This article considers the impact of new technologies on the adolescent experience of live, literary theatre. Drawing together the work of theorists in literacies, new technologies and audience studies, together with brain research, and the results of a focus group of four secondary students who have seen four plays at Canada’s National Arts Centre, it examines the consequences of young people’s immersion in digital culture and the new mindset that often results. The expectation of instant access to data, inter-connectivity, stimulation and control can make it difficult for adolescents to decode the metaphorical aspects of a theatrical performance. The article concludes that language arts and dramatic arts educators have a key role in teaching students how to decode—and therefore enjoy and appreciate— a play.

This article considers the impact of new technologies on the adolescent experience of live, literary theatre. Drawing together the work of theorists in literacies, new technologies and audience studies, together with brain research, and the results of a focus group of four secondary students who have seen four plays at Canada’s National Arts Centre, it examines the consequences of young people’s immersion in digital culture and the new mindset that often results. The expectation of instant access to data, inter-connectivity, stimulation and control can make it difficult for adolescents to decode the metaphorical aspects of a theatrical performance. The article concludes that language arts and dramatic arts educators have a key role in teaching students how to decode—and therefore enjoy and appreciate— a play.

This article considers the impact of new technologies on the adolescent experience of live, literary theatre. Drawing together the work of theorists in literacies, new technologies and audience studies, together with brain research, and the results of a focus group of four secondary students who have seen four plays at Canada’s National Arts Centre, it examines the consequences of young people’s immersion in digital culture and the new mindset that often results. The expectation of instant access to data, inter-connectivity, stimulation and control can make it difficult for adolescents to decode the metaphorical aspects of a theatrical performance. The article concludes that language arts and dramatic arts educators have a key role in teaching students how to decode—and therefore enjoy and appreciate— a play.

This article considers the impact of new technologies on the adolescent experience of live, literary theatre. Drawing together the work of theorists in literacies, new technologies and audience studies, together with brain research, and the results of a focus group of four secondary students who have seen four plays at Canada’s National Arts Centre, it examines the consequences of young people’s immersion in digital culture and the new mindset that often results. The expectation of instant access to data, inter-connectivity, stimulation and control can make it difficult for adolescents to decode the metaphorical aspects of a theatrical performance. The article concludes that language arts and dramatic arts educators have a key role in teaching students how to decode—and therefore enjoy and appreciate— a play.

By 1960, television advertisers recognized the economic potential of American youth, and producers were expected to develop programs to attract them, while still maintaining appeal for the older audience members. This task was to prove difficult as the decade wore on. While continuing to link the nation's cold war concerns to the portrayal of good and evil, some shows, like 77 Sunset Strip, and The Mod Squad, explored alternative lifestyles, but still accepted American values. As the 1960s developed, crime programs continued to promote American hegemony but became increasingly more open to alternative reading strategies. This study examines the strategies developed to draw a youth audience to 1960s crime programs, while also supporting the dominant ideology of American society.

Изменение геополитической ситуации Крыма в марте 2014 года требует от органов власти формирования бренда указанной территории и правильное позиционирование бренда. Работа посвящена анализу проблем позиционирования бренда Крым в молодежной аудитории, как наиболее перспективной целевой аудитории, которая может составить основу человеческого капитала, необходимого для развития экономики Крыма в ближайшее время. В работе проведено исследование, направленное на определение актуального образа Крыма в сознании молодежи, проведен анализ текущего информационно-коммуникационного позиционирования бренда Крым органами власти и сравнительный анализ позиционирования бренда Крым органами власти и существующих представлений молодежи о Крыме. На основе полученных результатов разработана концепция позиционирования бренда Крым в молодежной аудитории, направленная на изменение отношения молодежи к Крыму, с учетом выявленных проблем позиционирования. / The change in the geopolitical situation of Crimea in March 2014 requires the authorities to form a brand of the specified territory and correctly position the brand. The work is devoted to the analysis of the problems of positioning the Crimea brand in a youth audience, as the most promising target audience, which can form the basis of human capital necessary for the development of the Crimean economy in the near future. The study conducted a study aimed at determining the current image of Crimea in the minds of young people, conducted an analysis of the current information and communication positioning of the Crimea brand by the authorities and a comparative analysis of the Crimea brand positioning by the authorities and existing youth perceptions of Crimea. Based on the results, a concept was developed for positioning the Crimea brand in a youth audience, aimed at changing the attitude of young people to Crimea, taking into account the identified positioning problems.