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Presentation
Presentation
Communication and audiences are now a key combination for the functioning and very success of cultural organisations, regardless of their scale or size, their resources and their specific scope of activity. Firstly, because every cultural project aims to build and depends on building an audience - not merely to capture a 'niche market' or retain 'customers', but also to engage and educate people and participants (visitors, spectators, readers, etc.). Secondly, because at the heart of the artistic and cultural experience lies the question of interpretation and understanding. An understanding of the concepts and theories relating to media, communication and audiences; audience reception and development; and cultural communication is fundamental to training in cultural management
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Master Degree | Semestral | 6
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Year | Nature | Language
Year | Nature | Language
1 | Mandatory | Português
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Code
Code
ULP7010-26409
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Prerequisites and corequisites
Prerequisites and corequisites
Not applicable
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Professional Internship
Professional Internship
Não
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Syllabus
Syllabus
I. Communication, Reception and Audiences Introduction to the study of audiences. Spectators, Audiences and Viewers: definitions and distinctions A Historical Perspective on Audiences (Tarde, W. Mills) Reception Theories Situational and pragmatic theories of audiences Communication and Audiences. Media audiences and networked audiences in the digital age II. Cultural Communication Parameterisation of Cultural Communication The relationship between cultural communication and programming. Challenges facing cultural communication and audiences Media, channels, tools and priorities of cultural communication typologies: Metrics, outcomes and legacies of cultural communication. Re-parameterisation of Cultural Communication.
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Objectives
Objectives
This module aims to provide a broad forum for analysis and reflection in the fields of communication, the media, artistic practices, spectators and audiences, with a view to equipping students to study and understand these topics and theories, and to apply them. The module aims to foster an understanding of the central role of communication, cultural mediation and audiences within cultural institutions and artistic projects, as well as the study of their key strategies and critical success factors, both in terms of attracting and developing audiences and in terms of cultural communication and public, media and institutional recognition. It therefore aims to equip students to create and implement strategic plans for communication, mediation and audience development within organisations and projects, regardless of their scale or nature.
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Teaching methodologies
Teaching methodologies
Theoretical sessions focusing on specific topics, in which the lecture method will be used, followed by an in-depth discussion involving the students. Discussion sessions on topics, concepts and theories, based on prior preparation by both lecturers and students, using texts and works by authors posted on Moodle or referenced in advance. Practical sessions focusing on the application of concepts, theories and topics to practical cases and/or empirical examples. As a guiding principle, the presentation of the subjects included in the syllabus will be supported by the critical analysis of texts, articles and works by authors, and by opening the syllabus content presented to discussion or even debate. Case studies will be used, with the active participation of students and the involvement of lecturers to provide context and summarise the material.
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References
References
Abrantes & Dayan (2006). Televisão: das audiências aos públicos. Livros Horizonte Babo, I. (2015). Espectadores e Públicos Activos. Nova Vega Bragança de Miranda, J. (2007). Teoria da Cultura. Nova Vega. Dayan, D. (2006 a). "Dar atenção à atenção: um olhar sobre as audiências e os públicos", in Abrantes, J. C. e Dayan, D. (org.) (2006). Televisão: das audiências aos públicos. Lisboa: Livros Horizonte, pp. 23-28. Dewey, J. (2010/1927). Le public et ses problèmes. Gallimard Fraisse D'O. & Martinache (2009). De la culture vers la réception et les publics ? Idées économiques et sociales, 155, 4-5 Grunig, J. E. (1997). A situational theory of publics: Conceptual history, recent challenges and new research. Jauss, H. R. (1978). Pour une esthétique de la réception, Paris : Gallimard. Papacharissi, Z. (2015). Affective Publics and Structures of Storytelling. Information, Communication & Society, 19:3, 307-324. Rancière, J. (2008). Le Spectateur émancipé. La fabrique.
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Assessment
Assessment
Avaliação
Realização de um trabalho individual de pesquisa sobre os conteúdos programáticos, com exposição, análise crítica e discussão de temas, teorias, conceitos e autores abordados. O trabalho deve abordar os conteúdos programáticos e a bibliografia da unidade curricular, devendo mobilizar e aplicar conteúdos das aulas dos dois docentes.
O estudante deve eleger um tema e efetuar a análise e discussão crítica do mesmo subordinando-o à formulação de uma questão ou de um grupo de questões. Pode aplicar a análise a um caso prático. A formulação da/s questão/questões é um aspeto importante a avaliar.
O tema do trabalho deve ser apresentado aos docentes para aceitação prévia, com submissão no moodle.
Normas: Máximo 25.000 caracteres (incluindo espaços)
Página de rosto: nomes do curso e da UC, nome completo do estudante, título/tema, resumo (máximo 900 caracteres incluindo espaços) e 4 palavras-chave.
As citações devem ser corretamente referenciadas em termos bibliográficos (estilo APA - 7ª edição).
Pode incluir anexo (sem limite de caracteres).
A avaliação contempla a apresentação e a defesa oral do trabalho.
De modo a compatibilzar o uso da IA com a atividade de investigação, considera-se que o trabalho individual escrito poderá usar essa ferramenta, porém, deve o estudante estar habilitado a fazer uma apresentação oral do mesmo e a submeter-se, igualmente, à sua defesa.
Para avaliação final, considera-se a participação, assiduidade e qualidade da presença do estudante em aula.
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Mobility
Mobility
No
