1 Audiences – what’s the big deal?
Ok – you’re taking a course titled “Audience Studies”…
I figure a good place to start is figuring out what is an audience anyway? Then we can move on to figuring out why audiences matter, and then how we’re going to study them. In this chapter, we’ll quickly span thousands of years, highlight the significance of the last century or so, and then focus our attention on the contemporary media landscape. We will address different ways of thinking about audiences and chart the evolution of audiences from interpersonal to mass to mass-interpersonal, and from passive to active to interactive. Ultimately, we’ll set up future chapters and set the stage for understanding audiences as prime-movers in our contemporary participatory media culture. We will also lay the foundation for understanding (and studying) fans as the most active participants in that media culture.
Taylor Swift provides more than just an appropriate song lyric to get things started. In 2023, her Eras Tour is providing massive audiences with content for which they are prepared to pay massively. Her fans purchase untold amounts of merchandise, but also create their own content (such as the GIF, above), expressing their identity and also contributing to an archive of online interactive content and for some, a sense of community. Pent-up audience demand for the concert experience is being met by further media product:
We see the push and pull of media industries and media audiences in this spectacular example of Taylor Swift (now a media industry on her own) feeding audience demand by creating more opportunities for new audiences to become fans or for current ones to celebrate their fandom. Cinemark’s chief marketing and content officer typified the audience response to the announcement of the new film as “frenzied traffic.” This mobilizes the classic frame of excessive, out-of-control fans, even as he said that the theatre chain was “ready for Swifties to be enchanted by this concert film.” Audiences derive meaning from media content, consuming, recirculating, and sometimes adding their own contributions, ultimately creating added value for themselves and others, while industries derive economic value from this audience behaviour.
This quick Taylor Swift example demonstrates how, to quote the title of a recent Henry Jenkins’ book, we are all not just witnesses to, but players in, “Participatory Culture in a Networked Era.”[1] Even if you’re not a fan, you’re subject to a media environment subject to the culture industry that is Taylor Swift — popular radio play her songs endlessly, streaming sites change their polices because of her, and even the announcement of her film’s release date caused other movies to reschedule theirs, knowing that the box office and the cultural conversation will be dominated by her. Content matters to audiences and audiences matter to industries. But before we explore the details of our current situation, we should go back to the beginning.
Once upon a time, if you were a member of an audience, it was a simple audience. You were gathered in a shared space, physically present with your fellow members of an audience, all gathered because of a shared object of attention.
But we don’t have to go all the way back to start with Ancient Greece (age of simple audiences)
The main features of the simple audience are that: communication between performers and the audience is direct; the performance event takes place at a designated, ‘local’ place; the event is invested with a high degree of ceremony by the audience; the performance is public; the distance between the audi- ence and the event is high; as, finally, is the attention of the audience.[2]
Though simple audiences continue to the present day, one has to admit that everything changed when it came to thinking about audiences with the introduction of the printing press.
Separating the audience from the message sender both in time and space, we now have imagined audiences rather than physically co-present spectators. Whereas a simple audience is “real” a mass audience is “socially constructed” and its experience is felt differently.
[quickly move to the 20th century and mass audiences with mass media
Mass audiences are global and relatively more prone to distraction than simple audiences who are typically preoccupied with the performance in front of them. Mass audiences form around technology. While the simple audience is mediated by space (in Ancient Greece, you could only pay attention to something you could hear — the medium was speech whereas in modern society a simple audience is larger because of electricity, the physical environment of a theatre or stadium is still the limiting factor), the mass audience transcends space; the audience of three people in their home, pictured below, is not massive, but they’re part of a mass gathering of people, all focused on the same radio transmission. They are connected to each other through their shared experience, even as they are disconnected, physically, from each other.
