| 271. |
- Herngren, Bengt, et al.
(författare)
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Outcomes after slipped capital femoral epiphysis: a population-based study with three-year follow-up
- 2018
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Ingår i: Journal of Childrens Orthopaedics. - : SAGE Publications. - 1863-2521 .- 1863-2548. ; 12:5, s. 434-443
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Tidskriftsartikel (refereegranskat)abstract
- Purpose To evaluate outcomes three years after treatment for slipped capital femoral epiphysis (SCFE): development of avascular necrosis (AVN), subsequent surgery, hip function and the contralateral hip. Methods This prospective cohort study included a total national population of 379 children treated for SCFE between 2007 and 2013. A total of 449 hips treated for SCFE and 151 hips treated with a prophylactic fixation were identified. The Barnhoft questionnaire, a valid patient-reported outcome measure (PROM), was used. Results In all, 90 hips had a severe slip, 61 of these were clinically unstable. AVN developed in 25 of the 449 hips. Six of 15 hips treated with capital realignment developed AVN. A peri-implant femur fracture occurred in three slipped hips and in two prophylactically pinned hips. In three of these five hips technical difficulties during surgery was identified. In 43 of 201 hips scheduled for regular follow-up a subsequent SCFE developed in the contralateral hip. Implant extraction after physeal closure was performed in 156 of 449 hips treated for SCFE and in 51 of 151 prophylactically fixed hips. Children with impaired hip function could be identified using the Barnhoft questionnaire. Conclusion Fixation in situ is justified to remain as the primary treatment of choice in SCFE. Overweight is more common in children with SCFE than in the average population. Prophylactic fixation is a safe procedure when performed using a correct technique. The number of patients who developed AVN after capital realignment is of concern. We recommend rigorous follow-up of both hips, including PROM evaluation, until physeal closure.
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| 272. |
- Hill, Annette, et al.
(författare)
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Audience experiences and emotional economy
- 2015
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Ingår i: Managing Media Firms and Industries. - Cham : Springer. - 9783319085142 - 9783319363394 - 9783319085159 ; , s. 277-292
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Bokkapitel (refereegranskat)abstract
- This chapter explores trends in an emotional or experience economy as this relates to media management. The case of reality entertainment is used as an example of the tricky balancing act between the management and production of media content that has emotional resonance and audience engagement with such content. The research draws on quantitative and qualitative empirical audience data to illuminate the varying emotional and cultural values of reality entertainment talent formats within the context of the economic values of these formats. The research suggests that a reality entertainment experience is an example of emotional co-work between producers, performers and audiences. This kind of interactive media signals evolving audience practices for immersive experiences. However, a note of caution for media managers can be found in the overproduction of the tight interactivity and emotional hubs that are a feature of talent formats. Contemporary audiences are aware of the commercialisation of feelings within media industries, and as such, it is increasingly important that people can connect with content they can make their own, as shared moments or collective experiences.Access provided by Jonkop
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| 273. |
- Hill, Annette
(författare)
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Documentary imaginary : Production and audience research of The Act of Killing and The Look of Silence
- 2021
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Ingår i: European Journal of Cultural Studies. - : Sage Publications. - 1367-5494 .- 1460-3551. ; 24:4, s. 801-815
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Tidskriftsartikel (refereegranskat)abstract
- Oppenheimer describes The Act of Killing as a ‘documentary about the imagination. We are documenting the ways we imagine ourselves, the ways we know ourselves’. This research analyses the documentary films The Act of Killing (Director Oppenheimer, co-directors Christine Cynn and anonymous 2012) and The Look of Silence (director Oppenheimer 2014), and the documentary imaginary. The research combines normally separate sites of analysis in production and audience studies in order to understand the power of documentary and the spectrum of social stories we inhabit. The article asks: how do the films document and imagine fear and impunity in memories of the genocide, and how do audiences engage with this documentary imaginary? Particular focus is paid towards the endings of the two documentary films and how audiences in this study reflect on the absence of justice for the victims of the genocide. Through the empirical research, we take a journey with the director and his film making process, understanding the lengthy and complex filming for the two documentaries in Indonesia. The films signal Oppenheimer’s political and ethical commitment towards victim recognition, the possibility and impossibility of forgiveness, and the challenge of reconciliation between victims and perpetrators. The filmmaker’s journey is intertwined with the enactments of the genocide by the perpetrators in their own surreal ways of imagining themselves, and the experience of victims seeking recognition. Audiences become intertwined in these journeys, finding along the way a critically productive space for documentary and the imaginary.
