Media Audiences: Television, Meaning, and Emotion by Kristyn Gorton

By Kristyn Gorton

A fascinating and unique examine of present learn on tv audiences and the idea that of emotion, this publication bargains a different method of key concerns inside tv reviews. subject matters mentioned comprise: tv branding; emotional features in tv texts; viewers reception types; fan cultures; 'quality' tv; tv aesthetics; truth tv; individualism and its hyperlinks to tv consumption.The publication is split into sections: the 1st covers theoretical paintings at the viewers, fan cultures, international tv, theorising emotion and have an effect on in feminist conception and movie and tv experiences. the second one part deals a sequence of case stories on tv programmes corresponding to spouse change, The Sopranos and 6 ft below so that it will discover how emotion is formed, built and valued in televisual texts. the ultimate bankruptcy beneficial properties unique fabric from interviews with pros within the united kingdom and Irish cleaning soap industries in addition to suggestion for college students on the right way to behavior their very own small-scale ethnographic projects.

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Additional resources for Media Audiences: Television, Meaning, and Emotion

Sample text

Consider one of the three examples of new research in audience reception (‘Television while you wait’; Understanding reality TV; Restyling factual TV) and think about which earlier models have influenced it. Now consider what role emotion might play in these new models of audience reception. 2. Discuss the strengths and weaknesses of the audience models mentioned in this chapter. How else might researchers measure audience response? 3. Is the term ‘audience’ helpful when discussing television viewers?

In this example, Annie Wilkes (Kathy Bates) perfectly illustrates the negative stereotypes within popular culture of a fan – of someone who is not emotionally developed, is obsessively stuck in the world of her favourite text (fiction) and who does not have healthy relationships with other people in the world. In contrast, Galaxy Quest (Parisot 1999) begins with the negative associations of fan cultures but ends with a celebration of fandom and its knowledge. The film begins at a fan conference for a popular science fiction television series called Galaxy Quest (modelled after Star Trek).

McCarthy also critiques the notion of ‘dead’ time and considers how TV becomes a way for us to kill time or to consume something while we wait for the next activity. This notion can be applied to moments in waiting rooms, airports, restaurants, or even at home. McCarthy draws on work in sociology to suggest that public spaces are divided between those who have to wait and those who do not. Television’s role in this waiting often signifies the activity as passive. And yet, McCarthy argues that the act of watching while waiting can sometimes make a viewer feel as though she passed the time meaningfully.

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