FAVz059 Making The Most Of Our Audiences. Theory, History and Practice of Empirical Audience Research

Filozofická fakulta
jaro 2016
Rozsah
2/0/0. 5 kr. Ukončení: zk.
Vyučující
Martin Barker (přednášející), doc. Mgr. Pavel Skopal, Ph.D. (zástupce)
Mgr. et Mgr. Marie Barešová, Ph.D. (pomocník)
Mgr. Radomír D. Kokeš, Ph.D. (pomocník)
Mgr. BcA. Miroslav Vlček, Ph.D. (pomocník)
Garance
prof. PhDr. Jiří Voráč, Ph.D.
Ústav filmu a audiovizuální kultury – Filozofická fakulta
Kontaktní osoba: Patrycja Astrid Twardowska
Dodavatelské pracoviště: Ústav filmu a audiovizuální kultury – Filozofická fakulta
Rozvrh
Po 9. 5. 10:00–12:25 C34, Út 10. 5. 14:10–15:45 C34, St 11. 5. 10:50–14:05 C34, Čt 12. 5. 9:10–12:25 C34
Omezení zápisu do předmětu
Předmět je nabízen i studentům mimo mateřské obory.
Předmět si smí zapsat nejvýše 120 stud.
Momentální stav registrace a zápisu: zapsáno: 0/120, pouze zareg.: 0/120, pouze zareg. s předností (mateřské obory): 0/120
Mateřské obory/plány
předmět má 10 mateřských oborů, zobrazit
Cíle předmětu
Na konci kurzu bude student obeznámen s metodami kvalitativního výzkumu a s nejvýznamnějšími výzkumy recepce v oblasti filmových studií; bude schopen kriticky zhodnotit možnosti a metodologickou relevanci výzkumného projektu; porozumí procesu přípravy a realizace mezinárodního výzkumného projektu recepce.
Osnova
  • 1. Audience & Reception Research: the State of the Field. This first presentation will be a broad survey, trying to identify important trends and developments. What are the key challenges and purposes for academic audience research today, and (among other things) how should these relate to policy-makers?;
  • Reading: Sonia Livingstone, ‘Audience research at the crossroads: the “implied audience” in media and cultural theory’, 1996. (available at: http://eprints.lse.ac.uk/392/1/EJofCulturalStudies1(2).pdf) Martin Barker, ‘“I have seen the future and it is not here yet”: or, on being ambitious for audience research’, Communication Review, 9:2, 2006, pp. 123-41. (Available herewith as PDF);
  • 2. What Did We Learn From The Lord of the Rings Project? The Lord of the Rings project managed to gather just under 25,000 responses to its questionnaire. The number is big – but what did it enable us to learn, that couldn’t have been learnt by a smaller project?;
  • Reading: Martin Barker, ‘The Lord of the Rings and “identification”: a critical encounter’, European Journal of Communication, 20:3, 2005, pp. 353-78. (Available herewith as PDF.) Martin Barker, ‘Changing lives, challenging concepts: Some findings and lessons from the Lord of the Rings project, International Journal of Cultural Studies, 12:4, 2009, pp. 375-93. (Available herewith as PDF.) Martin Barker & Ernest Mathijs (eds.), Watching The Lord of the Rings: Tolkien’s World Audiences, New York: Peter Lang, 2007.;
  • 3. The Challenges of a World Research Project. In 2001-3, and then again in 2013-5, worldwide audience research projects were attempted, first into people’s responses to the films of The Lord of the Rings, then the same for The Hobbit. What were we trying to achieve, what problems did we meet, and was it all worthwhile?;
  • Reading: Kate Egan & Martin Barker, ‘Rings around the World: Notes on the Challenges, Problems & Possibilities of International Audience Projects, Participations, 3:2, 2006. (Available online.) Martin Barker & Ernest Mathijs, ‘Researching world audiences: the experiences of a complex project’, Participations, 9:2, 2012. (Available online.)
