İzleyici Araştırmaları ve Politik İmkan Sorunu

Year 2014, Volume: 1 Issue: 2 - Memory, 241 - 269, 15.12.2014

Çağla Karabağ Sarı

Abstract

İletişim araştırmalarında izleyicinin nasıl kavrandığı ve incelendiği konuları merkezî bir önem taşır. Bu yazı nitel izleyici araştırmalarına odaklanmaktadır. Öncelikle Kültürel Çalışmalar ekolünün öncü izleyici araştırmaları konu edilmekte, ardından izleyici araştırmalarına yönelik eleştiriler ele alınarak bu çalışmaların barındırdığı politik imkân meselesi tartışılmaktadır. Yazının temel iddiası, izleyici araştırmaları ve alımlama çalışmalarının yerel dinamikleri anlamak, mikro ve makro düzeyler arasında bağ kurmak açısından vazgeçilmez olduğudur. Bu tür araştırmalardan elde edilecek bilgi üzerine kurulmuş uzun erimli politik stratejiler sayesinde muhalif anlamları güçlendirmek ve yaygınlaştırmak da mümkündür.

Keywords

İzleyici, izleyici araştırmaları, alımlama, politik imkân, kültürel çalışmalar

Audience Research and the Problem of Political Potentiality

Abstract

In communication studies how the audience is conceived and analysed has significant weight. This study focuses on qualitative audience studies. First, I focus on the pioneering research within the scope of Cultural Studies and second I offer a critical analysis of the criticisms against the audience research. In the same part I also focus on the political possibilities that the audience research contains. The main argument of the study is that audience and reception studies are indispensable to understand the local dynamics and to grasp the connections between micro and macro levels. In this respect, this strand of research also offers the grounds to develop political strategies, which enables one to reinforce and spread oppositional meanings.

