of film distribution in the 5 biggest Western European countries. It also explores if the success of American companies is due to their management and marketing skills or if, by the contrary, it is the consequence of their dominant market positions. 相似文献
7.
《Communication monographs》2012,79(4):428-447
In this essay I use an updated approach to Richard Hofstadter's paranoid style to analyze the contemporary birther movement. While the paranoid style provides a set of characteristics that describes paranoid narratives, it does not account for why some narratives ring true for certain audiences. Thus, in order to explain how and why the birther narrative resonates with a substantial portion of Americans, I argue that the resonance of the birther narrative can be explained through Kenneth Burke's scapegoating process, which activates the conspiratorial story for the birther audience. I use an analysis of a popular birther film, materials on the birthers' website, and media commentary on the group to illustrate this position. 相似文献
8.
This study tested competing predictions about the implications of Internet use for traditional inequities in social support availability. Using survey data collected as part of the Pew Internet and American Life Project, inequities in social support availability stemming from demographic and network-related factors were examined among non-users, Internet users, and Internet users who also participated in a social network site (SNS). The results offered evidence consistent with the social compensation perspective. Traditional inequities in support availability related to age, race, and total network size persisted among respondents who did not use the Internet, but were less evident or absent among Internet users and/or Internet users who participated in an SNS. Using the Internet to connect with others appeared to be an important mechanism through which inequality in support availability was mitigated. 相似文献
9.
Angela M. Lee 《媒体管理杂志》2015,17(4):217-239
To examine how journalists use, and are affected by, social media in their pursuit for speed, this study conducted in-depth interviews with 11 journalists from various U.S. national, metropolitan, and local newspapers. Findings revealed an industry-wide expectation that journalists engage with audiences on social media. But in terms of practice, most interviewees reported that they mainly use Twitter to facilitate news work (i.e., contact hard-to-reach sources) and communicate with other journalists; audiences are rarely their focus on social media. The interviewees were also asked about their perception of how Twitter affects audiences. Most interviewees were unsure of its impact on credibility, but believed that it may promote news use, although not contribute to news organizations’ bottom line. This study offers five reasons why social media are not saving the newspaper industry, and discusses managerial implications regarding the gap between social media expectations and practices. 相似文献
10.
Twitter altmetrics has been proposed to measure the popularity and the potential societal impact of scientific products, but scientific tweeters who produce the Twitter altmetrics data have not been well explored. The study, by analyzing 2.63 million scientific tweeters’ data that are extracted from the Altmetric.com company dataset, is aimed to reveal their productivity and geographic distribution in a comprehensive way. To gain a more in-depth understanding of their account types and identities, 1468 scientific tweeters of different levels of activeness are sampled for further analysis. Our results show that: (1) The extent to which a small proportion of tweeters have posted most of scientific tweets increases over time. In 2016, 10% of scientific tweeters have posted 80% of scientific tweets; (2) Scientific tweeters are widely distributed around the world but in a different pattern with the distribution of general Twitter users. In addition, scientific tweeters are found to be more active in tweeting scientific products than retweeting them in certain areas. (3) Manual coding of the sampled tweeters shows that the percentage of bot accounts among scientific tweeters is 1.8%, which is much lower than that among general Twitter users. Moreover, 73% of scientific tweeters use Twitter for professional purpose, 76% use real names for their accounts, and 16% are institutional accounts. (4) Identities of scientific tweeters are diversified. 49% of them are researchers among which university faculty is the major type, and 38% of them are the general public. With these results we suggest number of scientific tweets is not a good indicator of measuring either popularity or impact, tweeter’s productivity, location and identities must be taken into consideration in interpreting the meaning of Twitter altmetrics. 相似文献
11.
Andrew Chitty 《Curator: The Museum Journal》2011,54(4):413-418
Abstract Film archives offer unique opportunities for co‐curation between collections‐based institutions and members of the public. By making available source materials and the tools to manipulate them, institutions can work with the public to develop new interpretations of their collections as well as to tap into the remixing and sharing cultures of social and digital media. Digital co‐curation projects can develop relationships with audiences that many institutions find difficult to engage, developing alternative narratives and reclaimed histories. This paper describes the evolution of an approach to co‐curation and the tools and strategies needed to engage users. It focuses on London Re‐Cut, a project to remix London’s film history, drawing on material from 11 film archives across the city. Projects such as London Recut suggest that audiences have both the enthusiasm and the skills to open up this radical “remix” approach to interpretation. 相似文献
12.
《Communication monographs》2012,79(4):311-328
Past research indicates that short-term exposure to nonviolent sexual media stimuli can produce cognitive changes in men which, in turn, can affect their behavior toward women. This study explored differences among these behavioral effects based upon sexual degradation in film content and male viewers' gender schematicity, as an extension of the study of cognitive effects reported in Jansma, Linz, Mulac, and Imrich (1997). Seventy-one men viewed one of three films: (a) sexually-explicit and degrading to women, (b) sexually-explicit but non-degrading, or (c) non-sexual. The men then interacted with women in problem-solving dyads that were recorded on videotape. Men who viewed either sexually-explicit film displayed more dominance and anxiety than did the men who viewed the non-sexual film. This was true, however, for only the two-thirds who were non sex-typed (BSRI, Bem, 1974). Sex-typed men's behavior was consistent across sexual versus non-sexual film conditions. In addition, men who viewed the degrading sexual film displayed less anxiety, but more dominance, than men who watched the non-degrading sexual film. Women's behavior failed to distinguish which of the three films their partners had viewed, but was positively correlated with most of their partner's discriminating behavior. Results of men's viewing sexual or degrading sexual material are discussed in terms of negative social implications for women in the context of everyday male-female interactions. 相似文献
13.
