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Purpose – To discuss the history and relevance of audience research as it pertains to sport and physical culture and to demonstrate an approach to doing audience research.

Design/methodology/approach – A step-by-step overview of a study conducted by the authors is provided. The study examined ways that groups of young males in a Vancouver, Canada, high school interpreted images of masculinity in popular media, and ways these same youth performed masculinity in physical education classes. We reflect on how studying interpretations (using focus groups) and lived experiences (using participant observation and in-depth interviews) in an integrated fashion was helpful for understanding the role of media in the everyday lives of these youth. We also describe how the hegemony concept guided our data interpretation.

Findings – We highlight how, on the one hand, the young males were critical of media portrayals of hegemonic forms of masculinity and, on the other hand, how these same males attempted to conform to norms associated with hegemonic masculinity in physical education classes. We emphasise that our multi-method approach was essential in allowing us to detect the incongruity between youth ‘interpretations’ and ‘performances’.

Research limitations/implications – Limitations of audience research are discussed, and the epistemological underpinnings of our study are highlighted.

Originality/value – The need for audience research in physical cultural studies is emphasised. We suggest that researchers too often make claims about media impacts without actually talking to audiences, or looking at what audiences ‘do’ with information they glean from media.

This article aims to bring together and demonstrate overlaps in three different areas of reflexive research concerned variously with audiences for contemporary dance. These are: 1) artists reflecting on their own creative process and engaging other researchers in doing so, generating new insights and language as a result; 2) humanities-based dance studies and a small number of dance scholars reflecting on this “process turn” in dance; and 3) the field of empirical audience studies, drawing on a single study specifically interested in access to creative process. The goal is to propose how these areas might coexist and mutually inform each other.

The approach develops a three-fold framework where the multiple definitions and examples of reflexive research in dance-making processes coexist. It draws systematically on a detailed example of one self-reflective study conducted by a dance company into creative process, on new scholarly writing on the “process turn” in dance research and written analysis of a unique audience research project as well as related literature.

In conclusion, the article suggests that in whatever combination of different research approaches, empirical evidence is increasingly important. This risks tipping the balance towards a more utilitarian understanding, particularly in the area of audience studies. It is possible to counterbalance this with approaches from artists and scholars interested in understanding arrived at through reflexive study of creative practice.

The original contribution is to bring these three areas together for the first time to expose difference and overlaps and suggest that challenges of understanding (in a non-utilitarian form) could be mitigated through more systematic dialogue between them, such as presented here.

Based on narrative theory, emotional contagion theory, and anticipated emotions theory, the purpose of this paper is to adopt an experimental design intended to understand how narrative advertising video on internet, narrator flow and online audience characteristics influence the health communication effects and depression prevention messages of public service advertisements.

This study uses two experimental designs. The first contrasts the effectiveness of persuasion between narrative and argument advertising videos on internet, while the second contrasts the effectiveness of persuasion between narrators with high and low flow. This study employed partial least squares path modeling to validate the research structure hypothesis.

Empirical results indicate that internet narrative advertising video is not direct, but rather draws on flow and positive anticipated emotions to stimulate the production of online audience intention to adopt health risk-reducing behaviors. Compared with narrative advertising video, which influences intention to adopt health risk-reducing behaviors through flow and positive anticipated emotions, narrator advertising video with an emotionally invested high-flow narrator can strengthen online audience intention to adopt risk-reducing behaviors more directly and positively.

The study results can provide elements to assist in the design of online advertising video on depression prevention and health promotion.

In this study, the dialogue among narrative theory, emotional contagion theory, and anticipated emotions theory is constructed, and an integrated conceptual framework is developed for the relationship between internet advertising video type and the health communication.

This study examined how audience characteristics and attitudes relate to their perceptions of sincerity and forgiveness of apologies by public figures posted on YouTube.

Four hundred twenty-seven adult participants recruited through Amazon's Mechanical Turk completed an online survey via Qualtrics. Participants were randomly assigned to view two of four public figure apologies posted on YouTube.

Results indicated that audience fandom and perceived reputation and attractiveness of the public figure were related to perceptions of sincerity and forgiveness; and perceptions of sincerity and forgiveness were related to intentions of future support.

“Sameness” between the public figure and audience did not garner a more favorable response to the apology, and this is not consistent with earlier studies. For race similarity, the results could have been a reflection of the low number of non-White participants. However, results could indicate that “sameness” is not as simplistic as demographic sameness, such as race, sex or age.

The authors’ findings elevate the importance of gathering and benchmarking pre-crisis attitudinal research to better equip and inform communication professionals for crisis response. In addition, the study suggests that a public figure's strong reputation and fanbase provide a type of inoculation, lessening reputational damage.

The finding that perceived attractiveness relates positively to perceptions of sincerity and forgiveness is consistent with psychological research indicating attractiveness has many positive social implications – even in mediated communication.

Evidence suggests social media apologies matter. Communication professionals need to approach apology opportunities with a keen awareness that relational outcomes and intentions of future support can shift based on social media audiences' attitudes related to the public figure.

This study aims to investigate the factors that affect an audience's purchase decisions on a new type of social media, namely live video streaming platforms.

This study is based on data from an online survey providing 488 valid responses. These responses are used to test the research model by employing partial least squares (PLS) modeling.

Three antecedents (consumer competitive arousal, gift design aesthetics and broadcaster's image) influence the audience's purchase decisions (impulse buying and continuous buying intention). Chinese impression management (mianzi) acts as a moderator. Self-mianzi, mutual mianzi and other mianzi (i.e. three subtypes of mianzi) moderate the effects of consumer competitive arousal, gift design aesthetics and broadcaster's image on impulse buying.

