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became the founder of the ‘PPSC’, was sufficiently drawn by his investment in BttF to make the journey to London to experience the SC event. In previous publications we have explored the high-profile social media debacle that took place when the opening night was cancelled just hours before it was due to commence. 18 Large numbers of participants who were travelling far from home – without their mobile phones – were, at very short notice, cast adrift in London without an event to attend. Highly textually literate
the in-world microsites; social media accounts; flash mobs and pop-ups; the different places, sites and spaces of the productions; the pre-screening-show; and the screening itself. 3.1 Timeline of the audience's experiential journey in the Secret Cinema format. The aesthetic and creative influence of festivals fell away in this
Conclusion The death of Barry Hines was announced on 20 March 2016, and the tributes in print and on social media were heartfelt and wide- ranging. Hines’s work was lauded by well-known personalities such as the actor Kathy Burke, who likened him to ‘JK’ (Rowling), while the Barnsley-born novelist Joanne Harris noted how she ‘hated and loved him at the same time for writing the world I saw every day, and for giving me hope to escape it’, and the footballer-turned- actor Vinnie Jones referred to A Kestrel for a Knave as ‘the book that changed his life’.1
individuals identify with characters and shows in the complex area of serial television and intermedial spectatorship is offered by Benjamin Brojakowski's ( 2015 ) ‘Spoiler alert: understanding television enjoyment in the social media era’. 6 The Sam and Diane question is how
While the tabloid culture and online forums of the post-millennium years have focused on creating ‘stars’ through virtual reality TV shows and social media, where ‘being famous for being famous’ seems to be an accepted norm, stars still remain the cornerstone of the film industry. Genre fortunes may fluctuate, and directors have assumed more ‘legendary’ status than ever
profile. He has never been shy of expressing his views clearly and openly, but the last few years have seen an increasing use of social media as a vehicle for his views. It is plausible to hope that as he continues to produce multi-million dollar movies as well as smaller independent film projects; as he works on existing comic book franchises and possibly develops new ones; as he uses his position of
a question. This chapter explores the religiously active believers on social media to understand and predict how they think about their faith and biblical epics. Prior research has shown that participants in online communities tend to be more enthusiastic and more invested on a given topic than non-participants (Duggan and Smith 2013 ). Furthermore, this chapter aims to assess whether certain religious groups are motivated to attend biblical epics than others. The chapter builds on the Theory of Planned Behaviour to predict attendance at biblical epic movies
sufficient by themselves – the reception of Doctor Who ’s self-reflexive new era, and its rebranding and regendering, also needs to be studied. To this end, the collection analyses memes that were created and circulated in reaction to Whittaker’s casting and performance in the role, as well as detailing fan creativity in the forms of thirteenth Doctor cosplay and action figure collecting or customizing. But as well as discussing specific fan responses and practices, this collection also engages with the social-media
using exactly the same content and format with the added augmentation of a secret ‘Zoom room’ that audience members could use for a smaller, secret activity – mirroring the on-site experience of SC productions with hidden rooms and secret spaces. Moreover, we saw the experiential iteration that has been typical of SC productions, this time using online digital technologies. SC's ‘Secret Sofa’ initiative was then launched at the end of April 2020, sponsored by Häagen-Dazs ice-cream. The initiative had its own website and social media campaign
. 2.2 Costumed audience members at Secret Cinema's Alien production. Audiences become increasingly embedded in the narrative world. 2.3 A branded screen installation at Secret Cinema's Alien production sponsored by Windows Phone. This indicates active, encouraged use of mobile phones and social media (the use of