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Recent qualitative audience research on the reception of US fiction abroad has been presented as a valuable new perspective in studying the world-wide appeal and impact of American programming. However the concentration on the decoding of US fiction alone (usually Dallas) has stimulated an essential and decontextualized position on these issues. The results from a comparative reception analysis (comparing the reception of an American fiction programme and a similar domestic one by respondents in a small European country) show that several current concepts and arguments on the functioning, the appeal, the characteristics and the (possible) impact of US fiction should be revised. More generally, cross-textual comparative reception analysis can be useful in exploring nuances in audience activity and in the polysemic character of different texts. Methodologically, a multi-method approach is used to show that diverse techniques can be incorporated into a more elaborated scheme for analysis of the reception process, which consists of several substantial `moments'.

"Neuere qualitative Zuschauerforschung zur Aufnahme von US- Fernsehdramen im Ausland präsentieren eine wertvolle neue Perspektive zum Studium der weltweiten Anziehung und Auswirkung amerikanischer Fernsehprogramme. Diese hat sich jedoch weitgehend auf die Dekodierung amerikanischer Fernsehdramen (üblicherweise 'Dallas') beschränkt, und damit eine essentialistische und dekontextualisierte Position zu diesen Fragen angeregt. Die Ergebnisse einer vergleichenden Rezeptionsanalyse eines amerikanischen Fernsehdramas und eines ähnlichen einheimischen Programmes mit denselben Zuschauern in einem kleinen europäischen Staat, zeigen, daß mehrere gegenwärtige Konzepte und Argumente zu Funktion, Anziehungskraft, Eigenschaften und den (möglichen) Auswirkungen von US-Fernsehdramen überarbeitet werden sollten. Im allgemeineren Sinne kann eine kreuztextliche vergleichende Rezeptionsanalyse nützlich sein, um die Nuancen der Zuschaueraktivitäten und des polysemischen Charakters verschiedener Texte zu erkunden. Ein multimethodischer Ansatz wurde gewählt, um zu zeigen, daß verschiedene Techniken in ein ausgearbeiteteres Schema eingebaut werden können, um den Rezeptionsprozeß, der aus mehreren substantiellen Momenten besteht, zu analysieren." (Autorenreferat)

The first of its kind, Silencing Cinema brings together the key issues and authors in the field of film censorship research. Approaching censorship as a necessary mediating factor in discourses that govern the film industry and film culture allows for a discussion of cases of censorship that escape some of the more narrowly moralistic (or overly progressive) studies. Including essays by some of the best-known film historians working today, the book offers a state of the art of (historical) research on film censorship in major film production countries, including the US, the UK, Russia/S

Explorations in New Cinema Historybrings together cutting-edge research by the leading scholars in the field to identify new approaches to writing and understanding the social and cultural history of cinema, focusing on cinema's audiences, the experience of cinema, and the cinema as a site of social and cultural exchange.Includes contributions from Robert Allen, Annette Kuhn, John Sedwick, Mark Jancovich, Peter Sanfield, and Kathryn Fuller-Seeley among othersDevelops the original argument that the social history of cinema-going and of the experience of cinema should take precedence over production- and text-based analyses Explores the cinema as a site of social and cultural exchange, including patterns of popularity and taste, the role of individual movie theatres in creating and sustaining their audiences, and the commercial, political and legal aspects of film exhibition and distributionPrompts readers to reassess their understanding of key periods of cinema history, opening up cinema studies to long-overdue conversations with other disciplines in the humanities and social sciencesPresents rigorous empirical research, drawing on digital technology and geospatial information systems to provide illuminating insights in to the uses of cinema

In our contemporary mediatized societies, philanthropy seems to be part of celebrities' ontology, while celebrities have become indispensable for the charity industry. This has provoked both negative and positive appraisals, although the specific nature and consequences of celebrities' involvement remain unclear. This article contributes to these debates by providing a systematic analysis of the roles celebrities play in telethons, which we redefine as charity media events, allowing us to study the shows in their full contextual complexity as ideological constructs. Applying qualitative content analysis, we have analysed two charity media events following the 2010 Haitian earthquake. In general, four distinct roles have been discerned: celebrities add an aura of exclusiveness and glamour, they render distant suffering relevant to domestic audiences, they function as principal motivators, and also contribute to the commodification of charity. Celebrities' involvement thus reinforces charity media events' dominant discourse of charitainment, in which a disaster is portrayed as a short term problem that can be remedied by supporting relief aid. Although this analysis does not disregard the usefulness and impact of fundraising campaigns and the contribution celebrities can make, it criticizes the oversimplified representation of complex issues and the decontextualized and depoliticized interpretations of distant suffering.

AbstractMost research on the relationship between film and nation‐building focuses on the content of films (the nation on the screen). Much less common is research on the structural organisation of the film sector (the nation beyond the screen). This article argues for a combined focus in order to gain deeper insight into the relationship between film and nation‐building. This is illustrated by a case study focusing on Flanders. The Flemish case shows that the relationship between film and nation‐building is dynamic and multiple. There is a clear evolution from a Belgian, French‐speaking film sector to a separate Flemish film sector. This process was stimulated by the coming of sound film in the early 1930s and by political developments towards more Flemish autonomy. But while Flemish nation‐building keeps growing to this day, the concept of 'Belgian cinema' has gained renewed relevance since the 2000s.