The findings encourage practitioners developing marketing strategies for live video streaming platforms in the Chinese cultural context to consider peer influence, gift appearance, broadcaster's image and mianzi.

Drawing on the community gift-giving model and face-negotiation theory, this study provides an integrated research model to investigate a new type of social media (live video streaming). It offers insight into virtual gifting behaviors by confirming the effects of three antecedents on the audience's purchase decisions, with mianzi acting as a moderator.

The purpose of this paper is to demonstrate the usefulness of the “audience exchange” approach for audience development and research, and to highlight the insights offered by peer-to-peer dialogue in understanding experiences of unfamiliar arts.

Using a case study with contemporary arts audiences, and setting this in the wider context of studies with other first-time attenders at a range of arts events, the paper explores the use of the “audience exchange” method, in which facilitated conversations after performance events allow newcomers to reflect upon and deepen their first-time encounters with live arts.

The study demonstrates the way in which conversations about arts events can enrich audience experience, and shows how participants use exploratory and emotional language to articulate their understanding of unfamiliar arts events. Peer-to-peer learning occurs through these conversations, in ways that could be further supported by arts organisations as a valuable tool for audience development. The audience exchange discussions also reveal the varieties of participation from “drifting” to full attention that are all part of audience engagement.

This is a small-scale, qualitative study, and the method has potential to be tested in future studies with a greater variety of participants (e.g. younger or more ethnically diverse groups).

Use of the audience exchange for enriching experiences of first-time attendance could be adopted by arts organisations as a regular part of their audience engagement. Greater understanding of how new audience members draw on prior cultural experiences in finding the language to articulate their first impressions of an unfamiliar arts event could be valuable for targeted marketing and increasing accessibility.

The originality of this study lies in its elaboration of the audience exchange method, and its focus on the language and peer-to-peer learning evident in the facilitated post-performance discussions.

The main objective of this research was to measure the effects on sponsor recall¹ at the soccer African Nations Cup (ANC) in Tunisia in 2004. This quantitative investigation used a sample of 308 people who watched the event on television and/or in the stadium. The research demonstrates that there was indeed an effect by type of audience and other variables.

The improvement of museum service quality and efficiency is a hot issue in recent years. This paper aims to explore the influencing factors of museum audience satisfaction with music playing experience and provide empirical support for the improvement of museum service quality.

In this study, first, the basic theory of customer satisfaction and the basic theory of structural equation model are introduced. Different types of music have different effects on audience experience. At the same time, for different types of museums, different exhibition halls in the same museum and different types of exhibitions, the use of music should be tailored to local conditions. Then, a questionnaire survey is conducted to investigate the satisfaction of the audience of Hunan Museum with their music playing experience, and the survey data are collected and sorted out. Structural equation model (SEM) is used to study the customer satisfaction of Museum audiences' music playing experience, so as to find out the factors that have the greatest impact on the satisfaction and put forward corresponding improvement suggestions.

The results show that perceived value and perceived quality have the greatest impact on customer satisfaction.

Museum audience satisfaction model involves many variables and has complex relationships. Therefore, there are still many shortcomings in this study.

Therefore, this study has important practical significance for museums to serve the society, improve the level of exhibition and realize their own value. By improving the exhibition environment and paying attention to the complaints of the audience, the satisfaction of the audience can be improved.

The structural equation model is applied to the study of museum customer satisfaction.

In this article, we discuss an innovative audience research methodology developed for the AHRC-funded “Beyond the Multiplex: Audiences for Specialised Film in English Regions” project (BtM). The project combines a computational ontology with a mixed-methods approach drawn from both the social sciences and the humanities, enabling research to be conducted both at scale and in depth, producing complex relational analyses of audiences. BtM aims to understand how we might enable a wide range of audiences to participate in a more diverse film culture, and embrace the wealth of films beyond the mainstream in order to optimise the cultural value of engaging with less familiar films. BtM collects data through a three-wave survey of film audience members’ practices, semi-structured interviews and film-elicitation groups with audience members alongside interviews with policy and industry experts, and analyses of key policy and industry documents. Bringing each of these datasets together within our ontology enables us to map relationships between them across a variety of different concerns. For instance, how cultural engagement in general relates to engagement with specialised films; how different audiences access and/or share films across different platforms and venues; how their engagement with those films enables them to make meaning and generate value; and how all of this is shaped by national and regional policy, film industry practices, and the decisions of cultural intermediaries across the fields of film production, distribution and exhibition. Alongside our analyses, the ontology enables us to produce data visualisations and a suite of analytical tools for audience development studies that stakeholders can use, ensuring the research has impact beyond the academy. This paper sets out our methodology for developing the BtM ontology, so that others may adapt it and develop their own ontologies from mixed-methods empirical data in their studies of other knowledge domains.

Online influencers are increasingly used by brands around the globe to establish brand communication. This study aims to investigate the characteristics of social media content in terms of presentation style and brand communication among online influencers in China. The authors identified how characteristics of social media posts influence young consumers’ engagement with the posts.

The authors analyzed 1,779 posts from the Sina Weibo accounts of ten top-ranked online influencers by combining traditional content analysis with Web data crawling of audience engagement with social media posts.

Online influencers in China more frequently used photos than videos to communicate with their social media audience. Altogether 8% and 6% of posts carried information about promotion and event, respectively. Posts with promotional incentives as well as event information were more likely to engage audiences. Altogether 22% of the sampled social media posts mentioned brands. Posts with brand information, however, were less likely to engage audiences. Furthermore, having long text is more effective than photos/images in generating likes from social media audiences.

Combining content analysis of social media posts and engagement analytics obtained via Web data crawling, this study is, to the best of the authors’ knowledge, one of the first empirical studies to analyze influencer marketing and young consumers’ reactions to social media in China.