Search results for: spectators

Authors: B. Schmid, C. Kexel, E. Djafarova

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Understanding consumers is elementary for practitioners in marketing. Consumers of sports events, the sports spectators, are a particularly complex consumer crowd. In order to identify and define their profiles different segmentation approaches can be found in literature, one of them being multidimensional segmentation. Multidimensional segmentation models correspond to the broad range of attitudes, behaviours, motivations and beliefs of sports spectators, other than earlier models. Moreover, in sports there are some well-researched disciplines (e.g. football or North American sports) where consumer profiles and marketing strategies are elaborate and others where no research at all can be found. For example, there is almost no research on athletics spectators. This paper explores the current state of research on sports spectators segmentation. An in-depth literature review provides the framework for a spectators segmentation in athletics. On this basis, additional potential consumer groups and implications for social media marketing will be explored. The findings are the basis for further research.

Keywords: multidimensional segmentation, social media, sports marketing, sports spectators segmentation

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Authors: Mohammad Reza Boroumand Devlagh, Seyed Mohammad Hosein Razavi, Fatemeh Ahmadi, Azam Fazli Darzi

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The issue of female presence in Iran stadiums has long been considered and debated by governmental experts and authorities, however, no conclusion is yielded yet. Thus, the present study has been done with the aim of investigating the approach of male and female spectators about the presence of female spectators in Iranian stadiums. The statistical population of the study includes all male and female spectators who have not experienced the live watching of male championship matches in stadiums. 224 subjects from the statistical population have selected through stratified random sampling as the sample of the study. For data collection, researcher-made questionnaire has been used whose validity has been confirmed by the university professors and its reliability has been studied and confirmed through an preliminary study. (r= 0.81). Data analysis has been done using descriptive and referential statistics in P< 0.05. The results of the study showed that male and female were meaningfully agreed with the female presence in stadiums and there is no meaningful difference between male and female approaches concerning the female spectators’ presence in sport stadiums of Iran (sig= 0.867).

Keywords: male, female spectators, Iran, sport stadiums, population

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Authors: G. Scremin, I. Y. Suh, S. Doukas

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Spectators follow their favorite sports teams for different reasons. While some attend a sporting event simply for its entertainment value, others do so because of the personal sense of achievement and accomplishment their connection with a sports team creates. Moreover, the level of identity spectators feel toward their favorite sports team falls in a broad continuum. Some are mere spectators. For those spectators, their association to a sports team has little impact on their self-image. Others are die-hard fans who are proud of their association with their team and whose connection with that team is an important reflection of who they are. Several motives for sports consumption can be used to explain the level of spectator support in a variety of sports. Those motives can also be used to explain the variance in the identification, attachment, and loyalty spectators feel toward their favorite sports team. Motives for sports consumption can be used to discriminate the degree of identification spectators have with their favorite sports team. In this study, motives for sports consumption was used to discriminate the level of identity spectators feel toward their sports team. It was hypothesized that spectators with a strong level of team identity would report higher rates of interest in player, interest in sports, and interest in team than spectators with a low level of team identity. And spectators with a low level of team identity would report higher rates for entertainment value, bonding with friends or family, and wholesome environment. Football spectators in the United States and England were surveyed about their motives for football consumption and their level of identification with their favorite football team. To assess if the motives of sports fans differed by level of team identity and allegiance to an American or English football team, a Multivariate Analysis of Variance (MANOVA) under the General Linear Model (GLM) procedure found in SPSS was performed. The independent variables were level of team identity and allegiance to an American or English football team, and the dependent variables were the sport fan motives. A tripartite split (low, moderate, high) was used on a composite measure for team identity. Preliminary results show that effect of team identity is statistically significant (p < .001) for at least nine of the 17 motives for sports consumption assessed in this investigation. These results indicate that the motives of spectators with a strong level of team identity differ significantly from spectators with a low level of team identity. Those differences can be used to discriminate the degree of identification spectators have with their favorite sports team. Sports marketers can use these methods and results to develop identity profiles of spectators and create marketing strategies specifically designed to attract those spectators based on their unique motives for consumption and their level of team identification.

Keywords: fan identification, market segmentation of sports fans, motives for sports consumption, team identity

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Authors: Allen B. Baylosis

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Chamber Theatre has been one of the least articulated staging devices in the field of theatre and performance studies. This creative exploratory-descriptive study responds to this gap by employing the staging technique in a Chamber Theatre production based on Nick Joaquin’s The Summer Solstice. Specifically, this study opts to understand three processes involved in the Chamber Theatre creative thesis production of The Summer Solstice as performance: performance of the theatre-maker, performance of the spect-actors, and performance of the spectators. For this purpose, the theatre-maker describes the creative process of transforming The Summer Solstice text to a Chamber Theatre production—from text to staging. The theatre-maker also analyzes the performers’ experiences and the spectators’ responses as they participate in a Chamber Theatre performance. In doing so, the theatre-maker collects qualitative data from seventeen (17) performers and qualitative feedback from twenty (20) spectators. For the mode of data analysis, this study employed Ranciere’s concept on the Emancipated Spectator (2008) and Schechner’s Performance Theory (1988). The study’s findings examine how the theatre-maker, the performers, and the spectators become distant viewers of their respective restored behavior performances. Through these viewed performances, this study implies that it is possible to ascertain a reasonable definition of purpose for Chamber Theatre. Hence, despite the existence of other modern staging devices in the field of theatre and performance studies, this study concludes that Chamber Theatre remains to be a relevant staging technique.

Keywords: adaptation of text, chamber theatre, experimental theater, oral interpretation

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Authors: Florian Pfeffel, Christoph A. Kexel, Peter Kexel, Maria Ratz

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The parallel usage of different media channels has increased recently owing to technological advances. Second Screen describes the use of a second device by television viewers to consume further content which is related to the program they are watching. This study analysed the characteristics of football spectators regarding their media consumption in relation to Second Screen usage while watching a football match on TV. The existing literature on Second Screen usage is still very limited, especially in the context of particular broadcasting settings such as sport or even more specific such as football matches. Therefore, the primary research objective was to reveal first insights into the user behaviour of football spectators regarding Second Screen services. The survey, which was conducted among German football supporters in 2015, revealed some characteristics such as the identification and involvement into the sports which are related to an increased use of Second Screen services. One important finding for football supporters was that at the time of a match they have a lower parallel media usage compared to other TV broadcastings. Nevertheless, if supporters used a second device while watching a match on TV, then they were using specific Second Screen services. This means they searched for more content related information. The findings on the habits and characteristics of people who are using Second Screen services are relevant for future developments in that area as well as for marketing decisions.

