Já está completamente consolidada nas cadeias de produção cinematográfica uma esperada \"transição para o digital\". Porém a exibição propriamente dita de filmes na forma digital nas salas de cinema só foi padronizada em 2005, e a mudança ganhou força somente na década de 2010. Essa digitalização da exibição cinematográfica foi incorporada de forma transparente para a maioria dos espectadores de cinema, apesar de suas intricadas especificações técnicas e arranjos econômicos de viabilização das trocas dos equipamentos. Ao mesmo tempo, as tecnologias digitais também proporcionam cada vez mais facilidade para que filmes possam ser assistidos fora das salas de cinema, colocando-as de fato em cheque quando olha-se para o futuro. Este trabalho discute o processo de digitalização da exibição e distribuição cinematográficas, traçando algumas perspectivas sobre por que, mesmo com a digitalização, permanecerão existindo as salas de cinema. É particularmente interessante que, em meio a essa desmaterialização do suporte da cópia, sobressaia exatamente a materialidade que sobrou, a do próprio espaço e disposição da exibição, o espectador na sala de cinema. Essa permanência é apoiada em dois eixos principais. Inicialmente, o fundamental papel econômico das salas nas receitas que movimentam todas as diferentes camadas da produção de filmes. O segundo eixo é do caráter bastante único da imersão presente na sala de cinema. Esta imersão especial, por sua vez, está fundamentada nas características físicas e técnicas dos equipamentos nas salas, que evoluíram para aproveitar diferentes aspectos da percepção humana em seu âmbito individual e coletivo. Combino características tecnológicas dos padrões adotados, elementos da economia do cinema, estudos da percepção e intenções do espectador e resultados recentes da psicologia experimental que corroboram o caráter bastante particular da experiência de assistir a um filme na sala de cinema e indicam sua continuidade. / The long foretold \"transition to digital cinema\" is already running full steam as far as the acquisition and post-production chains are concerned. However, for digital film exhibition, there has only recently, in 2005, been an agreed upon standard, decided by the major distributors, and the actual upgrades only gained momentum in the early 2010s The digitization and change of materiality of cinema exhibition and distribution, although of great interest to professionals, academics and critics, has been incorporated in a more or less transparent way for the majority of moviegoers, despite their intricate technical specifications and economic arrangements between the various economic parties that enabled equipment to be purchased. It is particularly interesting that, in the midst of this dematerialization of the film\'s physical form, what stands out is precisely the remaining tangibles, the very space and disposition for the exhibition, and the spectator in the theater. This work examines the digitalization of cinema exhibition and distribution technologies, tracing some future perspectives on what remains in a digital cinema. I combine technical specifications of the standards imposed by distributors, some elements of the economy of cinema, without which any speculation becomes exclusively theoretical; and some data from audience and spectator studies focusing on their perception, wishes and intentions, the puzzlingly often-forgotten part of the film studies, for there is no cinema without a spectator. In order to do so I present some recent results of experimental psychology that endorse the rather unique aspects of watching a movie in the movie theater, and its importance beyond the historical.

Esta dissertação é um estudo sobre o cinema de Eugène Green. A sua estrutura se dividirá de acordo com o que se supõe ser - do ponto de vista da recepção do espectador - o aspecto central de seus filmes: de um lado, Green conduzirá o seu espectador a se relacionar com o filme pela via da \"leitura\"; de outro, pela via do \"empirismo\". Essa importante distinção dará início a uma série de desdobramentos que serão tratados ao longo da análise de dez cenas selecionadas dos seus dois primeiros longas metragens: Toutes les nuits (2001) no primeiro capítulo e Le Monde vivant (2003) no segundo. Na conclusão da dissertação, trataremos ainda de uma questão suscitada a partir da colocação, lado a lado, dos dois filmes acima citados. / This dissertation is a study of Eugène Green\'s films. Its structure will be divided according to what we suppose to be - in terms of the spectator\'s reception - the central aspect of his films: on one hand, Green will lead the spectator to establish with the film a connection based on the \"reading\"; on the other hand, a connection based on the \"experience\". This important distinction will be developed throughout the analysis of ten selected scenes from Green\'s first two feature films: Toutes les nuits (2001) in the first chapter, and Le Monde vivant (2003) in the second. At the end of the dissertation, a final question will be brought to light by putting together both films.

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This thesis is a study of Joseph Addison's literary criticism as found in The Spectator.

In this essay, I have explored various roles that I played during my working hours and how they influenced my individual behavior and agency. I began by presenting a series of strategies I employed to navigate the commuting space – a new socially charged environment distinct from the one in which I was raised, where boundaries blur and social norms consolidate. Subsequently, I presented three previous projects, outlining their features and purposes, to ultimately use them as the foundation for an action carried out between 2022 and 2024. There, I illustrated the intricate interplay between the artist, the audience, and the external world.

Thesis (Ed.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The purpose of this study was to validate a new protocol for examining spectator behavior at high school sporting events. The methodology was based on the construct of Smelser's (1962) six determinants of collective behavior - conduciveness, strain, growth of beliefs, precipitating factors, mobilization , and social controls - and operationalised incorporating both qualitative (interviews and observations) and quantitative methods that included a behavioral assessment, an identification scale, and pre- and post-game emotional scales. Fourteen games (3 hockey, 6 soccer, 5 football) were observed over three stages of methodological development. Data were collected by teams of researchers at the games, and then were organized by themes relating to the six determinants. The themes were then examined against social and psychological theories attributed to spectator research, and examined for new construct relationships of the determinants. The research yielded a valid methodology for further spectator research, and suggestions for understanding spectator behavior are offered. / 2999-01-01

Esports is a growing cultural phenomenon with a large number of stakeholders such as professional players, audiences, sponsors, game developers, and competitive events like tournaments, championships and leagues. This thesis studies spectator experiences in e-sports; exploring the factors that make for an enjoyable spectatorship experience. The study takes a qualitative approach involving questionnaire and interviews. A total of 30 questionnaire responses and 4 interviews were used to identify 5 factors that make for a good viewing experience. They are moments of great skill, live commentary, favorite teams/players and social aspects, watching the game in person, and intense matches. The research findings provide insights that can inform the development of strategies to optimize and enrich the spectatorship experience, thus contributing to the continued growth and success of esports as a form of entertainment.

This thesis comprises two stages that empirically investigate and evaluate the perceptions and importance of service elements expectations of professional baseball spectator in Taiwan. Study I is designed to collect the perception of spectators service elements expectations focus groups meetings, which also help the research to develop an appropriate research instrument for the evaluation of the importance of service elements expectations to Taiwan professional baseball spectators. Study II collected 1020 questionnaire survey samples and used cluster analysis approach to segment TPB spectators into six meaningful groups by service elements expectations. The thesis concludes that, firstly, the successful use of expectation to segment spectators proves the potential of expectation as a typology with which to categorise customers. Secondly, TPB spectators with different levels of team identification failed to have great differences in their service expectations, even though two service factors ( subsidiary services and social and educational services ) were evaluated as less important by respondents, they were still evaluated that six service expectation factors are all important to them. Finally, this study provided a different angle for sports organisers to consider, and an outline for assisting managers design service packages that are highly responsive to the target market.

This study will outline the two great literary genres of character-writing and satire, upon the tradition and practice of which Joseph Addison and Richard Steele based their characters of women in the Spectator. The three-fold purpose of this study is to determine how the Spectator was influenced by, and what it in turn contributed to, the two literary genres, the "Character" of women and satire on women; and to present the social status of the female audience as it existed and as the Spectator sought to improve it.