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Audiences
A Sociological Theory of Performance and Imagination



April 1998 | 208 pages | SAGE Publications Ltd
Audiences are problematic and, as such, the study of audiences has represented a key site of activity in the social sciences and humanities. In Audiences, the authors offer a timely review of the past 50 years of theoretical and methodological debate to argue the case for a paradigmatic shift in audience research. This shift, they argue, is necessitated by the emergence of the "diffused audience." Audience experience can no longer be simply classified as "simple" or "mass," for in modern, advanced capitalist societies, people are members of an audience all the time. Being a member of an audience is no longer an exceptional event, nor even an everyday event. Rather, it is constitutive of everyday life. That this is the case is attributable to the fact that our relationship with events and objects in the social world has changed. If the world is increasingly conceived as a spectacle, then so are the people within it, and we become both simultaneously performers and audience. This book offers an invaluable review of the literature and a new point of departure for audience research, and will be welcomed by all students of sociology, media, communication, and cultural studies.
 
Changing Audiences
Changing Paradigms of Research

 
 
Forms of the Audience
 
Spectacle and Narcissism
 
Imagination and Resources
 
Fans and Enthusiasts
 
The Spectacle/Performance Paradigm
Methods, Issues and Theories

 

`From a theoretical point of view, they provide a valuable update on how recent debates within cultural studies should alter the direction of critical audience research.... The considerable breadth of subject matter covered in this book is organized logically and presented in extremely readable prose.... The authors also provide a valuable service in differentiating among audience activity.... This book is worth reading for a number of reasons. It is the first introductory work of critical audience research that suggests how we can study the connection of media consumption in general with every day life, and it also goes beyond its competitors in showing how postmodern thinking can help us in the analysis of a "whole way of life"' - Journal of Communication

`This book brings the study of the audience into the centre of the study of electronic mediation, and the study of electronic mediation into the centre of the study of society and culture. In so doing it captures something of the inescapable intensity of the media in the late twentieth century in ways which are both accessible and provocative. It should be widely read' - Roger Silverstone

`Timely and refreshing....the authors successfully assert is that to understand audiences both method and theory must take account of wider social processes and not to isolate media use from the complex rhythms, patterns and practices of everyday life. In locating audiences within this wider framework they have laid down a formidable challenge for future research' - Framework

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Nick Abercrombie

Born 1944. Educated at Oxford University (B.A. in Politics, Philosophy and Economics) and London School of Economics (M.Sc. in Sociology). Ph.D. in Sociology from the University of Lancaster. Appointed in 1968 as a Research Officer in a Unit specializing in town planning research in the Bartlett School of Architecture at University College, London. Moved to a lectureship in sociology at the University of Lancaster in 1970, then Professor of Sociology and subsequently Deputy Vice-Chancellor from 1995 to 2004. Now retired and Emeritus Professor. More About Author

Brian Longhurst

Professor Brian Longhurst is a sociologist who has long standing interests in cultural studies, media studies and the sociology of culture. His books include Popular Music and Society (Polity Press, 1995, 2007), The Penguin Dictionary of Media Studies (co-authored, 2007), Globalization and Belonging (co-authored, Sage, 2005), Introducing Cultural Studies (co-authored, Pearson, 1999, 2004) and Audiences: A Sociological Theory of Performance and Imagination (co-authored 1998). He has held research grants from various bodies including ESRC and EPSRC and has published widely in a range of journals and edited collections.... More About Author

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