Keywords: media consumption, second screen, sport marketing, user behaviour

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Authors: Hertzog Clara, Sakurai Sho, Hirota Koichi, Nojima Takuya

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It is common to see graphics appearing on television while watching a sports game to provide information, but it is less common to see graphics specifically aiming to boost spectators’ dynamism perception. It is even less common to see such graphics designed especially for virtual reality (VR). However, it appears that even with simple dynamic graphics, it would be possible to improve VR sports spectators’ experience. So, in this research, we explain how graphics can be used in VR to improve the dynamism of a broadcasted sports game and we provide a simple example. This example consists in a white halo displayed around the video and blinking according to the game speed. We hope to increase people’s awareness about VR sports spectating and the possibilities this display offers through dynamic graphics.

Keywords: broadcasting, graphics, sports spectating, virtual reality

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Authors: Ernest Boateng Nuako

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This research is to find the effects of sports hooliganism on Ashanti school sports and find out some possible ways of amending or controlling them if we are to still experience them in our sporting fraternity. The researcher limited himself to the Ashanti region. The sample population was made up of officials, performances, and spectators drawn from four major second-cycle institutions and four basic schools in Ashanti. In all, 150 respondents were used, and all of them fell into the set of population, that is, performers, officials, and spectators. A structured questionnaire consisting of 29 statements where used to solicit views and opinions from the respondents on the effects of sports hooliganism in Ashanti school sports. Microsoft Office Excel tool (MS Excel) was used to analyze the response of the respondents, and the results were expressed in percentages. The study is aimed at finding out the effect sports hooliganism has on school sports festivals in Ghana with the Ashanti region as a case study and identify possible controlling measures to curb down the fast-pace effect of hooliganism on Ashanti regional schools. The research seeks to assist sports officials to identify some effects of sports hooliganism in Ashanti regional schools. It is also there to help officials to identify the influence hooliganism has on sports. This research also serves as a guide to other researchers who want to go into researching sports in the region. This research revealed that sports hooliganism has, in diverse ways, affected school sports in the region. It was also evident from the research study that sanctions, the presence of security, and other employable remedies could be used in controlling this unfortunate incident during our school sports competitions.

Keywords: officiating officials, school sports, hooliganism, spectators, performer

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Authors: Munirajulu M, Srikanth Modem

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A large cricket stadium with the capacity to accommodate several thousands of spectators has the seating arena consisting of a two-tier arrangement with an upper and a lower bowl and an intermediate concourse podium level for pedestrian movement to access the bowls. The uniqueness of the stadium is that spectators can have an unobstructed view from all around the podium towards the field of play. Upper and lower bowls are connected by stairs. The stairs landing is a precast slab supported by cantilevered steel beams. These steel beams are fixed to precast columns supporting the stadium structure. The stair slabs are precast concrete supported on a landing slab and cantilevered steel beams. During an event of a fire at podium level between two staircases, fire resistance of steel beams is very critical to life safety. If the steel beam loses its strength due to lack of fire resistance, it will be weak in supporting stair slabs and may lead to a hazard in evacuating occupants from the upper bowl to the lower bowl. In this study, to ascertain fire rating and life safety, a performance-based design using CFD analysis is used to evaluate the steel beams' fire resistance. A fire size of 3.5 MW (convective heat output of fire) with a wind speed of 2.57 m/s is considered for fire and smoke simulation. CFD results show that the smoke temperature near the staircase/ around the staircase does not exceed 1500 C for the fire duration considered. The surface temperature of cantilevered steel beams is found to be less than or equal to 1500 C. Since this temperature is much less than the critical failure temperature of steel (5200 C), it is concluded that the design of structural steel supports on the staircase is adequate and does not need additional fire protection such as fire-resistant coating. CFD analysis provided an engineering basis for the performance-based design of steel structural elements and an opportunity to optimize fire protection requirements. Thus, performance-based design using CFD modeling and simulation of fire and smoke is an innovative way to evaluate fire rating requirements, ascertain life safety and optimize the design with regard to fire protection on structural steel elements.

Keywords: fire resistance, life safety, performance-based design, CFD analysis

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Authors: Sanjay Ranade

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Traditional film theory assumes the cinema audience in a darkened room where cinema is projected on to a white screen, and the audience suspends their sense of reality. Shifts in audiences due to changes in cultural tastes or trends have been studied for decades. In the past two decades, however, the audience, especially the youth, has shifted to digital media for the consumption of cinema. As a result, not only are audiences watching cinema on different devices, they are also consuming cinema in places and ways never imagined before. Public transport often crowded to the brim with a lot of ambient content, and a variety of workplaces have become sites for cinema viewing. Cinema is watched piecemeal and at different times of the day. Audiences use devices such as mobile phones and tablets to watch cinema. The cinema viewing experience is getting redesigned by the user. The emerging design allows the spectator to not only consume images and narratives but also produce, reproduce, and manipulate existing images and narratives, thereby participating in the process and influencing it. Spectatorship studies stress on the importance of subjectivity when dealing with the structure of the film text and the cultural and psychological implications in the engagement between the spectator and the film text. Indian cinema has been booming and contributing to global movie production significantly. In 2005 film production was 1000 films a year and doubled to 2000 by 2016. Digital technology helped push this growth in 2012. Film studies in India have had a decided Euro-American bias. The studies have chiefly analysed the content for ideological leanings or myth or as reflections of society, societal changes, or articulation of identity or presented retrospectives of directors, actors, music directors, etc. The one factor relegated to the background has been the spectator. If they have been addressed, they are treated as a collective of class or gender. India has a performative tradition going back several centuries. How Indians receive cinema is an important aspect to study with respect to film studies. This exploratory and descriptive study looked at 162 young media students studying cinema at the undergraduate and postgraduate levels. The students, speaking as many as 20 languages amongst them, were drawn from across the country’s media schools. The study looked at nine film societies registered with the Federation of Film Societies of India. A structured questionnaire was made and distributed online through media teachers for the students. The film societies were approached through the regional office of the FFSI in Mumbai. Lastly, group discussions were held in Mumbai with students and teachers of media. A group consisted of between five and twelve student participants, along with one or two teachers. All the respondents looked at themselves as spectators and shared their experiences of spectators of cinema, providing a very rich insight into Indian conditions of viewing cinema and challenges for cinema ahead.