Keywords

Audience, audience studies, reception, political possibility, cultural studies

References

• Alasuutari, P. (1999). Introduction: Three Phases of Reception Studies. Pertti Alasuutari (Der), içinde, Rethinking the Media Audience (s.1-21). Londra: Sage.
• Ang, I. (1991). Watching Dallas: Soap Opera and the Melodramatic Imagination. D. Couling (Çev.). Londra ve New York: Routledge.
• Athique, A. (2005). Watching Indian Movies in Australia: Media, Community and Consumption. South Asian Popular Culture, 3(2), 117-133.
• Athique, A. (2011). Diasporic Audiences and Non-Resident Media: The Case of Indian Films. Participations: Journal of Audience & Reception Studies, 8(2), 1-23.
• Barker, M. (2006). I Have Seen the Future and It Is Not Here Yet …; or, On Being Ambitious for Audience Research. The Communication Review, 9(2), 123-141.
• Banaji, S. (2006). Reading ‘Bollywood’: The Young Audience and Hindi Films. Basingstoke: Palgrave MacMillan.
• Bobo, J. (1988). The Color Purple: Black Women as Cultural Readers. E. Deidre Pribram (Der.), içinde, Female Spectators: Looking at Film and Television (s. 90–109). Londra: Verso.
• Brunsdon, C. ve Morley, D. (1978). Everyday Television: “Nationwide”. Londra: BFI. Budd, M., Entman, R.M. ve Steinman, C. (1990). The Affirmative Character of U.S. Cultural Studies. Critical Studies in Mass Communication, 7, 169-184.
• Curran, J. (1999). Kitle İletişim Araştırmasında Yeni Bir Revizyonizm: Bir Yeniden Değerlendirme Çabası. Mehmet Küçük (Der. ve Çev.), içinde, Medya, İktidar, İdeoloji. (s. 397-435). Ankara: Ark.
• De Certeau, M. (1984). The Practice of Everyday Life. S. Rendall (Çev.). Berkeley: University of California Press.
• Desai, J. (2005). Planet Bollywood: Indian Cinema Abroad. Shilpa Davé, LeiLani Nishime, Tasha G. Oren (Der), içinde, East Main Street: Asian American Popular Culture (s. 55-71). New York: New York University Press.
• Dudrah, R. K. (2002). Vilayati Bollywood: Popular Hindi Cinema-Going and Diasporic South Asian Identity in Birmingham (UK). Javnost – The Public: Journal of the European Institute for Communication and Culture, 9(1), 19–36.
• Fetveit, A. (2001). Anti-Essentialism and Reception Studies. International Journal of Cultural Studies, 4(2), 173-199.
• Fiske, J. (1987). Television Culture. Londra ve New York: Routledge.
• Fiske, J. (2003). Understanding Popular Culture. Will Brooker ve Deborah Jermyn (Der.), içinde, The Audience Studies Reader (s.112-116). Londra ve New York: Routledge.
• Garnham, N. (2008). Ekonomi Politik ve Kültürel Çalışmalar: Uzlaşma mı Boşanma mı?. Sevilay Çelenk (Der. ve Çev.), içinde, İletişim Çalışmalarında Kırılmalar ve Uzlaşmalar (s. 115-130). Ankara: De Ki.
• Gibson, T. A. (2000). Beyond Cultural Populism: Notes Toward the Critical Ethnography of Media Audiences. Journal of Communication Inquiry, 24(3), 253-273.
• Gillespie, M. (1995). Television, Ethnicity and Cultural Change. Londra ve New York: Routledge.
• Gitlin, T. (1997). The Anti-political Populism of Cultural Studies. Marjorie Ferguson ve Peter Golding (Der.), içinde, Cultural Studies in Question (s. 25-38.). London: Sage.
• Gray, A. (1999). Audience and Reception Research in Retrospect: The Trouble with Audiences. Pertti Alasuutari (Der.), içinde, Rethinking the Media Audience (s. 22-37). Londra: Sage.
• Grossberg, L. (2008). Kültürel Çalışmalar Ekonomi Politiğe Karşı: Bu Tartışmadan Başka Sıkılan Var mı?. Sevilay Çelenk (Der. ve Çev.), içinde, İletişim Çalışmalarında Kırılmalar ve Uzlaşmalar (s. 131-145). Ankara: De Ki.
• Hagen, I. ve Wasco, J. (2000). Introduction: Consuming Audiences? Ingunn Hagen ve Janet Wasko (Der.), içinde, Consuming Audiences? Production and Reception in Media Research (s. 3-28). New Jersey: Hampton Press.
• Hall, S. (1981). Notes on the Deconstructing the Popular. Raphael Samuel (Der.), içinde, People's History and Socialist Theory (s. 227-240). Londra: Routledge & Kegan Paul.
• Hall, S. (1999a). Encoding, Decoding. Simon During (Der.), içinde, Cultural Studies Reader (s. 508-517). London: Routledge.
• Hall, S. (1999b). İdeolojinin Yeniden Keşfi: Medya Çalışmalarında Baskı Altında Tutulanın Geri Dönüşü. Mehmet Küçük (Der. ve Çev.), içinde, Medya, İktidar, İdeoloji (s. 77-126). Ankara: Ark.
• Hartley, J. (2006). “Read thy self”: Text, Audience, and Method in Cultural Studies. Mimi White ve James Schwoch (Der.), içinde, Questions of Method in Cultural Studies (s. 71-103). Oxford: Blackwell.
• Hermes, J. (2006). Practicing Embodiment: Reality, Respect, and Issues of Gender in Media Reception. Angharad N. Valdivia (Der), içinde, A Companion to Media Studies (s. 382-398.). Oxford & Malden, MA: Blackwell.
• Hobson, D. (1982). Crossroads: The Drama of a Soap Opera. Londra: Methuen.
• Jin, H. (2011). An Interview with David Morley: British Cultural Studies, Active Audiences and the Status of Cultural Theory. Theory, Culture and Society, 28(4), 124-144.
• İnal, A. (1995). Kültürel Çalışmalar ve İzleyici Sorunu Üzerine. Kuram, 8, 59-73.
• Kaya Mutlu, D. (2002). Yeşilçam in Letters: A ‘Cinema Event’ in 1960s Turkey from the Perspective of an Audience Discourse. (Yayımlanmamış Doktora Tezi) Bilkent Üniversitesi/Ekonomi ve Sosyal Bilimler Enstitüsü, Ankara.
• Kaya Mutlu, D. (2005). The Midnight Express Phenomenon: The International Reception of the Film Midnight Express. İstanbul: The Isis Press.
• Livingstone, S. (1993). The Rise and Fall of Audience Research: An Old Story with a New Ending. Journal of Communication, Special Issue, ‘The Future of the Field’, 43(4), 5-12.