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| 274. |
- Hill, Annette, et al.
(författare)
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Engaging with Reality Television
- 2019
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Ingår i: Routledge Companion to Global Television. - New York : Routledge. - 9781138724341 - 9781315192468 - 9781032085784
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Bokkapitel (refereegranskat)
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| 275. |
- Hill, Annette, et al.
(författare)
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Fear : Introduction to special issue
- 2021
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Ingår i: European Journal of Cultural Studies. - : Sage Publications. - 1367-5494 .- 1460-3551. ; 24:4, s. 793-800
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Tidskriftsartikel (refereegranskat)abstract
- Fear needs dealing with. Fear demands to be abated, countered or turned into something else, contributing and curtailing how we ‘do’ being human beings. This special issue of the European Journal of Cultural Studies addresses fear within media and popular culture, adopting a cultural studies approach to fear in a variety of socio-cultural and political contexts. A cultural studies approach allows us to enhance the horizon of understanding cultural practices, mediation and the subjective experience of fear as something we need to work through, in a process of recognition and shock, action and reaction, understanding and reflection. This focus on ‘working through fear’ offers new insights into the intensely subjective aspects of fear as it is creatively explored in representations within drama and documentary, photography and art, and in user-generated content, memes and political satire, and as it is embodied and experienced by people in the context of their realities. In addition, it shows how fear generates energy, anxiety and even desire. Rather than offering a generalizing account, this issue seeks to address fear in specific contexts, localities and from specific roles and perspectives.
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| 276. |
- Hill, Annette, et al.
(författare)
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Introduction : Mobile socialities
- 2021
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Ingår i: The Routledge Handbook of Mobile Socialities. - Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2021. : Routledge. - 9781000377095 - 9780367543976 - 9780367546175 - 9781003089872 ; , s. 1-15
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book focuses on a collective of international scholars who are researching at the intersections of media, mobility and sociality. It explores the divergent vantage points of the interplay between mobilities and socialities, analysing material conditions, situated contexts and the ascribed meanings to people’s movements, their media practices and social relations. The book argues that mobile socialities is not only concerned with connections across media, mobility and sociality, but also with the contrary reality of material and imaginary worlds. It explores how the concept is used to question earlier works, and addresses a core theme of the individual and their digital networks in previous research. The book addresses the question of breathing - both metaphorically as well as in real terms: without lungs that move, nothing else counts.
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| 277. |
- Hill, Annette
(författare)
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Introduction to Civic Cultures
- 2013
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Ingår i: Television & New Media. - : SAGE Publications. - 1527-4764 .- 1552-8316. ; 14:1, s. 3-4
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Tidskriftsartikel (refereegranskat)
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| 278. |
- Hill, Annette, et al.
(författare)
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Live reality television : Care structures within the production and reception of talent shows
- 2019
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Ingår i: Critical Studies in Television. - : Sage Publications. - 1749-6020 .- 1749-6039. ; 14:1, s. 7-21
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Tidskriftsartikel (refereegranskat)abstract
- This article focuses on production and reception practices for live reality television using critical theory and empirical research to question how producers and audiences co- create and limit live experiences. The concept of care structures is used to make visi- ble hidden labour in the creation of mood, in particular audiences as participants in the management of live experiences. In the case of Got to Dance, there was a play off between the value and meaning of the live events as a temporary experience captured by ratings and social media, and the more enduring collective-social experience of this reality series over time.
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| 279. |
- Hill, Annette, et al.
(författare)
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Media Industries and Audiences : an Analytic Dialogue
- 2021. - 1
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Ingår i: The Routledge Companion to Media Industries. - London : Routledge. - 9780367225261 - 9781032065342 - 9780429275340 ; , s. 508-517
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Bokkapitel (refereegranskat)
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| 280. |
- Hill, Annette, et al.