Keywords: audience, digital, film studies, reception, reception spectatorship

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Authors: Elle Nielsen

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Festival time on the island of St. Croix is an annual celebration of a melting pot of rich culture and heritage. All your senses are amplified by the colorful bodies that paint the streets with swaying hips commemorating the ancestors who didn’t have the voice to express themselves, let alone the bodily authority through movement. Within this atmosphere of jubilee, you will become a witness to how the melodies of Calypso and Soca music take full control of the body. As a result, the waist and hips in a trance follow the polyrhythmic patterns birthing the shunned movement practices of whining and wukkin up. Spectators on the sidelines of the festival events will either frown upon this spectacle of the whining bodies or gaze in awe at the performative history in a public space. The historical value of the Caribbean Carnival is being defaced by the transnational spectatorship using body politics to push more of a Eurocentric-influenced atmosphere. The themes within this investigation are the stereotypes of over-sexualization and resistance to assimilation to how black female bodies are being viewed in Carnival.

Keywords: women equity, West Indian movement vocabulary, critical dance studies, humanitarianism in dance academia

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Authors: David Morton

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This work discusses the relationship between the Vitagraph Company of America (VCA) and the neighborhood of Midwood, Brooklyn, where the company’s largest production studio was located. The relationship between VCA and the Borough of Brooklyn was unique from other production companies in that despite the nationwide popularity of Vitagraph’s films, the content of the films produced by Vitagraph were directly influenced by the cinematic preferences of one specific urban center. In contrast to the national aspirations of the leading production companies of the period such as Twentieth Century Fox, Paramount, and Universal, who set out to attract the broadest audience possible, VCA’s films were aimed to appeal to specific a niche group that embodied Brooklyn’s conservative principles. As a result of the VCA’s alliance with theater owners and movie spectators in Brooklyn, the Vitagraph studio in Midwood became one of the Borough’s most recognizable cultural institutions, and through the production of Vitagraph’s quality films Brooklynites had a significant means of sharing their unique cultural identity with the rest of the United States.

Keywords: Vitagraph Company of America, Midwood, Brooklyn, Vitagrapheville, New York Motion Picture History, silent era, J. Stuart Blackton, Albert Smith

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Authors: Sahand Hamed Moeel Ardebil, Zohreh Taebi Noghondari, Mahmood Reza Ghorban Sabbagh

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Gillian Flynn’s Gone Girl, depicts a society in which, as a result of media dominance, the reality is very precarious and difficult to grasp. In Gone Girl, reality and image of reality represented on TV, are challenging to differentiate. Along with reality, individuals’ agency and independence before media and the capitalist rule are called in to question in the novel. In order to expose the unstable nature of reality and an individual’s complicated relationship with media, this study has deployed the ideas of Marxist-media theorist Guy Debord (1931-1992). In his book Society of the Spectacle (1966), Debord delineates a society in which images replace the objective reality, and people are incapable of making real changes. The results of the current study show that despite their efforts, Nick and Amy, the two main characters of the novel, are no more than spectators with very little agency before the media. Moreover, following Debord’s argument about the replacement of reality with images, everyone and every institution in Gone Girl projects an image that does not necessarily embody the objective reality, a fact that makes it very hard to differentiate the real from unreal.

Keywords: agency, Debord, Gone Girl, media studies, society of spectacle, reality

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Authors: Yoonjeogn Kim

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The concept of flâneur means a walking observer with subjectivity in the urban city and at the same time, an idiomatic and unnamed existence in public. In the modern city, an individual, flâneur walking on the street, observes the street and collects the memories of the past, during which process the individual comes to understand what the past means. However, the concept tends to be narrowly applied to the white middle-class males, thereby excluding females and other marginalized groups. This paper expands the concept to examine black immigrants and black women, who traditionally fall outside the scope of the flâneur. Placing the black immigrants on the trajectory of literary figure of flâneur by reading Tony Morrison's Jazz, this essay revisits the relationship between street and characters in Jazz. In particular, this essay focuses on characters strolling on the street as well as their surroundings. Based on the traditional characteristics of the flâneur, this essay explicates how the black characters in Jazz are reinvented as the flâneur and moving observers with their autonomy to stroll around the city, while the city, which used to be an observer watching and predicting what happens to the characters, takes a position as a mere onlooker. This paper concludes with illustrating the black characters stroll on the street in Harlem and thereby recreating ordinary people living in Harlem as flâneur.

