SZodixStudyAcademic Library
ShelvesOpen access
Study · an open academic library·Metadata from OpenAlex (CC0)·Shelves·OpenAlex metadata, de-duplicated
Live to your local cinema: the remarkable rise of livecasting
0 references·13 citing·31 second hop
Live to your local cinema: the remarkable rise of livecasting (2013)Live to your local cinema: the remarkable…Shakespeare, Spectatorship and the Technologies of Performance (2020)Shakespeare, Spectatorship an…When theatre meets fandom: Audience reviews of Harry Potter and the Cursed Child (2018)When theatre meets fandom: Au…The Audience Is Present: Aliveness, Social Media, and the Theatre Broadcast Experience (2018)The Audience Is Present: Aliv…Together, Apart: Liveness, Eventness, and Streaming Shakespearean Performance (2017)Together, Apart: Liveness, Ev…“The forms of things unknown”: Shakespeare and the Rise of the Live Broadcast (2017)“The forms of things unknown”…Streaming from stage to screen: its place in the cultural marketplace and the implication for UK arts policy (2016)Streaming from stage to scree…Not Making a Movie: The Livecasting of Shakespeare Stage Productions by The Royal National Theatre and The Royal Shakespeare Company (2016)Not Making a Movie: The Livec…Co-present and remote audience experiences: intensity and cohesion (2016)Co-present and remote audienc…‘What’s bigger than a standing ovation?’: Intimacy and spectacle at the Tony Awards (2016)‘What’s bigger than a standin…So just what is a trailer, anyway? (2015)So just what is a trailer, an…Screening the RSC stage: the 2014Live from Stratford-upon-Avoncinema broadcasts (2015)Screening the RSC stage: the …Screening from the Met, the NT, or the House: what changes with the live relay (2014)Screening from the Met, the N…Audience development and its blind spot: a quest for pleasure and play in the discussion of performing arts institutions (2014)Audience development and its …Theatre Squared: Theatre History in the Age of Media (2007)Live To Your Local Cinema (2012)From Page to Stage to Screen: The Live Theatre Broadcast as a New Medium (2017)Film Critics: Influencers or Predictors? (1997)The Discourse of Advertising (2001)News framing (2005)Distinction: A Social Critique of the Judgement of Taste. (1985)Artificial hells: participatory art and the politics of spectatorship (2013)Distinction: A Social Critique of the Judgement of Taste* (2018)Leading or avoiding change: the problem of audience diversification for arts organisations (2020)Exploring barriers to social inclusion for disabled people: perspectives from the performing arts (2021)Similar but special: an econometric analysis of live performing arts attendance in mainland China (2021)Unmarked: The Politics of Performance (1994)Liveness (2008)Liveness: performance in a mediatized culture (2008)Gifts of the Muse: Reframing the Debate About the Benefits of the Arts (2004)Culture of innovation: An economic analysis of innovation in arts and cultural organisations (2010)Technology Adoption in the Digital Entertainment Industry during the COVID-19 Pandemic: An Extended UTAUT2 Model for Online Theater Streaming (2022)An Empirical Study on K-Pop Livecast Concerts in Cinema: The Next Best Experience to a Real Live Concert? (2024)Developing Digital Classical Concert Stream Offerings – A Typology of Audience Preferences (2024)The Arden Shakespeare complete works (2001)A Theory of Adaptation (2006)The haunted stage: the theatre as memory machine (2002)Confronting the Challenges of Participatory Culture: Media Education for the 21st Century (2006)The Complete Works (1943)Innovating Shakespeare: The Politics of Technological Partnership in the Royal Shakespeare Company’s The Tempest (2016) (2019)Toward a Philosophy of the Act (1993)Viral Shakespeare (2021)Understanding Media: The Extensions of Man (1964)Gender Trouble: Feminism and the Subversion of Identity (1991)How We Became Posthuman (1999)
this work references cited by second hop

References

No references inside the corpus for this window.

Cited by

  • 2020Shakespeare, Spectatorship and the Technologies of Performance66 cited
  • 2014Screening from the Met, the NT, or the House: what changes with the live relay47 cited
  • 2018The Audience Is Present: Aliveness, Social Media, and the Theatre Broadcast Experience29 cited
  • 2017“The forms of things unknown”: Shakespeare and the Rise of the Live Broadcast29 cited
  • 2015Screening the RSC stage: the 2014Live from Stratford-upon-Avoncinema broadcasts25 cited
  • 2014Audience development and its blind spot: a quest for pleasure and play in the discussion of performing arts institutions24 cited
  • 2016Streaming from stage to screen: its place in the cultural marketplace and the implication for UK arts policy22 cited
  • 2016Not Making a Movie: The Livecasting of Shakespeare Stage Productions by The Royal National Theatre and The Royal Shakespeare Company22 cited
  • 2017Together, Apart: Liveness, Eventness, and Streaming Shakespearean Performance22 cited
  • 2015So just what is a trailer, anyway?10 cited
  • 2016Co-present and remote audience experiences: intensity and cohesion7 cited
  • 2018When theatre meets fandom: Audience reviews of Harry Potter and the Cursed Child6 cited
  • 2016‘What’s bigger than a standing ovation?’: Intimacy and spectacle at the Tony Awards5 cited

Only edges whose both ends are imported exist here. Widen the year window, or show the whole map. Back to the work