Suchergebnisse

Empirical research on film audiences is marginal in contemporary film studies. The research field has to incorporate contributions from media and television studies, since video, television and internet have fundamentally changed the context of film consumption. We argue that there is a need for audience research, because it can provide fresh insights into important issues such as the state of European cinema. Concepts of European and national cinema are put in an audience perspective. We present results of a survey on the role of film in the everyday life of young people in Flanders, Focusing on varying consumption contexts and the divide Hollywood-Europe-Flanders, we find that European film is more foreign to young audiences than Hollywood fare. Even local cinema has to deal with prejudice. Reconsidering European cinema from an audience perspective opens up new lines of thought that traditionally were obscured by macro-approaches and theoretical notions of spectatorship.

Latin American telenovelas are often considered an interesting case in international communication theory and research, illustrating the potential of Third World cultural industries for resistance, alternatives and even contra-flow. In this article we first shed some light on the main theoretical frameworks and empirical arguments in the international telenovela debate. In the second part we focus on the contra-flow argument in relation to the worldwide exports of telenovelas. In the case study we concentrate on the telenovela flow to Europe. Both theory and case study stress the weakness of the contra-flow argument.

Explorations in New Cinema History brings 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 & rsquo;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

Abstract
This article explores contemporary film genre preferences through an in-depth sociological analysis of taste cultures in film preferences amongst youth aged 16–18 in Flanders (the northern Dutch-speaking part of Belgium). Building on a representative sample of 1015 respondents we statistically analyze the assumption that contemporary media audiences demonstrate mobility and that they are eager to shape their media consumption in accordance with their personal preferences. This article examines whether societal structures that have been found to reflect media preferences remain in place, or whether these structures have eroded with the (supposed) increase in individual choice – an argument often voiced in the context of convergence culture. An analysis of the variables gender, educational level and ethnicity illustrates that societal structures are still reflected through film genre preferences amongst Flemish youth.

Abstract
This data paper and the data collection from which it emerges aim to present a fully harmonized data set originating in several research projects on post-war cinema programming. The paper will reflect on the collection and structure of this aggregated data set, that consists of titles of feature films screened for public viewing in cinemas in the cities Bari (Italy), Antwerp and Ghent (Belgium), Gothenburg (Sweden), Leicester (United Kingdom) and Rotterdam (Netherlands) for the year 1952. As comparisons of movie-going patterns between European countries are still rare, this paper offers a model for constructing a data set which can be replicated, scaled up and used to compare, contextualize, and eventually theorize practices of cinema-going across countries at a global level.