Keywords: jazz, the arcades project, flâneur, flânerie, street, city

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Authors: Joel Rookwood

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Sports mega events have become increasingly significant in sporting, political and economic terms, with analysis often focusing on issues including resource expenditure, development, legacy and sustainability. Transnational tournaments can inspire interest from a variety of demographics, and the operational management of such events can involve contributions from a range of personnel. In addition to television audiences events also attract attending spectators, and in football contexts the temporary migration of fans from potentially rival nations and teams can present event organising committees and security personnel with various challenges in relation to crowd management. The behaviour, interaction and control of supporters has previously led to incidents of disorder and hooliganism, with damage to property as well as injuries and deaths proving significant consequences. The Heysel tragedy at the 1985 European Cup final in Brussels is a notable example, where 39 fans died following crowd disorder and mismanagement. Football disasters and disorder, particularly in the context of international competition, have inspired responses from police, law makers, event organisers, clubs and associations, including stadium improvements, legislative developments and crowd management practice to improve the effectiveness of spectator safety. The growth and internationalisation of fandom and developments in event management and tourism have seen various responses to the evolving challenges associated with hosting large numbers of visiting spectators at mega events. In football contexts ‘fan parks’ are a notable example. Since the first widespread introduction in European football competitions at the 2006 World Cup finals in Germany, these facilities have become a staple element of such mega events. This qualitative, longitudinal, multi-continent research draws on extensive semi-structured interview and observation data. As a frame of reference, this work considers football events staged before and after the development of fan parks. Research was undertaken at four World Cup finals (Japan 2002, Germany 2006, South Africa 2010 and Brazil 2014), four European Championships (Portugal 2004, Switzerland/Austria 2008, Poland/Ukraine 2012 and France 2016), four other confederation tournaments (Ghana 2008, Qatar 2011, USA 2011 and Chile 2015), and four European club finals (Istanbul 2005, Athens 2007, Rome 2009 and Basle 2016). This work found that these parks are typically temporarily erected, specifically located zones where supporters congregate together irrespective of allegiances to watch matches on large screens, and partake in other forms of organised on-site entertainment. Such facilities can also allow organisers to control the behaviour, confine the movement and monitor the alcohol consumption of supporters. This represents a notable shift in policy from previous football tournaments, when the widely assumed causal link between alcohol and hooliganism which frequently shaped legislative and police responses to disorder, also dissuaded some authorities from permitting fans to consume alcohol in and around stadia. It also reflects changing attitudes towards modern football fans. The work also found that in certain contexts supporters have increasingly engaged with such provision which impacts fan behaviour, but that this is relative to factors including location, facilities, management and security.

Keywords: event, facility, fan, management, park

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Authors: Rene Kasper, Hyago Ribeiro, Marcelo Curth

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Electronic sports, or just e-sports, boast an exponential growth in the interest of the public and large investors. The e-sports teams are equal to classic sports teams, like football, since in their structure they have, besides the athletes, administrators, coaches and even doctors. The concept of team games arises with a very strong social interaction, as it is perceived that users interact with real peers rather than competing with intelligent software. In this sense, electronic games are established as a sociocultural phenomenon and as multidimensional media. Thus, the research aims to identify the profile of users and the importance of brands in the Brazilian electronic sports scene, as well as the relationship of consumers (called fans) with the products and services that occupy the media spaces of the transmissions of sports championships. The research used descriptive quantitative methodology, applied in different e-sports communities, with 160 respondents. The data collection instrument was a survey containing seven questions, which addressed the profile of the participants and their perception on the proposed theme in research. Regarding the profile, the age ranged from 17 to 31 years, of which 93.3% were male and 6.7% female. It was found that 93.3% of the participants had contact with the Brazilian electronic sports scene for at least 2 years, of which 26.7% played between 6 and 12 hours a week and 46.7% played more than 12 hours a week. In addition, it was noticed that income was not a deciding factor to enjoy electronic sports games, because the percentage distribution of participants ranged from 1 to 3 minimum wages (33.3%) and greater than 6 salaries (46.7 %). Regarding the brands, 85.6% emphasized that brands should support the scenario through sponsorship and publicity and 28.6% are attracted to consume brands that advertise in e-sports championships.

Keywords: brands, consumer behavior, e-sports, virtual games

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Authors: Seyed Salahedin Naghshbandi, Zahra Bozorgzadeh, Leila Zakizadeh, Siavash Hamidzadeh

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From the sport economy experts point of view, the existence of competitive balance among sport leagues and its numerous effects on league is an important and undeniable issue. In general, sport events fans are so eager to unpredictable results of competition in order to reach the top of excitement and necessary motivation for following competitions. The purpose of this research is to consider and compare the competitive balance among five provisional European football leagues (Spain, England, Italy, France and Germany) during 1966 - 2015 seasons. Research data are secondary and obtained from Premier League final tables of selected countries in 1966 - 2015 seasons. For analyzing data, C5 and C5ICB indicators used. whatever these indicators be less, more balance establishes in the league and vice-versa. The result showed that Le champion of France reached from 1,259 to 1,395; Italy Serie-A league from 1,316 to 1,432; England premier league from 1, 342 to 1,455; Germany Bundesliga from 1,238 to 1,465 and Spain La liga from 1,295 to 1,495. So by comparing C5ICB charts during 1966 - 2015 seasons, La liga of Spain moved more toward imbalance and enjoyed less balance with other European Leagues. Also, La champion of France during the mentioned season, enjoyed less imbalance and preserved its relative balance with monotonous process. It seems that football in France has been followed as stable during 1966 to 2015, and prediction of results was more difficult and competitions were so attractive for spectators, but in Italy, England, Germany, and Spain there were less balance, respectively.

Keywords: competitive balance, professional football league, competition, C5ICB

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Authors: Shazia Anwer

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This paper has discussed the unusual form of resistance in theatre against censorship board in Pakistan. The atypical approach of dramaturgy created massive space for performers and audiences to integrate and communicate. The social and religious absolutes creates suffocation in Pakistani society, strict control over all Fine and Performing Art has made art political, contemporary dramatics has started an amalgamated theatre to avoid censorship. Contemporary Punjabi theatre techniques are directly dependent on human cognition. The idea of indirect thought processing is not unique but dependent on spectators. The paper has provided an account of these techniques and their specific use for conveying specific messages across the audiences. For the Dramaturge of today, theatre space is an expression representing a linguistic formulation that includes qualities of experimental and non-traditional use of classical theatrical space in the context of fulfilling the concept of open theatre. Paper has explained the transformation of the theatrical experience into an event where the actor and the audience are co-existing and co-experiencing the dramatical experience. The denial of the existence of the 4th -Wall made two-way communication possible. This paper has elaborated that the previously marginalized genres such as naach, jugat, miras, are extensively included to counter the censorship board. Figurativeness, visual elements, allegory, scenic imagery are basic support system for contemporary Punjabi theatre. The body of the actor is used as a source for non-verbal communication, and for an escape from traditional theatrical space which by every means has every element that could be controlled and reprimanded by the controlling authority.

