Relocating the site of the audience

The audience

“…More typically, each has a specific lineage that turns a blind eye to related work in other disciplines. As noted at the beginning of this piece, even in wide-ranging surveys of the field, the custom is to organize the material by reviewing "antagonistic" traditions (e.g., Lazarsfeld, 1941;Schroder, 1987), historically or theoretically discrete disciplines (e.g., Allor, 1988;Jensen & Rosengren, 1990), or multiple paradigms (e.g., Katz, 1987;Pietila, 1994). This has the effect of highlighting differences of epistemology, ideology, and nomenclature.…”

Intersecting and competing discourses in Harvey Fierstein's Tidy endings

“…When mass culture is viewed as ideologically 197 QUARTERLY JOURNAL OF SPEECH COHEN competitive, social change becomes a possibility that the critic must confront (Becker, 1984;Fiske, 1986Fiske, , 1988aFiske, , 1988bHall, 1980a;Newcomb and Hirsch, 1983). In spite of these efforts to provide more complex accounts of dominance and plurality, scholars are steadily uncovering the problematic assumptions that proponents of Cultural Studies make about the process of mass-mediated meaning (Allor, 1988;Lembo and Tucker, 1990;Lull, 1988;Morley, 1981Morley, , 1989Streeter, 1989;Wren-Lewis, 1983). Most critiques of the Cultural Studies perspective revolve around interpretations of Stuart Hall's (1980b) rendering of the encoding/decoding model of mediated communication, or its conterminous metaphors that separate meaning into moments of production/consumption, text/audience, dominance/ resistance, the social/the individual, and the monolithic/the pluralistic.…”

“…However, most of the efforts emphasize either text or audience, and they suffer from a traditional, linear view of the text-audience relationship. For a discussion of what has come to be called "the problem of the audience" see Allor, 1988;Carey, 1985;Fiske, 1986;1988a;1988b;Hall, 1980b;Hartley, 1988;Lull, 1988;Morley, 1981;Newman, 1988;Streeter, 1984Streeter, , 1990 Fierstein originally wrote the teleplay as one of three one-act plays grouped under the title "Safe Sex" and performed at La Mama, an avantgarde Off-Broadway theatre that has nourished many gay playwrights and sympathetic gay audiences (1987). Within one month of sold-out performances, the trio of plays moved to a brief run on Broadway, where it was unsuccessful at attracting a popular audience.…”

Zorunlu Göçe İlişkin Belleğin Oluşmasında Filmlerin Katkısı: Dedemin İnsanları ve Bir Tutam Baharat Filmlerinin Alımlanması

“…Elbette bu durum izleyicinin verili metinden herhangi bir anlamı da çıkarabilmesi manasına gelmemektedir (Stevenson, 2008, s. 135). Bu kuşağın temsilcileri arasında Lull (1980;1988a;1988b;, Radway (1984), Allor (1988) ve Grossberg (2008) gibi araştırmacılar yer almaktadır.…”