清华大学图书馆的微电影《爱上图书馆》获得国际图书馆协会联合会颁发的"图书馆国际营销奖",使图书馆界认识到微电影所具有的宣传推广图书馆价值观、规章制度、资源和服务的重要功能。图书馆将微电影作为营销工具,将有助于改善营销的主体结构、迅速扩大营销受众,并更加彰显以人为本的营销理念。开展图书馆微电影营销工作,要从对图书馆的深刻体验中寻求创意,加强对微电影创作和传播的管理,不断丰富微电影营销实践。 相似文献
14.
Samuel Kai-Wah Chu 《The Journal of Academic Librarianship》2009,35(2):170-176
This is an exploratory study investigating the use of wikis in academic libraries. Reasons for using and not using wikis, level of control exerted on wikis users and perceived benefits and costs of using wikis are the major areas examined. Sixty universities were selected to complete either survey 1 or survey 2, depending on their usage of wikis at the time the study was conducted. Telephone interviews were conducted for those libraries from whom there were no email replies. The response rate reached 80%. Sixteen (33.3%) used wikis for work, four (8.3%) used wikis in experimental stages, 13 (27.1%) were potential users who planned to use wikis and 15 (31.3%) did not plan to use wikis at all. The advantageous features of wikis were found to be the main reasons for their use. MediaWiki is the most commonly adopted wiki software in university libraries, and the level of control is closely related to the reasons for wiki use. Despite the fact that costs are incurred in creating wikis, current users found that the benefits outweigh the costs. It is hoped that this study can provide insights for making informed decisions in applying wikis in academic libraries. 相似文献
15.
David Goldblatt 《传播与批判/文化研究》2013,10(2):201-206
Fiction, particularly movies, enjoys the license to abandon philosophical rigor and play free and loose with issues somewhat related to the traditional personal identity concerns of philosophers. Double-named characters appear frequently in movies raising issues of double-identity to deepen the intrigue of their narratives. This paper explores the 1947 American film noir Out of the Past, which depicts the double identity and subsequent incarnation/embodiment of its protagonist by his abandoned past as a private detective who has crossed his gangster employers. In addition, the essay reaches “outside” the film to discuss the use of incarnation in the application of such notions as star or role, by taking as an example, its star Robert Mitchum, which leads us to how forces largely independent of their wills, incarnate certain actors, setting them up outside their films for multiple identities. 相似文献
16.
Ryland A. Taylor 《广播与电子媒介杂志》2013,57(4):495-500
This is the third in a series of articles exploring various factors contributing to success of motion picture films in televison showings—the first dealt with repeat audiences for films and the second focused on the role of movie awards and TV viewing audience size (see note 7 for citations). Here, the author reports that a film director's reputation plays a significant part in building or diminishing TV audience size. Dr. Taylor is a member of the economics faculty of Northern Illinois University at DeKalb. 相似文献
17.
18.
W. Wayne Fu 《Journal of Media Economics》2013,26(2):59-80
This article empirically examines the effects of vertical integration and horizontal control on the exhibition of films at competing theaters in a market in which some theater owners are integrated into film distribution and others are not. It analyzes the duration of the exhibition runs of movies released by distributors who owned no theaters in Singapore during 2002 and 2003 through a survival model. The estimation shows that films released by these distributors are exhibited for shorter periods in distributor-owned theaters than in independently owned (i.e., unintegrated) theaters, and in theaters that belong to large theater chains than in the theaters of small theater chains. A spatial aspect of competition among theaters with different owners is revealed in the finding that a film is more likely to stay on at the theater at a given time when an adjacent rival theater still runs the same title. The increase in the probability of screen survival due to the spatial rivalry is greater the nearer the competing theater. These results are found when both film and theater-specific variations are controlled for. 相似文献
19.
Anders Olof Larsson 《广播与电子媒介杂志》2013,57(2):135-152
Twitter is currently one of the most popular outlets of so-called social media, Internet services that allow their users to communicate and share content in a variety of ways. As with the Internet itself, Twitter has been heralded to hold interesting possibilities within the context of journalism—potentially bringing journalists and their respective audiences closer to each other through supposedly common Twitter practices like @ messages and retweeting. This article presents a large-scale empirical study on Twitter use in the journalistic context. The aim is to assess patterns of journalist-audience interaction on Twitter. Specifically, the article outlines a structural analysis of Twitter use pertaining to the first season of the current events talk show Hübinette, which aired on Swedish public service television during the fall of 2011. Employing state-of-the-art approaches for data collection and analysis, the article shows that while traditional patterns of journalist-reader relationships are most common, some users are employing the Twitter platform in somewhat unforeseen ways. 相似文献
20.
电影作为一种传播媒介,以其文化性、艺术性和娱乐性影响着大众的生活与思维方式,它是现实的一面镜子,银幕上的许多人与物都能在日常生活中找到其原型。好莱坞电影在世界上有着很强的影响力,各类影片中图书馆员的角色也成为广大观众在观影之余所津津乐道的话题,并冲击着他们的原有观念。电影中所表达的图书馆精神和理念等也是图书馆人在今后实际工作中应学习和具备的知识素养。 相似文献