Keywords: communication, Punjabi theatre, figurativeness, censorship

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Authors: Stephens Oluyemi Adetunji, Nel Norma Margaret, Krogs Sozein

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There has been a shift in the role of sports from being a form of entertainment and relaxation to becoming a huge business concern and high money spinning venture. This shift has placed a greater demand on sport coaches as regards expectations for high performance from investors as well as other stake holders. The responsibility of sports coaches in ensuring high performance of sports men and women has become increasingly more demanding from both spectators and sports organisers. Coaches are leaders who should possess soft skills such as emotional intelligence aside from employing skills and drills to ensure high performance of athletes. This study is, therefore, designed to determine the emotional intelligence of sports coaches in South Africa. An assessment of the emotional intelligence of sports coaches would enable the researchers to identify those who have low emotional intelligence and to design an intervention program that could improve their emotional intelligence. This study will adopt the pragmatic world view of research using the mixed methods research design of the quantitative and qualitative approach. The non-probability sampling technique will be used to select fifty sports coaches for the quantitative study while fifteen sports coaches will be purposively selected for the qualitative study. One research question which seeks to ascertain the level of emotional intelligence of sports coaches will be raised to guide this study. In addition, two research hypotheses stating that there will be no significant difference in the level of emotional intelligence of sports coaches on the basis of gender and type of sports will be formulated and statistically analysed at 0.05 level of significance. For the quantitative study, an emotional intelligence test will be used to measure the emotional intelligence of sport coaches. Focus group interviews and open ended questions will be used to obtain the qualitative data. Quantitative data obtained will be statistically analysed using the SPSS version 22.0 while the qualitative data will be analysed using atlas ti. Based on the findings of this study, recommendations will be made.

Keywords: emotional intelligence, high performance, sports coaches, South Africa

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Authors: Nelya Babynets

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Shakespeare and Mexican theatregoers have enjoyed quite a complex relationship. Shakespearean plays have appeared on the Mexican stage with remarkable perseverance, yet with mixed success. Although Shakespeare has long been a part of the global cultural marketplace and his works are celebrated all around the world, the adaptation of his plays on the contemporary Mexican stage is always an adventure, since the works of this early modern author are frequently seen as the legacy of a ‘high’, but obsolete, culture, one that is quite distant from the present-day viewers’ daily experiences and concerns. Moreover, Mexican productions of Shakespeare are presented mostly in Peninsular Spanish, a language similar yet alien to the language spoken in Mexico, one that does not wholly fit into the viewers’ cultural praxis. This is the reason why Mexican dramatic adaptations of Shakespearean plays tend to replace the cultural references of the original piece with ones that are more significant and innate to Latin American spectators. This paper analyses the new Mexican production of Richard III adapted and directed by Mauricio Garcia Lozano, which employs onstage violence - a cultural force that is inherent to all human beings regardless of their beliefs, ethnic background or nationality - as the means to make this play more relevant to a present-day audience. Thus, this paper addresses how the bloody bombast of staged murders helps to avoid the tyranny of a rigid framework of fixed meanings that denies the possibility of an intercultural appropriation of this European play written over four hundred years ago. The impact of violence displayed in Garcia Lozano’s adaptation of Richard III on Mexican audiences will also be examined. This study is particularly relevant in Mexico where the term ‘tragedy’ has become a commonplace and where drug wars and state-sanctioned violence have already taken the lives of many people.

Keywords: audience, dramatic adaptation, Shakespeare, viewer

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Authors: Dionysios Kakaroumpas, Jesseka Farago, Stephen Webber

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Athletes and spectators depend on the tennis ranking system to represent the truest caliber of athletic prowess; a careful look at the current ranking system though, reveals its main weakness: it undermines expectations of fans and players. Our study proposes several key changes to the existing ranking formula that provide a fair and accurate approach to measure player performance. The study proposes a modification of the system to value: participation, continued advancement, and overall achievement. The new ranking formula facilitates closing the trust gap, encouraging competition equality, engaging the fan base, attracting investment, and promoting tennis involvement worldwide. To probe the crux of our main contention we performed week-by-week comparisons between results procured from the current and proposed formulae. After performing this rigorous case-study of top players of each gender, the findings strongly indicated that there is identifiable inflation in the ranks and enhanced the conviction that the current system should be updated. The new system is accompanied by a web-based software package freely available to anyone involved or interested in tennis rankings. The software package is designed to automatically calculate new player rankings based on a responsive, multi-faceted formula that also generates projected point scenarios and provides separate rankings for the three different court surfaces. By taking a critical look at the current tennis ranking system with consideration to the perspective of fans, players, and businesses involved, an upgrade is in order for it to maintain the balance of trust between fans and the evaluation process. In closure, this proposed solution increases fair play competition, eliminates rank inflation, and better engages fans, players, and sponsors by bringing in a new era of professional tennis.

Keywords: measurement and evaluation, rules and regulations, sports management and marketing, tennis ranking system

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Authors: Chrysoula Bousiouta

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Throughout the history of theatre, technology has played an important role both in influencing the relationship between performance and audience and offering different kinds of experiences. The use of technology dates back in ancient times, when the introduction of artifacts, such as “Deus ex machine” in ancient Greek theatre, started. Taking into account the key techniques and experiences used throughout history, this paper investigates how technology, through new media, influences contemporary theatre. In the context of this research, technology is defined as projections, audio environments, video-projections, sensors, tele-connections, all alongside with the performance, challenging audience’s participation. The theoretical framework of the research covers, except for the history of theatre, the theory of “experience economy” that took over the service and goods economy. The research is based on the qualitative and comparative analysis of two case studies, Contact Theatre in Manchester (United Kingdom) and Bios in Athens (Greece). The data selection includes desk research and is complemented with semi structured interviews. Building on the results of the research one could claim that the intended experience of modern/contemporary theatre is that of engagement. In this context, technology -as defined above- plays a leading role in creating it. This experience passes through and exists in the middle of the realms of entertainment, education, estheticism and escapism. Furthermore, it is observed that nowadays, theatre is not only about acting but also about performing; it is that one where the performances are unfinished without the participation of the audience. Both case studies try to achieve the experience of engagement through practices that promote the attraction of attention, the increase of imagination, the interaction, the intimacy and the true activity. These practices are achieved through the script, the scenery, the language and the environment of a performance. Contact and Bios consider technology as an intimate tool in order to accomplish the above, and they make an extended use of it. The research completes a notable record of technological techniques that modern theatres use. The use of technology, inside or outside the limits of film technique’s, helps to rivet the attention of the audience, to make performances enjoyable, to give the sense of the “unfinished” or to be used for things that take place around the spectators and force them to take action, being spect-actors. The advantage of technology is that it can be used as a hook for interaction in all stages of a performance. Further research on the field could involve exploring alternative ways of binding technology and theatre or analyzing how the performance is perceived through the use of technological artifacts.