  • 4. Researching Screened Sexual Violence: the Last Taboo, In 2006, I was given the opportunity to lead funded research for the British Board of Film Classification into the most difficult topic: the responses of men and women to watching sexual violence on screen. In the UK, this is the ‘last taboo’ – it is the BBFC’s most significant reason today for banning or cutting films. What did we learn – and why did the BBFC, having commissioned us, then ignore our research?;
  • Reading: Martin Barker et al., ‘Audiences and receptions of sexual violence in contemporary cinema’, Report to the British Board of Film Classification. (Available at: http://www.bbfc.co.uk/sites/default/files/attachments/Audiences%20and%20Receptions%20of%20Sexual%20Violence%20in%20Contemporary%20Cinema_0.pdf) Martin Barker, ‘Embracing rape: understanding the attraction of exploitation movies’, in Feona Attwood et al (eds.), Controversial Images: Media Representations on the Edge, Basingstoke: Palgrave, 2013, pp. 271-38. (Available herewith as PDF.) Martin Barker, ‘Watching rape, enjoying watching rape: how does a study of audiences cha(lle)nge film studies approaches?’, in Tanya Horeck & Tina Kendall (eds.), The New Extremism in Cinema: From France to Europe, Edinburgh: Edinburgh University Press, 2011, pp. 105-16. (Available herewith as PDF.);
  • 5. What’s “Live” About It?: Researching the Rise of Simulcasting. In January 2006, the New York Metropolitan Opera launched a new initiative, as a main tactic in its bid to reverse a serious funding crisis. It filmed a live performance in its house, and broadcast it to cinemas across the north eastern USA. This was the start of what has come to be known (among other things) as ‘livecasting’, ‘simulcasting’, ‘digital broadcast cinema’, and ‘event cinema’, and which has now spread across the globe, for opera, theatre, ballet, classical and pop music (jazz was tried, but failed), museum tours, and sports. The launch was accompanied by a swirl of research into its audiences: who went, what they liked, what they were prepared to pay, and so on. It also raised complex questions about the meanings, today, of ‘liveness’. I was one of those researchers, and will talk about what we learnt about this new phenomenon.;
  • Reading: Martin Barker, ‘Live To Your Local Cinema’: The Remarkable Rise of Livecasting, Basingstoke: Palgrave, 2012. Paul Heyer, ‘Live from the Met: Digital Broadcast cinema, and opera for the masses’ (Available at: file:///C:/Users/Martin/Downloads/2090-5022-1-PB.pdf) Kay Armatage, ‘Opera cinematics: a new view from the stalls’, in Ian Christie (ed.), Audiences, Amsterdam: Amsterdam University Press, 2012, pp. 218-25.
Literatura
  • Ian Christie (ed.), Audiences. Defining and Researching Screen Entertainment Reception. Amsterdam University Press, 2012
  • Watching the Lord of the rings : Tolkien's world audiences. Edited by Martin Barker - Ernest Mathijs. New York: Peter Lang, 2008, xiv, 297. ISBN 9780820463964. info
Výukové metody
Lectures
Metody hodnocení
Written essay.
Vyučovací jazyk
Angličtina
Informace učitele
In the last two decades the primary focus of Martin Barker´s research has been on film audiences. His research has covered audience responses to, and understandings of, films as diverse as Judge Dredd, Crash, Straw Dogs, and Being John Malkovich. He directed the international project on the reception of the film of The Lord of the Rings, and directed a project funded by the British Board of Film Classification into audience responses to screened sexual violence. He has side-line interests in a range of topics, including such topics as the history of the Iwo Jima image, and film failures. Professor Barker also retain an active interest in various aspects of film history and textual form, and continue to collaborate with Roger Sabin (University of the Arts, London) into the continuing history of Fenimore Cooper’s Last of the Mohicans. He was founder, and is co-editor (with Sue Turnbull, LaTrobe University, Melbourne, Australia) of the online audience studies journal Participations. He has been engaged in work within the broad cultural studies sphere since 1969, at various times exploring the cultural and ideological aspects of racism, and children’s comics, addressing curricular issues in the field, and engaging in debates on topics around censorship, the control of culture, and the operation of ‘figures of the audience’ within public and policy debates. Presently he is directiong the largest research project focused on cinema audiences which has ever been launched: The Hobbit International Research Project. Teaching Schedule: MO 9. 5. Lecture 1 - 10:00–11.35, L 2 - 12.30-14.05 TU 10. 5. L3 - 14:10–15:45 WED 11. 5. L4 12.30-14:05 TH 12. 5. L5 - 9:10–10.45, facultative SEMINAR 10.50-12:25 Obligatory 100% attendance (with the exception of distance students who are allowed to miss 2 out of 6 sessions).
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- Obligatory 100% attendance (with the exception of distance students who are allowed to miss 2 out of 6 sessions).
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