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随着网络社群交际方式的崛起,社群经济为出版营销领域带来革命性影响,以受众为核心的图书社群营销已经成为不可忽视的发展趋势.本文按照社群中受众的参与程度,将图书社群营销模式划分为受众主导型、平台引导型和意见领袖型三种类型,运用4C理论分析出版机构社群营销模式的基本要素,并对三种社群营销模式提升营销效果提出建议. 相似文献
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本文从社交网络信息传播去中心化与信息碎片化的传播特点入手,分析在这两大特点下,生产性受众与目标受众细分后的"圈子化"对图书营销的影响与作用;通过分析生产性受众与社交媒体的关系,以及意见领袖与个性化阅读对图书营销产生的作用和影响,得出社交网络将会让图书营销中的冷门不再"冷"结论。 相似文献
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从阅读图书中获得信息最能体现受众的主体性,受众可以有效地控制阅读速度与内容等等,这些优势被中产者所认可。从这种情况看来,大众图书的策划,无疑应当关注越来越庞大的中产阶层受众。现代出版由大众出版、教育出版和专业出版三部分组成,它们的产品相应地为大众图书、教育图书与专业图书。其中大众出版是指与大众的日常生活、休闲阅读以及文化体验相关的出版,其产品大众图书也称作一般图书(Tradebooks)或消费类图书(Consumerbooks)。从投资角度来看,与教育出版和专业出版相比较,大众出版并非最佳选择。首先,大众出版进入 相似文献
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本文以2011-2012年＂冰心儿童图书奖＂的获奖作品为对象,对所选作品的题材分类和受众年龄进行内容分析。以定量的方法分析目前少儿图书题材分布和受众分层情况,揭示了少儿图书的发展状况。 相似文献
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作为电视受众，我们可期望的收视主体为18-65岁的人，这部分人约占到总人口的60％。如果按照社会性格理论，这部分人可分为三种类型：传统导向型、内心导向型、他人导向型。以下是对这三种类型人群数量及性格特征的图解。 相似文献
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出版数字化对图书营销的影响 总被引：2，自引：0，他引：2
如今,在以＂受众为王＂的营销理念驱使下,数字化成为出版界大势所趋。数字出版拓宽了出版的界限,也必然对图书营销产生重要影响。本文从图书营销内容和市场、定价、销售模式、营销策略四个方面试对这些影响进行了探究,并基于此提出相应的图书营销宣传策略。 相似文献
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对图书出版传媒的公信力及其受众的心理分析 总被引：3，自引：0，他引：3
在人类的精神交往中,图书传播是一种重要的阅读方式,其中出版传媒的功能在人类的精神交往中起着认知教化、陶冶性情、文化积存和思想创新的作用. 相似文献
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学界多以社会历史发展背景和出版生产力特征为标准对出版史进行分期,其实,图书出版的最终目的在于阅读,国民阅读状况才最应该是图书出版分期的标准。本文综合以上三种标准并以图书出版自身在发展过程中的阶段性特征为依据进行划分,将改革开放以来的图书出版史大致分为四个阶段:1978年-1989年,1989年-1994年,1994年-2000年,2000年至今。 相似文献
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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
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《Communication Teacher》2013,27(1):37-40
Courses: Basic course; public speaking; business and professional speaking; persuasion. Objective: Students will adapt their presentations to specific audiences by making use of various audience analysis and adaptation techniques. 相似文献
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《Communication monographs》2012,79(2):114-128
This article examined how audiences respond to item abundance by analyzing audience concentration of magazines, cable television networks, radio networks, and broadcast television networks. The primary finding is that there is a positive relationship between item abundance and the degree of audience concentration measured by uncertainty ratios. As item options in newer media increase, the finding is important for two reasons: diversity issues related to audience behavior and diversity policy issues. The efforts to promote item diversity by policy-makers can be undermined by the result that audiences concentrate more highly on a smaller portion of items with an increase in item options. 相似文献
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The article contributes to the research on media management by approaching the audience as consisting of communities, instead of considering it a mass audience. By developing audience community as a concept in media management and audience research and investigating mainstream newspapers’ perceptions and practices of audience community relations, the study aims to provide a future outlook for the changing community nature of audiences. Newspaper organizations are starting to perceive the audience as a more concrete network of people, and journalistic processes can increasingly consist of generating platforms and practices for communication and communal activities with and among the audience. In the article, these processes are studied empirically by means of a qualitative study carried out in Finnish, Japanese, and Korean newspapers. Interestingly, the findings indicate that audience communities do not, after all, play an important role in the daily practices of the newspapers. The engagement with audience communities in social media is only occasional, intermittent, and by no means systematic. By contrast, interaction with offline communities seems to be more familiar and considered more valuable than connecting with audience communities in social media. 相似文献
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Arthur A. Raney Sophie H. Janicke Mary Beth Oliver Katherine R. Dale Robert P. Jones Daniel Cox 《Mass Communication and Society》2018,21(3):296-319
This article reports the findings from a national survey of self-transcendent (or inspiring) media audience members in the United States. Exposure to self-transcendent content is socially significant because, theoretically, it can orient users toward matters beyond themselves, ultimately promoting connections with others and altruistic behaviors. However, to date, little is known about the daily audiences for such fare. Four primary questions guided the investigation: (a) What are the media sources and contents identified as “inspiring” by the audience? (b) Who makes up the current U.S. audience for self-transcendent media content? (c) What personality traits and viewer characteristics are associated with self-transcendent media consumption? and (d) What prosocial and altruistic behaviors are associated with self-transcendent media consumption? To address these questions, a nationally representative survey (n = 3,006) was conducted. The findings are discussed in relation to the growing body of scholarship on positive media psychology. 相似文献
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This article discusses producer practices and the reasons why they engage their audience in the production process. In a digitised media context, audiences have become more visible, mainly through social media, and have more means to participate. Our research deconstructs the production process of a particular television programme by means of the “hierarchy of influences” model, which separates micro and macro levels that influence production. It draws on in-depth interviews with all editors of Flemish current affairs programme De Afspraak (The Appointment) and on a three-month participatory observation. We conclude that immersive ways of engaging the audience are applied in our specific case. More broadly, we argue that although practices change, pre-existing norms and values about the television audience remain central to how producers engage their audience through digital and social media. 相似文献
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Abstract When the Chicago History Museum re‐opened its doors on September 30, 2006 after a 21‐month‐long renovation, the debut included a new interactive history gallery for families. The exhibition, Sensing Chicago, was designed primarily to appeal to and communicate effectively with eight‐ and nine‐year‐old children. Since this was a new target audience for the museum's exhibition program, the team followed a course for this project that departed from the museum's typical exhibition development. The process was informed by audience research that has broadened our understanding of how a collections‐based history museum that traditionally caters to adult audiences can create meaningful and memorable experiences for children. This article focuses on one aspect of the research, a three‐month concept‐testing phase conducted by in‐house staff, which provided the team with useful information that, in turn, impacted the development and design of the gallery. 相似文献
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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
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《广播与电子媒介杂志》2013,57(3):501-512
This article examines the possibilities for qualitative audience study afforded by the Internet, carefully detailing both the benefits and dangers o f such research. In answer to methodological issues resulting from online communication with subjects, the essay calls for the application o f various feminist and anthropological methodological practices, and considers methodological dilemmas related to perceived privacy, natural data and lurking, informed consent procedures, balancing anonymity, and data accessibility. In the course o f outlining methodological considerations especially salient when finding audiences through Internet spaces, we reflect on our own dilemmas in designing studies that meet the ethical standards of feminist methodology. 相似文献