Keywords: experience of engagement, interactive theatre, modern theatre, performance, technology

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Authors: Cagri Baris Kasap

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In this study, how interface designers can be viewed as producers of culture in the current era will be interrogated from a critical theory perspective. Walter Benjamin was a German Jewish literary critical theorist who, during 1930s, was engaged in opposing and criticizing the Nazi use of art and media. ‘The Author as Producer’ is an essay that Benjamin has read at the Communist Institute for the Study of Fascism in Paris. In this article, Benjamin relates directly to the dialectics between base and superstructure and argues that authors, normally placed within the superstructure should consider how writing and publishing is production and directly related to the base. Through it, he discusses what it could mean to see author as producer of his own text, as a producer of writing, understood as an ideological construct that rests on the apparatus of production and distribution. So Benjamin concludes that the author must write in ways that relate to the conditions of production, he must do so in order to prepare his readers to become writers and even make this possible for them by engineering an ‘improved apparatus’ and must work toward turning consumers to producers and collaborators. In today’s world, it has become a leading business model within Web 2.0 services of multinational Internet technologies and culture industries like Amazon, Apple and Google, to transform readers, spectators, consumers or users into collaborators and co-producers through platforms such as Facebook, YouTube and Amazon’s CreateSpace Kindle Direct Publishing print-on-demand, e-book and publishing platforms. However, the way this transformation happens is tightly controlled and monitored by combinations of software and hardware. In these global-market monopolies, it has become increasingly difficult to get insight into how one’s writing and collaboration is used, captured, and capitalized as a user of Facebook or Google. In the lens of this study, it could be argued that this criticism could very well be considered by digital producers or even by the mass of collaborators in contemporary social networking software. How do software and design incorporate users and their collaboration? Are they truly empowered, are they put in a position where they are able to understand the apparatus and how their collaboration is part of it? Or has the apparatus become a means against the producers? Thus, when using corporate systems like Google and Facebook, iPhone and Kindle without any control over the means of production, which is closed off by opaque interfaces and licenses that limit our rights of use and ownership, we are already the collaborators that Benjamin calls for. For example, the iPhone and the Kindle combine a specific use of technology to distribute the relations between the ‘authors’ and the ‘prodUsers’ in ways that secure their monopolistic business models by limiting the potential of the technology.

Keywords: interface designer, cultural producer, Walter Benjamin, materialist aesthetics, dialectical thinking

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Authors: Nicholas Fieseler

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The nature of religion implicit in popular culture is relevant both in and out of the university. The traditional rules-based conception of religion and the ethical systems that emerge from them do not necessarily convey the behavior of daily life as it exists apart from spaces deemed sacred. This paper proposes to examine the religion implicit in the popular culture phenomenon of professional wrestling and how that affects the understanding of popular religion. Pro wrestling, while frequently dismissed, offers a unique manner through which to re-examine religion in popular culture. A global phenomenon, pro wrestling occupies a distinct space in numerous countries and presents a legitimate reflection of human behavior cross-culturally on a scale few other phenomena can equal. Given its global viewership of millions, it should be recognized as a significant means of interpreting the human attraction to violence and its association with religion in general. Hans Urs von Balthasar’s theory of Theodrama will be used to interrogate the inchoate religion within pro wrestling. While Balthasar developed theodrama within the confines of Christian theology; theodrama contains remarkable versatility in its potential utility. Since theodrama re-envisions reality as drama, the actions of every human actor on the stage contributes to the play’s development, and all action contains some transcendent value. It is in this sense that even the “low brow” activity of pro wrestling may be understood in religious terms. Moreover, a pro wrestling storyline acts as a play within a play: the struggles in a pro wrestling match reflect the human attitudes toward life as it exists in the sacred and profane realms. The indistinct lines separating traditionally good (face) from traditionally bad (heel)wrestlers mirror the moral ambiguity in which many people interpret life. This blurred distinction between good and bad, and large segments of an audience’s embrace of the heel wrestlers, reveal ethical constraints that guide the everyday values of pro wrestling spectators, a moral ambivalence that is often overlooked by traditional religious systems, and which has hitherto been neglected in the academic literature on pro wrestling. The significance of interpreting the religion implicit in pro wrestling through a the dramatic lens extends beyond pro wrestling specifically and can examine the religion implicit in popular culture in general. The use of theodrama mitigates the rigid separation often ascribed to areas deemed sacred/ profane, ortranscendent / immanent, enabling a re-evaluation of religion and ethical systems as practiced in popular culture. The use of theodrama will be expressed by utilizing the pro wrestling match as a literary text that reflects the society from which it emerges. This analysis will also reveal the complex nature of religion in popular culture and provides new directions for the academic study of religion. This project consciously bridges the academic and popular realms. The goal of the research is not to add only to the academic literature on implicit religion in popular culture but to publish it in a form which speaks to those outside the standard academic audiences for such work.

