"Das Handbuch bietet einen umfassenden Überblick über die Gegenstände und Theorien der Rezeptionsforschung. In den 37 Beiträgen wird ein systematischer Zugang zum State of the Art der jeweiligen Thematik aus einer kommunikationswissenschaftlichen Perspektive gelegt. Die umfassend aktualisierte u
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nd erweiterte 2. Auflage befasst sich in vier Teilen: (1) mit grundlegenden Konzepten der Medienrezeption, (2) mit Fragen der Zuwendung und Selektion, (3) mit spezifischen Phänomenen und Erlebnisweisen und (4) mit den wichtigsten Kontexten der Medienrezeption. Moderne Medienwirkungstheorien kommen ohne die Betrachtung von Rezeptionsprozessen nicht mehr aus. Im Handbuch werden daher die Prozesse vor und während der Mediennutzung im Detail betrachtet." (Verlagsbeschreibung)
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"This study investigates some of the communicative practices displayed by readers of vertically scrolling digital comics known as webtoons. A big-data emotion detection technique is used to identify, categorize, and analyze the contents of more than 14 million comments posted during the first year o
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f the COVID-19 pandemic. The authors explore the technical affordances of the self-publishing CANVAS section of the Webtoons.com site to demonstrate how an expanding cohort of readers use CANVAS as a chamber for communicating feelings, sharing commiserations, and offering collegial support. In so doing, they contribute to the improvement of participants’ well-being and differentiate themselves from other digital platform users who comment solely on stories, characters, and aesthetics. As such, their parasocial interaction transforms the webtoon format, which has yet to be fully investigated, into a communication platform where the “co-creating engagement” of readers generates a sense of intimacy at a distance. The conclusion highlights theoretical implications surrounding this communal digital technology of the self in the context of artificial intelligence." (Abstract)
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"Recent reports indicate that over 20,000 Arab fighters traveled to join ISIS in Iraq and Syria and another 5-15 percent of millennials across seven Arab countries consider some violent extremist groups to be on the right path. In response, Arab countries have experimented with entertainment-educati
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on (E-E) by using anti-extremism narratives in popular culture to address radicalization at the societal level. This study explores whether those narratives can elicit viewers’ parasocial interaction (PSI)—pseudo friendships with or animosity toward mediated personas that can catalyze persuasion—with fictional characters. Using qualitative and quantitative content analyses of more than 8,600 YouTube comments, this study explores Arab viewers’ responses to a recent E-E project, al-Siham al-Marika (The Piercing Arrows) drama series, that portrays life under ISIS’s control. The findings identify recurrent themes in the pool of comments, such as show debates, religious contestations, political disputes, empathy for victims, and engagement with plotline/characters. More importantly, they reveal at least one out of six comments (n=1477) exhibits PSI with fictional characters, addressing them as part of their social milieu. The study further traces the variations in the nature of PSI in relation to mediated positive role models, negative role models, and transitional characters in the narrative. It concludes with a discussion of E-E’s potentials as an anti-extremism messaging strategy and PSI’s role as a useful metric in assessing such narratives." (Abstract)
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"Within media and cultural studies, the study of media texts is dominated by an exclusive focus on representation. This book adds long overdue attention to social interaction. The book is divided into two sections. The first outlines key theoretical issues and concepts, including informalisation, ge
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nre hybridisation, positioning, dialogism and discourse. The second is a sustained interrogation of social interaction in and around media. Re-examining issues of representation and interaction, it critically assesses work on the para-social and broadcast sociability, then explores distinct sites of interaction: production communities, audience communities and 'interactivity' with audiences." (Publisher description)
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