Journal issue, 10. August 2018.

Themed Section of Particip@tions: Journal of Audience and Reception Studies

Edited by Barbara Klinger (Indiana University Emerita), November 2019 Issue

In the 2000s, audiences’ ability to stream film, television, music, radio, and other content from online services has substantially transformed their media experience. Despite a rocky period in the 1990s, when the online delivery of content was heavily contested by traditional media industries and additionally fraught by technological deficiencies, this new century has seen streaming—the digital delivery of data in a continuous flow of audio and/or video content—become an influential new norm in industrialized countries. This state of affairs is signaled, at the very least, by the expansion of Netflix into streaming, as well as the emergence of iTunes, Amazon Prime Video, Audible Books, Hulu, Spotify, Filmstruck, and numerous other services large and small and variable across nations. Such developments have not only created new business models, but have also resulted in the availability of more media content and different means of accessing and experiencing it.

This themed, peer-reviewed section of Particip@tions will take stock of the impact that the digital revolution, as embodied in the phenomenon of streaming, has had on the consumption of cinema, television, music, books, and other media. Different approaches, including theories of reception, examination of discourses involved in reception, historical approaches to changing audiences, textual analysis, empirical audience studies, and other means of exploring the contemporary experience of watching and/or listening to streaming media are welcome. Topics include, but are not restricted to, streaming’s impact on:

- Binge watching or listening
- On-demand video
- Multitasking, media overload, distraction, interruption
- The multi-screen or multi-sensory experience of media
- Curation and personalization (via playlists, recommendation engines, consumer tracking, and other audience or industry practices)
- Taste and/or identity formations
- The experience of narrative flow and seriality
- The reception of particular TV shows, films, podcasts, audiobooks, etc.
- Media consumption in specific nations and in global or diasporic contexts
- Niche audiences
- Fandom and participatory cultures

Please send a 300-word abstract and brief author’s bio by August 10, 2018 to Barbara Klinger, Also please feel free to contact me at this email address with questions about the themed issue and to distribute this CFP to others. Notifications about acceptance of proposals will be sent out by September 15, 2018 and essays will be due February 1, 2019.