mass audience events do not involve spatial localization, the communication is not so direct, the experience is more of an everyday one and is not invested in quite the same way with ceremony, less attention is paid to the performance, which is typically received in private rather than public, and there is even greater social and physical distance between performers and audience.[3]
[quick overview of 20th century perspectives on audiences (fear of propaganda, media effects… cultural studies and reception as response to behaviourist tradition)
In the 21st century, audiences have once again evolved. Today, we take for granted their always online, digital, diffused nature. One typically encounters members of diffused audiences “engaging through ways that are nonlinear and on-demand like social media and blogs,”[4]. In this state, “everyone becomes an audience all the time. Being a member of an audience is no longer an exceptional event, nor even an everyday event. Rather it is constitutive of everyday life.”[5]
An individual can be part of simple, mass, and diffused audiences all at the same time.We have gone from an earlier era where audiences that gathered together were, by necessity, engaged in interpersonal communication. Then, with the introduction of mass media, society became used to massively corporatized media industries delivering standardized content to large, impersonal audiences. And now, today, with social media forging connections between “friends” and “followers”, everyday individuals can become micro-celebrities and many grow up seeking to become influencers, forging “mass interpersonal persuasion” through online networks that allow individuals to change attitudes and behaviours on a mass scale.[6]
[clarify that with social media, audiences are always active (making meaning) and often interactive (creating content for fellow audience members).
In this environment, we can’t even reasonably speak of (specific) media audiences anymore – we have transmedia audiences. Storyworlds are created to pull audiences across platforms and often encourage greater immersion in commercial narratives…
Clearly, audiences are not simply consumers. They are also prosumers. Audiences online don’t only consume media content, they also produce it (at the most basic level by providing personal feedback through reactions, or comments). Beyond sharing content, audiences can “remix” it too, adding their own voices and styles to content, remediating it and circulating it via their own networks. Audiences are also users.
This confusion is not just a 21st century condition:
We are dealing not with a single kind of social collectivity but with a great variety of different ones, all with a valid claim to be called an audience. This diverse set includes: media fans; social and political groups; ethnic groups; local communities; information consumers; special-interest groups; subcultures; lifestyles; taste cultures; market segments; and so on.[7]
- In fact, Taylor Swift could be used as a case-study for almost every week of this course. Not every individual who is exposed to her music or memes about her is a fan. So what does it mean to be a participant in this networked era defined by user-generated content? (week 2 - participatory culture overview); And what does it mean to be a fan of hers and what different types of audiences coalesce around her? (week 3 - fandom overview); how is her audience viewed by industries producing both the content for them and the audience itself? (week 4 - the audience commodity); how do people generate content against her? (week 5 - anti-fans); what are the politics of her audience and how do they engage in politics (week 6 - political fandom); how do her fans organize as citizens, advocating for social change (week 7 - civic fandom); how is her audience fashioned around her star image? (week 8 - celebrity fandom); how is the Taylor Swift "brand" managed? (week 9 - public relations and fandom); how do fans create their own Taylor Swift-inspired merchandise (Week 11 - consumer fandom); how does toxic fandom organize around Taylor Swift? (week 12 - "ugly" fandom). As you can see, the only week that might not explicity link to Taylor Swift is week 10 on "Sport Fandom" -- and even then, one can easily draw linkages to the enthusiastic tribalism and ritualistic gatherings that define this type of audience...) ↵
- Abercrombie, N. & Longhurst, B. (1998). Audiences: A Sociological Theory of Performance and Imagination. Sage. DOI: http://dx.doi.org/10.4135/9781446222331.n3 ↵
- Abercrombie, N. & Longhurst, B. (1998). ↵
- Jason Kido Lopez. (2023) Redefining Sports Media. London: Routledge, pg.75 (DOI: 10.4324/9781003164272-5) ↵
- Abercrombie, N. & Longhurst, B. (1998) ↵
- Fogg, B. J. (2008). Mass interpersonal persuasion: An early view of a new phenomenon. In H. Oinas- Kukkonen, P. Hasle, M. Harjumaa, K. Segerståhl, & P. Øhrstrøm (Eds.), Third International Conference on Persuasive Technology (pp. 23–34). Berlin: Springer. ↵
- Denis McQuail.(1997) Audience Analysis. London: Sage. DOI: https://doi.org/10.4135/9781452233406 ↵