Media industries recognise the extent to which the potential audiences for their products are now... more Media industries recognise the extent to which the potential audiences for their products are now made up significantly of “roamers,” people finding diverse routes through the options available and combining them in different ways. The main research question in this article is: what sort of precise movements, combinations and connections become possible for roaming audiences in rapidly expanding commercial entertainment platforms? The article draws on emergent findings of a qualitative audience study in Malaysia and Indonesia, analysing patterns of movement across streaming services, e.g. Netflix, entertainment platforms, e.g. YouTube, and national cable and public television channels. Through empirical and theoretical research, we critically examine how the virtual and material are intertwined in audience mobility and motility. Through the use of visualisations of the media landscape by roamers, the trope of the “Netflix Park” signifies how motility is closely tied to media freedom and power. In our study, audiences adapt to life in a commodified culture; roamers combine global entertainment platforms and other piracy services, becoming enmeshed in the commercial foreclosure of new media spheres.
Media industries recognise the extent to which the potential audiences for their products are now... more Media industries recognise the extent to which the potential audiences for their products are now made up significantly of “roamers,” people finding diverse routes through the options available and combining them in different ways. The main research question in this article is: what sort of precise movements, combinations and connections become possible for roaming audiences in rapidly expanding commercial entertainment platforms? The article draws on emergent findings of a qualitative audience study in Malaysia and Indonesia, analysing patterns of movement across streaming services, e.g. Netflix, entertainment platforms, e.g. YouTube, and national cable and public television channels. Through empirical and theoretical research, we critically examine how the virtual and material are intertwined in audience mobility and motility. Through the use of visualisations of the media landscape by roamers, the trope of the “Netflix Park” signifies how motility is closely tied to media freedom and power. In our study, audiences adapt to life in a commodified culture; roamers combine global entertainment platforms and other piracy services, becoming enmeshed in the commercial foreclosure of new media spheres.
This chapter offers a reflection on the value of dialogue across media industries and academia in... more This chapter offers a reflection on the value of dialogue across media industries and academia in enhancing understanding of audience engagement and disengagement with media. The basis for this reflection is an industry-academic collaborative project between Lund University and Endemol Shine. The Media Experiences project conducted production and audience research on a range of drama and reality entertainment during a three year period in several countries, primarily Sweden, Denmark, and UK, with smaller off shoot research in Japan, Colombia, USA, and Mexico, and one case study which included transnational audiences from around the world (2014-2016). The project was designed to look at the connections across media industries and creative production, genre, and audiences. It builds on an innovative approach where production research intertwines with the crafting of genre and aesthetics within particular texts and live events, and crosses over into audience research that explores peop...
How can we understand the patterns and contours of audiences in a mixed media environment? I’m cu... more How can we understand the patterns and contours of audiences in a mixed media environment? I’m curious about the tracks people make as they become aware of themselves as constituting an audience. These tracks include the way we listen to a soundtrack and relate this to the narrative in a drama; listening can help us find our way through storytelling, signposting how we relate to broader themes and cultural contexts. Another set of tracks might move us from the identity of audience to produser, for example making a remix from a soundtrack as a creative response to broader themes in a drama, another means of articulating our identities in the media landscape.What follows is an argument about audience assemblage that resists the common ways in which we conceptualize audiences as already there, an aggregate to be measured. This argument also resists the conceptualization of audiences as produsers (Bruns, 2008), where there is an end goal, an engagement result as it were. For Tim Ingold ...
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