Craig Hight – författare

This book explores the evolution of audience receptions of Peter Jackson’s Hobbit trilogy (2012-14) as an exemplar of the contemporary blockbuster event film franchise. Drawing on findings from a unique cross-cultural and longitudinal study, the authors argue that processes and imperatives associated with Hollywood ‘blockbusterisation’ shaped the trilogy’s conditions of production, format, content, and visual aesthetic in ways that left many viewers progressively disenchanted. The chapters address public and private prefigurations of the Hobbit trilogy, modes of reception, new cinematic technologies and the Hobbit hyperreality paradox, gender representations, adaptation and the transformation of cinematic desire, and the role of social and cultural location in shaping audience engagement and response. This book will appeal to audience researchers, Q methodologists, scholars and students in film and media studies, Tolkien scholars, and Hobbit fans and critics alike.

Although many digital platforms continue to appropriate and reconfigure familiar forms of media experience, this is an environment which no longer consistently constructs an identifiable ''mass'' audience in the terms understood by twentieth century audience researchers. The notion of ''audiencing'' takes on different characteristics within a digital environment where platforms encourage users to upload, share and respond to content, while the platforms themselves monetise the digital traces of this activity. This environment demands new ways of thinking about audience and user engagement with media technologies, and raises significant questions on methods of conceiving and researching audience-users. This volume addresses ongoing debates in the field of audience research by exploring relevant conceptual and methodological issues concerning the systematic study of digital audiences. Drawing from work conducted by researchers based in Australia and New Zealand, the book uses theoretical frameworks and case study material which are of direct relevance to audience researchers globally.

Although many digital platforms continue to appropriate and reconfigure familiar forms of media experience, this is an environment which no longer consistently constructs an identifiable ''mass'' audience in the terms understood by twentieth century audience researchers. The notion of ''audiencing'' takes on different characteristics within a digital environment where platforms encourage users to upload, share and respond to content, while the platforms themselves monetise the digital traces of this activity. This environment demands new ways of thinking about audience and user engagement with media technologies, and raises significant questions on methods of conceiving and researching audience-users. This volume addresses ongoing debates in the field of audience research by exploring relevant conceptual and methodological issues concerning the systematic study of digital audiences. Drawing from work conducted by researchers based in Australia and New Zealand, the book uses theoretical frameworks and case study material which are of direct relevance to audience researchers globally.