Keywords: ethics, popular religion, professional wrestling, theodrama

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Authors: Ravi Chaturvedi, Ghanshyam Beniwal

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Without going much into the detail of long history of Sufism in the world and the etymological definition of the word ‘Sufi’, it will be sufficient to underline that the concept of Sufism was to focus the mystic power on the spiritual dimension of Islam with a view-shielding the believers from the outwardly and unrealistic dogma of the faith. Sufis adopted rather a liberal view in propagating the religious order of Islam suitable to the cultural and social environment of the land. It is, in fact, a mission of higher religious order of any faith, which disdains strife and conflict in any form. The joy of self-realization being the essence of religion is experienced after a long spiritual practice. India had Sufi and Bhakti (devotion) traditions in Islam and Hinduism, respectively. Both Sufism and Bhakti traditions were based on respect for different religions. The poorer and lower caste Hindus and Muslims were greatly influenced by these traditions. Unlike Ulemas and Brahmans, the Sufi and Bhakti saints were highly tolerant and open to the truth in other faiths. They never adopted sectarian attitudes and were never involved in power struggles. They kept away from power structures. Sufism is integrated with the Indian cinema since its initial days. In the earliest Bollywood movies, Sufism was represented in the form of qawwali which made its way from dargahs (shrines). Mixing it with pop influences, Hindi movies began using Sufi music in a big way only in the current decade. However, of late, songs with Sufi influences have become de rigueur in almost every film being released these days, irrespective of the genre, whether it is a romantic Gangster or a cerebral Corporate. 'Sufi is in the DNA of the Indian sub-continent', according to several contemporary filmmakers, critics, and spectators.The inherent theatricality motivates the performer of the 'Sufi' rituals for a dramatic behavior. The theatrical force of these stages of Sufi practice is so powerful that even the spectator cannot resist himself from being moved. In a multi-cultural country like India, the mediating streams have acquired a multi-layered importance in recent history. The second half of Indian post-colonial era has witnessed a regular chain of some conflicting religio-political waves arising from various sectarian camps in the country, which have compelled the counter forces to activate for keeping the spirit of composite cultural ethos alive. The study has revealed that the Sufi practice methodology is also being adapted for inclusion of spirituality in life at par to Yoga practice. This paper, a part of research study, is an attempt to establish that the Sufism in Indian cinema is one such mediating voice which is very active and alive throughout the length and width of the country continuously bridging the gap between various religious and social factions, and have a significant role to play in future as well.

Keywords: Indian cinema, mediating voice, Sufi, yoga practice

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Authors: Justyna P. Majewska, Szymon M. Truskolaski

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The growing importance of digitalized services in the so-called new economy, including the e-sports industry, can be observed recently. Various demographic or technological changes lead consumers to modify their needs, not regarding the services themselves but the method of their application (attracting customers, forms of payment, new content, etc.). In the case of leisure-related to competitive spectating activities, there is a growing need to participate in events whose content is not sports competitions but computer games challenge – e-sport. The literature in this area so far focuses on determining the number of e-sport fans with elements of a simple statistical description (mainly concerning demographic characteristics such as age, gender, place of residence). Meanwhile, the development of the industry is influenced by a combination of many different, intertwined demographic, personality and psychosocial characteristics of customers, as well as the characteristics of their environment. Therefore, there is a need for a deeper recognition of the determinants of the behavioral patterns upon selecting digitalized services by customers, which, in the absence of available large data sets, can be achieved by using econometric simulations – multi-agent modeling. The cognitive aim of the study is to reveal internal and external determinants of behavioral patterns of customers taking into account various variants of economic development (the pace of digitization and technological development, socio-demographic changes, etc.). In the paper, an agent-based model with heterogeneous agents (characteristics of customers themselves and their environment) was developed, which allowed identifying a three-stage development scenario: i) initial interest, ii) standardization, and iii) full professionalization. The probabilities regarding the transition process were estimated using the Method of Simulated Moments. The estimation of the agent-based model parameters and sensitivity analysis reveals crucial factors that have driven a rising trend in e-sport spectating and, in a wider perspective, the development of digitalized services. Among the psychosocial characteristics of customers, they are the level of familiarization with the rules of games as well as sports disciplines, active and passive participation history and individual perception of challenging activities. Environmental factors include general reception of games, number and level of recognition of community builders and the level of technological development of streaming as well as community building platforms. However, the crucial factor underlying the good predictive power of the model is the level of professionalization. While in the initial interest phase, the entry barriers for new customers are high. They decrease during the phase of standardization and increase again in the phase of full professionalization when new customers perceive participation history inaccessible. In this case, they are prone to switch to new methods of service application – in the case of e-sport vs. sports to new content and more modern methods of its delivery. In a wider context, the findings in the paper support the idea of a life cycle of services regarding methods of their application from “traditional” to digitalized.

Keywords: agent-based modeling, digitalized services, e-sport, spectators motives

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Authors: Mathilde Pavis

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From Schumann to Van Gogh, Frida Kahlo, and Ray Charles, the stories narrating the careers of artists with physical or mental disabilities are becoming increasingly popular. From the emergence of ‘pathography’ at the end of 18th century to cinematographic portrayals, the work and lives of differently-abled creative individuals continue to fascinate readers, spectators and researchers. The achievements of those artists form the tip of the iceberg composed of complex politico-cultural movements which continue to advocate for wider recognition of disabled artists’ contribution to western culture. This paper envisages copyright law as a potential tool to such end. It investigates the array of rights available to artists with intellectual disabilities to assert their position as authors of their artwork in the twenty-first-century looking at international and national copyright laws (UK and US). Put simply, this paper questions whether an artist’s intellectual disability could be a barrier to assert their intellectual property rights over their creation. From a legal perspective, basic principles of non-discrimination would contradict the representation of artists’ disability as an obstacle to authorship as granted by intellectual property laws. Yet empirical studies reveal that artists with intellectual disabilities are often denied the opportunity to exercise their intellectual property rights or any form of agency over their work. In practice, it appears that, unlike other non-disabled artists, the prospect for differently-abled creators to make use of their right is contingent to the context in which the creative process takes place. Often will the management of such rights rest with the institution, art therapist or mediator involved in the artists’ work as the latter will have necessitated greater support than their non-disabled peers for a variety of reasons, either medical or practical. Moreover, the financial setbacks suffered by medical institutions and private therapy practices have renewed administrators’ and physicians’ interest in monetising the artworks produced under their supervision. Adding to those economic incentives, the rise of criminal and civil litigation in psychiatric cases has also encouraged the retention of patients’ work by therapists who feel compelled to keep comprehensive medical records to shield themselves from liability in the event of a lawsuit. Unspoken transactions, contracts, implied agreements and consent forms have thus progressively made their way into the relationship between those artists and their therapists or assistants, disregarding any notions of copyright. The question of artists’ authorship finds itself caught in an unusually multi-faceted web of issues formed by tightening purse strings, ethical concerns and the fear of civil or criminal liability. Whilst those issues are playing out behind closed doors, the popularity of what was once called the ‘Art of the Insane’ continues to grow and open new commercial avenues. This socio-economic context exacerbates the need to devise a legal framework able to help practitioners, artists and their advocates navigate through those issues in such a way that neither this minority nor our cultural heritage suffers from the fragmentation of the legal protection available to them.

