Moral panic, film applications and market testing: A study on movie audiences from the perspective of communication studies in the United States before the 1960s

LU Kang

Chinese Journal of Journalism & Communication ›› 2021, Vol. 43 ›› Issue (11) : 160-176.

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Chinese Journal of Journalism & Communication ›› 2021, Vol. 43 ›› Issue (11) : 160-176.
Communication History Research

Moral panic, film applications and market testing: A study on movie audiences from the perspective of communication studies in the United States before the 1960s

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Abstract

The early studies on American movie audiences originated from the moral panic of social progressives about the growing audience of children. With the communication structure and behavior audience analysis as the main methods, the studies revealed three different aims and patterns of society, application and market. Sociologists focus on audience composition and intend to provide scientific evidence for film censorship;For example, the military, education departments and other users of the film media focus on the publicity, learning effect and audience influence generated by the film.The film industry tests the market on pragmatic principles. The type of early audience studies have a positivist tendency, though almost discontinued with the humanistic study of movies in the 1960s and 1970s, shaped the research tradition of American movies and influenced the shift of contemporary movie-goers' theories from psychoanalysis to cognition and historical paradigm.

Key words

audience studies / audience composition / film influence / media effects / market test

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LU Kang. Moral panic, film applications and market testing: A study on movie audiences from the perspective of communication studies in the United States before the 1960s[J]. Chinese Journal of Journalism & Communication. 2021, 43(11): 160-176

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Footnotes

1. 该书没有中译版,其中部分章节译文可参见:于果·闵斯特伯格(1995)。电影心理学(徐增敏译, 周传基校)。转自李恒基,杨远婴(主编)(1995)。《外国电影理论文选》,上海:上海文艺出版社(第5-24页)。

2. 整理自:里奥·汉德尔(2014)。《好莱坞如何读懂观众》(向勇,雷龙云译)。北京:华文出版社(第14-73页)。苏·奥默尔(1992)。测定愿望:盖洛普和好莱坞的观众研究(苏纹译)。《世界电影》,(4),81-119。Fiske, M., & Handel, L(1947). Motion Picture Research: Response Analysis. Journal of Marketing, (3), 273-280等。另:《电影研究:反应分析》一文275页的脚注中表明,由于商业涉密的问题,里奥·汉德尔写作《好莱坞如何读懂观众》时,是无法获知盖洛普公司的研究方法的,更多借鉴的是自己电影研究局以及米高梅的资料,而不是盖洛普或其他公司,但关于市场预测的总结依然很完整而有代表性,所以可以看出此时美国的受众研究公司的同质化程度之高,这也预示着40年代末期,这些业务相仿的受众研究公司会渐趋走向没落,而里奥·汉德尔本人也因公司失去业务而入职米高梅了。

3. 关于美国当代的观众研究如何以实证主义基底对欧洲精神分析主导观者主体理论进行修正与变异的,详见:卢康,方田田(2021)。比较文学变异学视域下西方电影理论的认知、历史转向。《中外艺术研究》,(2),26-40。

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