• Livingstone, S. (1998). Audience research at the crossroads: The ‘implied audience’ in media and cultural theory. European Journal of Cultural Studies, 1(2), 193-217.
• Livingstone, S. (2006). The Changing Nature of Audiences: From the Mass Audience to the Interactive Media User. Angharad N. Valdivia (Der.), içinde, A Companion to Media Studies (s. 337-359). Oxford & Malden, MA: Blackwell.
• Lull, J. (1980). The Social Uses of Television. Human Communication Research, 6(3), 197–207.
• Lull, J. (1988a). Constructing Rituals of Extension through Family Television Viewing. James Lull (Der.), içinde, World Families Watch Television (s. 237-259). Newbury Park, CA: Sage.
• Lull, J. (1988b). The Family and Television in World Cultures. James Lull (Der.), içinde, World Families Watch Television (s. 9-21). Newbury Park, CA: Sage.
• Lull, J. (1990). Family Social Uses of Television as Extensions of the Household. Jennings Bryant (Der.), içinde, Television and the American Family (s. 59-72). Hillsdale, NJ: Lawrence Erlbaum.
• Mankekar, P. (1999) Screening Culture, Viewing Politics: An Ethnography of Television, Womanhood, and Nation in Postcolonial India. Durham, NC: Duke University Press.
• Mayne, J. (1993). Cinema and Spectatorship. Londra ve New York: Routledge.
• Moores, S. (1995). Interpreting Audiences. Londra: Sage.
• Morley, D. (1980). The Nationwide Audience: Structure and Decoding. Londra: BFI.
• Morley, D. (1990). Family Television: Cultural Power and Domestic Leisure. Londra ve New York: Routledge.
• Morley, D. (1997). Theoretical Orhodoxies: Textualism, Consturctivism and the “New Ethnograpy” in Cultural Studies. Marjorie Ferguson ve Peter Golding (Der.), içinde, Cultural Studies in Question (s. 121-137.). Londra: Sage
• Murdock, G. (1989). Cultural Studies: Missing Links. Critical Studies in Mass Communication, 6(4), 436-440. Murdock, G. ve Golding, P. (2002). Kültür, İletişim ve Ekonomi Politik. Süleyman İrvan (Der.) içinde, Medya, Kültür ve Siyaset (s. 59-97.). B. Kejanlıoğlu (Çev.). Ankara: Alp.
• Napoli, P. (2011). Ratings and Audience Measurement. Virginia Nightingale (Der.), içinde, The Handbook of Media Audiences (s. 286-301). Oxford: Wiley-Blackwell.
• Parameswaran, R. E. (2006). Resuscitating Feminist Audience Studies: Revisiting the Politics of Representation and Resistance. Angharad N. Valdivia (Der.), içinde, A Companion to Media Studies (s. 311-336). Oxford & Malden, MA: Blackwell.
• Peck, J. (2008). Ekonomi Politik Kültürel Çalışmalar Tartışmasından Niçin Sıkılmamalıyız?. Sevilay Çelenk (Der. ve Çev.), içinde, İletişim Çalışmalarında Kırılmalar ve Uzlaşmalar (s. 173-204.). Ankara: De Ki.
• Perkins, T. (2000). Who (and what) is it for?. Christine Gledhill and Linda Williams (Der.), içinde, Reinventing Film Studies (s. 76-95). Londra: Oxford University Press.
• Press, A. ve Livingstone, S. (2006). Taking audience research into the age of new media: old problems and new challenges. Mimi White ve James Schwoch, (Der.), içinde, The Question of Method in Cultural Studies (175-200). Oxford: Blackwell.
• Punathambekar, A. (2005). Bollywood in the Indian-American diaspora: mediating a transitive logic of cultural citizenship. International Journal of Cultural Studies, 8(2), 151-173.
• Radway, J. (1984). Reading the Romance: Women, Patriarchy, and Popular Literature. Chapel Hill, NC ve Londra: University of North Carolina Press.
• Ruddock, A. (2001). Understanding Audiences: Theory and Method. Londra: Sage. Ryan, M. ve Kellner, D. (1997). Politik Kamera: Çağdaş Hollywood Sinemasının İdeolojisi ve Politikası. E. Özsayar (Çev.). İstanbul: Ayrıntı.
• Seaman, W. R. (1992). Active Audience Theory: Pointless Populism. Media, Culture and Society, 14, 301-311.
• Seiter, E. (1999). Television and New Media Audiences. Oxford: Oxford University Press. Schiappa, E. ve Wessels, E. (2007). Listening to Audiences: A Brief Rationale and History of Audience Research in Popular Media Studies. International Journal of Listening, 21(1), 14-23.
• Stacey, J. (1994). Star Gazing: Hollywood Cinema and Female Spectatorship. Londra ve New York: Routledge.
• Staiger, J. (1986). The Handmaiden of Villainy: Methods and Problems in Studying the Historical Reception of Film. Wide Angle, 8 (1), 19-28.
• Staiger, J. (1992). Interpreting Films. New Jersey: Princeton University Press.
• Staiger, J. (2000). Perverse Spectators: The Practices of Film Reception. New York ve Londra: New York University Press.
• Smets, K. (2013). Diasporas and Audience Studies: A Fruitful Match? Reflections from a Media Ethnographic Study on Turkish and Moroccan Film Audiences. The Communication Review, 16(1-2), 103-111.
• Smets, K., vd., (2011). A Semi-public Diasporic Space: Turkish Film Screenings in Belgium. Communications: The European Journal of Communication Research, 36 (4), 395–414.
• Smets, K., vd., (2013). Diasporic Film Cultures from a Multi-level Perspective: Moroccan and Indian Cinematic Flows in and towards Antwerp (Belgium), Critical Studies in Media Communication, 30(4), 257-274.
• Spence, L. (2005). Watching Daytime Soap Operas: The Power of Pleasure. Middletown, Connecticut: Wesleyan University Press.
• Srinivas, L. (1998). Active Viewing: An Ethnography of the Indian Film Audience, Visual Anthropology, 11(4), 323-353.
• Srinivas, L. (2002). The Active Audience: Spectatorship, Social Relations and The Experience of cinema in India. Media, Culture and Society, 24, 155–173.
• Stevenson, N. (2006). Medya Kültürleri. G. Orhon ve B. E. Aksoy (Çev.). Ankara: Ütopya.
• Taylor, H. (1989). Scarlett's Women: Gone With the Wind and its Female Fans. Londra: Virago.
• Williams, R. (1961). The Long Revolution. Londra: Chatto and Windus.