Keywords: authorship, copyright law, intellectual disabilities, art therapy and mediation

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Authors: Z. Xu

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Immersive virtual reality (VR) has gained momentum in humanitarian communication due to its utopian promises of co-presence, immediacy, and transcendence. These potential benefits have led the United Nations (UN) to tirelessly produce and distribute VR series to evoke global empathy and encourage policymakers, philanthropic business tycoons and citizens around the world to actually do something (i.e. give a donation). However, it is unclear whether or not VR can cultivate cosmopolitans with a sense of social responsibility towards the geographically, socially/culturally and morally mediated misfortune of faraway others. Drawing upon existing works on the mediation of distant suffering, this article constructs an analytical framework to articulate the issue. Applying this framework on a case study of five of the UN’s VR pieces, the article identifies three paradoxes that exist between cyber-utopian and cyber-dystopian narratives. In the “paradox of distance”, VR relies on the notions of “presence” and “storyliving” to implicitly link audiences spatially and temporally to distant suffering, creating global connectivity and reducing perceived distances between audiences and others; yet it also enables audiences to fully occupy the point of view of distant sufferers (creating too close/absolute proximity), which may cause them to feel naive self-righteousness or narcissism with their pleasures and desire, thereby destroying the “proper distance”. In the “paradox of agency”, VR simulates a superficially “real” encounter for visual intimacy, thereby establishing an “audiences–beneficiary” relationship in humanitarian communication; yet in this case the mediated hyperreality is not an authentic reality, and its simulation does not fill the gap between reality and the virtual world. In the “paradox of the hierarchies of human life”, VR enables an audience to experience virtually fundamental “freedom”, epitomizing an attitude of cultural relativism that informs a great deal of contemporary multiculturalism, providing vast possibilities for a more egalitarian representation of distant sufferers; yet it also takes the spectator’s personally empathic feelings as the focus of intervention, rather than structural inequality and political exclusion (an economic and political power relations of viewing). Thus, the audience can potentially remain trapped within the minefield of hegemonic humanitarianism. This study is significant in two respects. First, it advances the turn of digitalization in studies of media and morality in the polymedia milieu; it is motivated by the necessary call for a move beyond traditional technological environments to arrive at a more novel understanding of the asymmetry of power between the safety of spectators and the vulnerability of mediated sufferers. Second, it not only reminds humanitarian journalists and NGOs that they should not rely entirely on the richer news experience or powerful response-ability enabled by VR to gain a “moral bond” with distant sufferers, but also argues that when fully-fledged VR technology is developed, it can serve as a kind of alchemy and should not be underestimated merely as a “bugaboo” of an alarmist philosophical and fictional dystopia.

Keywords: audience, cosmopolitan, distant suffering, virtual reality, humanitarian communication

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Authors: Tracy L. F. Worley

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This presentation explores the environment that has limited leadership opportunities for Black women in cinema and advocates for autonomy among Black women filmmakers that is facilitated by strong internal and external networks and cooperative opportunities. Early images of African Americans in motion pictures were often conceptualized from the viewpoint of a White male director and depicted by White actors. The black film evolved in opposition to this context, leading to a Black film aesthetic. The oppositional context created in response to racist, misogynistic, and sexist representations in motion pictures sets the tone for female filmmakers of every hue – but especially for African American women. For them, the context of a male gaze, and for all intents and purposes, a White male gaze, forces them to create their own aesthetic. Theoretically, men and women, filmmakers and spectators have different perspectives across race, ethnicity, and gender. Two feminist theorists, bell hooks and Mary Ann Doane, suggest that female filmmakers are perceived as disparate from male filmmakers and that women, in general, are defined by what men see. Mary Ann Doane, a White feminist film theorist, has focused extensively on female spectatorship and women (White) in general as the object of the male gaze. Her discussion of the female body, male perception of it, and feminism in the motion picture industry support the suggestion that comprehending the organization and composition of Hollywood is critical to understanding women’s roles in the industry. Although much of her research addresses the silent film era and women’s roles then, Doane suggests that across cinematic periods, the theory assigned to “cinematic apparatus” is formulated within a context of sexuality. Men and women are viewed and treated differently in cinema (in front of and behind the camera), with women’s attractiveness and allure photographed specifically for the benefit of the “spectatorial desire” of the male gaze. Bell Hooks, an African American feminist writer and theorist with more than 30 published books and articles on race, gender, class, and culture in feminism and education, suggests that women can overcome the male gaze by using their “oppositional gaze” to transform reality and establish their own truth. She addresses gender within the context of race by acknowledging the realities faced by African American women and the fact that the feminist movement was never intended to include Black women. A grounded theory study led to the development of a leadership theory that explains why African American women are disproportionately represented in a mainstream motion picture leadership. The study helped to reveal the barriers to entry and illuminated potential strategies that African American female motion picture directors might pursue to reduce this inequity. Using semi-structured interviews as the primary means for data collection, the lived experiences of African American female directors and organizational leadership’s perceived role in the perpetuation of negative female imagery in major motion pictures led to the identification of support strategies for African American female motion picture directors that counter social stereotyping and validate the need for social networking in the mainstream.

Keywords: African American, cinema, directors, filmmaking, leadership, women

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