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Titlebook: Digital Participatory Culture and the TV Audience; Everyone’s a Critic Sandra M. Falero Book 2016 The Editor(s) (if applicable) and The Aut

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發(fā)表于 2025-3-21 16:20:09 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
書目名稱Digital Participatory Culture and the TV Audience
副標(biāo)題Everyone’s a Critic
編輯Sandra M. Falero
視頻videohttp://file.papertrans.cn/280/279582/279582.mp4
圖書封面Titlebook: Digital Participatory Culture and the TV Audience; Everyone’s a Critic Sandra M. Falero Book 2016 The Editor(s) (if applicable) and The Aut
描述In this study, Falero explores how online communities of participatory audiences have helped to re-define authorship and audience in the digital age. Using over a decade of ethnographic research,?.Digital Participatory Culture and the TV Audience. explores the rise and fall of a site that some heralded as ground zero for the democratization of television criticism.?.Television Without Pity. was a web community devoted to criticizing television programs. Their mission was to hold television networks and writers accountable by critiquing their work and “not just passively sitting around watching.” When executive producer Aaron Sorkin entered .Television Without Pity’s. message boards on .The West Wing. in late 2001, he was surprised to find the discussion populated by critics rather than fans. His anger over the criticism he found there wound up becoming a storyline in a subsequent episode of .The West Wing. wherein web critics weredescribed as “obese shut-ins who lounge around in muumuus and chain-smoke Parliaments.” This book examines the culture at?Television Without Pity?and will appeal to students and researchers interested in audiences, digital culture and television studies..
出版日期Book 2016
關(guān)鍵詞Digital culture; message board communities; television critics; television criticism; participatory cult
版次1
doihttps://doi.org/10.1057/978-1-137-50000-7
isbn_ebook978-1-137-50000-7
copyrightThe Editor(s) (if applicable) and The Author(s) 2016
The information of publication is updating

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Grundlegende Ordnungshilfen beim Gestaltenth of rules that developed as the membership grew served to stifle discussion, particularly political speech. A study of the fringe spaces of . shows how vulnerable political discussion can be in online social platforms.
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發(fā)表于 2025-3-22 13:39:00 | 只看該作者
,Seven Years’ Hard: Kipling in India,al media were fast becoming more popular ways to discuss television programs online. Falero chronicles the discussion of the site’s cultural relevance as this pronouncement resulted in a bit of eulogizing from journalists and former fans of the site.
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發(fā)表于 2025-3-22 21:07:51 | 只看該作者
,“Meet Market”: The Attraction of a Place Without Pity,cular fandom, the television industry, and traditional television journalism allowed for everyday television viewers to feel comfortable joining discussion. The author also explores how the study was constructed and discusses ways digital communities require a rethinking traditional ethnographic models.
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發(fā)表于 2025-3-22 23:18:18 | 只看該作者
,“The Industry”: A Brief History of Audiences In and Out of Control, concept. Through a discussion of the professionalization of media in the nineteenth century, she documents the end of “audience sovereignty” and the creation of an idea about audiences as passive, and about popular media as simplistic and unworthy of real critical analysis.
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發(fā)表于 2025-3-23 01:41:44 | 只看該作者
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發(fā)表于 2025-3-23 08:11:34 | 只看該作者
,“Permanent Hiatus”: The Death of ,,al media were fast becoming more popular ways to discuss television programs online. Falero chronicles the discussion of the site’s cultural relevance as this pronouncement resulted in a bit of eulogizing from journalists and former fans of the site.
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