Using mixed-methods, a data model and a computational ontology in film audience research

Abstract

This paper discusses a methodology that seeks to address one of the challenges in working with a range of data in mixed-methods audience research, which is how to sort, order and categorise different data so that they can be systematically combined and interrogated. The methodology was developed as part of the "Beyond the Multiplex: audiences for specialised films in English regions" (BtM) project. This project required a mixed methods approach using surveys, interviews, focus groups and document analysis to explore the richness of audience experiences and trends in the context of regional film policy. This required a mixed methods approach using surveys, interviews, focus groups and document analysis. The project utilised a data model approach that uses the principles of a computational ontology in order to sort, order and categorise data for systematic interrogation. The paper discusses methods, data, coding, and the use of a data model to support data analysis. We argue that this approach enables the cross referencing of data that provides a rich, multilayered and relational understanding of film audiences but requires time and attention to data management and coding. Although, additionally it also forms the basis of an open access data resource for future research.

Developing a computational ontology to understand the relational aspects of audience formation

“…Because we gathered demographic details about each interview participant (see Wessels et al, 2019) we can also search for similar patterns within the survey data (see Yates et al, 2019a) and to see what sorts motivations different people have for travelling to watch films at the cinema by exploring the extent to which the Location of a venue affects people's choice to watch (their Motivation) at the cinema (a Place). For example, the below clustered bar chart (generated from the survey wave 1 data in IBM SPSS statistics version 26) shows that 30% (n=1533) and 32% (n=1624) of the survey respondents find that the convenience of having a cinema located close to their home (a Motivation) affects their decision to go there to watch films a little or lot respectively (62% in total), compared with 6% (n=295) who said it did not affect their decision much, or 8% (n=406) that said it did not affect their decision at all.…”

“…That is, film and cinema are mapped as entities, genre is mapped as a characteristic associated with film, and is watched at is held as a named relationship between film and cinema. While researchers can generate similar connections between data manually, the ontology allows vast 1 In some interviews, two people were interviewed at the same time and place (e.g a married couple) -as such there are 197 transcripts vs. 200 interviews -as noted in the classification sheet (see Wessels et al, 2019).…”

“…To understand how people engage with specialised film, we undertook 50 semi-structured interviews in each of our four studied English regions (North East, North West, South West, and Yorkshire and the Humber) between November 2017 and April 2018. We took a snowball sampling approach to recruitment, which provided a diverse sample of interviewees (see classification sheet in Wessels et al, 2019) Participants were identified through their membership of organisations, local interest groups (including non-film related ones, such as the University of the Third Age and running clubs), cinema film clubs, and through their attendance of film festivals. This often led to further participants being recommended to us, and at times for people to contact us themselves (snowball sampling).…”

“…We used a topic guide with a suggested set of questions (see interview questions in Wessels et al, 2019) as a way to facilitate consistency and thematic focus across interviews (Silverman, 2010). While the topic guide structured the sequence in which we asked questions, it remained loose enough to allow interviewees to speak freely and openly, thus maintaining a degree of naturalism in each interaction.…”

“…Our qualitative coding of interviews produced a coding scheme (see NVivo coding scheme in Wessels et al, 2019) with a complex hierarchy that informed a revision to the ontology. As such, we found that 'dual coding' generates a rich set of codes for analysis that allow us to address consumption patterns, to explore audience members' experiences and understandings of film, and to connect both with broader trends in production and distribution through the ontology, as evidenced through our analysis of documents relating to policy and industry practice.…”