جستجوی مقالات مرتبط با کلیدواژه « مخاطب فعال » در نشریات گروه « علوم اجتماعی »

Media literacy is an educational construction that is constituted through media education process. Audience is one of the bases and constituting elements of this construction which has a double meaning in media education: First, the audience is one of the main debates in media education and second, the learner as an audience in media education is placed in the position that constitutes the media literacy construction. In other words, the teacher and the educational system with the task of educating the learners want to specify some debates on the concept of the audience during the course of teaching the textbook and at the same time, transmit those teachings to the learner that is an audience of media who has a live experience in an increasingly mediated culture. The education is faced with a complex challenge by this fact; on the one hand, media literacy presupposes the active audience to understand its subject; on the other hand, the textbook presupposes the audience as a passive one who is going to gain the necessary subjectivity through the education process. By the perspective of deconstruction, this contradiction is not within the writing of the textbook, nor is outside the text. Therefore the object of analysis in this paper is the very text of the book. The main paper’s question is questioning the meaning and contradictory site of the audience in the textbook. The aim of the paper is highlighting the perceived contradiction by applying Jacques Derrida’s strategy of deconstruction.

Target: Since today, religious content has been widely disseminated on the Internet, and the audience is using it according to the style of their media consumption, this study aimed at studying has been various components on the consumption of religious content based on the concepts of active audience approach and the theory of Uses and Gratification.

This research was a questionnaire in terms of method, survey and data gathering tool. The mean reliability coefficient of its indices was estimated as 0.76 according to Cronbach's alpha. The sample size was estimated based on Cochran formula 384 and the required information was collected from 385 people by cluster sampling.

The findings of this research showed that there are a direct and significant relationship between the components of answering questions, eliminating doubts, quality of family education, easy access to the media and raising awareness with the amount of religious content consuming. In this regard, based on regression analysis, the components of easy access and awareness raising Arrangements have the most predictive power of the dependent variable.

In this article, we studied student dissertations in cultural studies departments and articles of two important journals (Iranian Journal of Cultural Research and Quarterly Journal of Iranian Association for Cultural Studies & Communication). Our main questions are how the condition of reception possibility is assumed in Iranian cultural studies? How we can classify our audiences? In particular, how and who is the audience in Iran? This analysis shows that most of the Iranian cultural studies oriented to urban middle class of Tehran, instead of lower middle class or labor class. The result demonstrates that, most of scholars consider audience as an active subject that resists against text massages. Hence, they overlook the role of ideology and power in construction of subject and audience. As if, a type of optimistic cultural studies was adapted in an authoritarian political context. This approach on resistance is called resistance ideology by the authors; a situation in which we believe resistance is a sort of relieving and appeasing drug for critical cultural scholars.

This article investigates the concept of cultural and media consumption in cultural studies according to late modernity. In this article we try to identify consumption as a cultural and media activity by which audiences resist meaning of reference texts also they produce the secondary text during the consumption then they make their identity. In this article some concepts including individualization as well as interpretation of cultural and media texts have discussed. Also some point of views of scholars such as Stuart Hall, Dave Morley, John Fisk, Michel de Certeau, Henry Jenkins, Roger Silverstone, Nicholas Abercrombie, and Brian Longhurst and Pierre Bourdieu has reviewed.

In this article we study the attitudes of Iranian cinema audience toward popular films. Affected by classic elite cultural theories, popular culture and consumers of popular culture have been humiliated for many years. According to this theories, audience of popular magazines, popular music, popular films and other popular culture products, have been considered as passive victims. Cultural studies approach, have changed this view. In this article, we use the cultural studies approach and consider popular film audience as active audience. We addressed “Ekhrajiha 2” for this study, regarding its popularity and its rank among the bestsellers in the history of Iranian cinema. Released in 2009. “Ekhrajiha 2” have been written and directed by Masoud Dehnamaki as a “Comedy/War” genre. The story of movie is about some Iranian soldiers during the Iran–Iraq War. In this research, two qualitative techniques have been combined to gain best result about audience attitudes: interview and participatory observation. First, one of the researchers (Mowlaei) has watched the film with audience in the cinema theater for 9 times. Cinema theaters have been chosen from different areas of Tehran that attract audience from different social groups. He recorded the audience behaviors and reactions. Then, another researcher (Kermani) interviewed some film viewers from diverse educational and cultural backgrounds. Results indicate that audiences decode the movie in different ways. As Stuart Hall says, encoding and decoding in communication have different phases in a process. Although director had tried to highlight Islamic and national ideological messages, audiences considered “Ekhrajiha 2” as a comedy product and enjoyed funny scenes of the movie. Thus, different audience groups decoded the movie in different ways. Using participatory observation and in-depth interviews, we also found six reasons for high welcome of the movie: 1. Film “Ekhrajiha” is a “movie sequel”, and some audiences went to the cinema to watch following stories. 2. Representing a new viewpoint on Iran–Iraq War. In the Iranian war cinema, many previous movies have represented Iranian soldiers as the holy people. In this movie, some soldiers are represented with funny and villain personalities. 3. Extensive advertising: IRIB (Islamic Republic of Iran Broadcasting) and other state propaganda heavily encouraged people to watch the movie. 4. Different decoding possibilities: the movie structure allows audiences to decode messages and scenes in different ways. 5. Appearing fun atmosphere in cinema theater: In some Tehran cinema theaters, audiences made a fun atmosphere. They went to the cinema with their family and friends and got pleasure from this atmosphere. 6. Reproducing the movie in a consumption moment: cinema audience participated in reproducing movie simultaneously when they watched movie in cinema theaters.

In this article we examine how Iranian women put an interpretation on Victoria, a very popular satellite TV series on Farsi One channel. Based on Active Audience Theory especially Cross-cultural Consumption, audiences consume media texts in different manners. By using qualitative method and in depth interviews with 30 women, we try to show that watching Victoria series produces a kind of excessive enthusiasm that leads to the emergence of “Love of Watching” or “Watchophilia”. Moreover female audiences of this TV series interpret Victoria’s role (the heroine) as independent and assertive. Presenting an assertive woman filled the female audience with delight. Findings showed that having empathy with the heroine is a strong mechanism in watching TV series. Comparing real conditions of female viewers’ lives with visual text is subject to controversy among them. This process has led to the formation of an active reading around judgments about feminine roles and expectations from it based on show of Victoria’s role. Family, occupation and educational major are variables effective on this kind of reading. Moreover we will try to argue that “drawing comparisons between the viewers and the characters” is the dominant aspect in reading Victoria series among Iranian women

This study, conducted in the field of sociology of communication, seeks to investigate the different dimensions of women’s use and gratification through watching television soap operas (WUGSO), as well as to analyze the influence of socio-economic status (SES) on the degree of WUGSO. The Use and Gratification approach has been applied as the theoretical framework of this study. The research was conducted via surveys, and data was also collected through questionnaires along with interviews. The subjects of the study were 383 married women, all residents of Esfahan, and aged between 2054. The findings of the study showed that the average time spent watching TV was 3.24 hours per day. Many respondents regularly watched soap operas, which were indeed their first priority in their TV viewing patterns. Respondents were moderately gratified with watching soap operas. Furthermore, there was a significant and reverse relationship between SES of women and the degree of their use and gratification. For example, time for watching soap operas and also the degree of gratification among those who belonged to higher SES, was less than their counterparts in the lower SES.