(författare)
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‘Paranormal Reality Television: Audience Engagement with Mediums and Spirit Communication’
- 2018
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Ingår i: Religion and Reality TV: Faith in Late Capitalism. - 1 [edition]. | London; New York : Routledge, 2018. : Routledge. - 9781138681286 - 9781315545950 - 9781138681279 ; , s. 121-136
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Bokkapitel (refereegranskat)abstract
- Reality television is a term that describes a mixture of fact and drama. We cannot understand reality television in isolation, but part of wider social and cultural phenomena, including production practices, communicative modes, and audience practices. As an inter-generic space reality television occupies the world space of observable phenomena, the dramatic space of entertainment, and the entertainment space of constructed studios and locations (Corner 2014 in Hill 2015). Reality television also plays with the spaces in between information and entertainment, authenticity and performance, truth claims and deception. As such, reality television makes visible its own mediation process; it can offer reflections on reality in late modern society.This argument about reality television as an inter-generic space is explored through a critical analysis of empirical qualitative research on audiences of reality television based on mediums and spirit communication. Paranormal reality television continues a long tradition of representations of the extraordinary in popular culture. In Paranormal Media (Hill 2011), previous work on this genre highlights the connections between new communication technologies and spirit communication; mediums have long been associated with the performance of spirit communication through their participation in and through the telegraph, photograph, film, radio, telephone, television, and digital media. Mediums represent charismatic religious figures who claim they can communicate with the spirits of the dead, offering messages to the living, and signifying spiritual belief in an afterlife. Mediums are mainly associated with spiritualism, an alternative religious movement established in the nineteenth century in Britain and America that draws on an eclectic range of Eastern and Western religious and philosophical writings. Paranormal reality television borrows from earlier historical examples in alternative and mainstream culture, such as Victorian magic lantern shows, or public demonstrations of mediums. For this chapter, the representation of mediums in paranormal reality television offers a useful site of analysis for the performance of spirit communication and audience engagement with unorthodox religious beliefs.The audience research is drawn from a wider study (Hill 2011), using focus groups, interviews and participant observations with over 250 participants, ranging from sceptics to believers. The approach is a popular cultural ethnography, and the research extends beyond texts or genres to offer empirical data regarding audience responses to the representation of mediums in a range of reality television, and their personal experiences of mediums and psychics in tourism, live events, and public demonstrations. One participant said: ‘If you want to be a medium in media you’ve got to be extra, extra special’ (34 year old female nurse). Her comment was rare, as the majority of participants in the study claimed the opposite - mediums in the media were not special at all. There was a high degree of scepticism from audiences towards the profession of mediums and the issue of trust and authenticity within the psychic industry (see Koven 2007 for example). This position of distrust was heightened by appearances of mediums and psychics in reality television, programmes that often mixed the world space of ghost hunting with the entertainment space of artificially constructed locations and studios. Here, then, reality television as an inter-generic space for fact and entertainment invites audiences to think through concepts of authenticity and deception in paranormal reality television, in the profession of mediums and spirit communication, and people’s spiritual experiences in their everyday lives. For critics such as Tresize (2008), the performance of mediums is an example of a neo-Foucauldian approach to reality television, where the political ideology of late capitalism and neoliberalism is represented in the genre; audiences who watch these programmes, or participate as members of the public, are complicit in the commercialisation of television and paranormal beliefs. However, when speaking with viewers of these kinds of programmes assumptions that audiences are naively trusting of mediums, and their religious and political economic messages, is challenged by audiences themselves. Audience research offers another interpretation of paranormal reality television, where viewers are intensely critical of the commercial framing of mediums in reality television, and sceptical of claims to authentic spirit communication in the shows. Such critical engagement is also extended beyond the moment of reception to the everyday lives of audiences, who use paranormal reality television as a resource to reflect on their own experiences of mediums and psychics and their hopes and uncertainties about alternative spiritual beliefs. In the inter-genric space of reality television the ambiguous nature of fact and entertainment opens up a reflexive space for audiences to question the value of their spiritual experiences in late modern society. The argument put forward here is that critical engagement with paranormal claims in popular culture is a pathway to understanding the cultural meanings that shape contemporary spiritual experiences. Similar to Ammerman’s research on spirituality in everyday life (2013), and Winston’s discussion of television drama and religious speculation (2009), this research avoids polarisation between religion and spirituality by analysing the personal and collective cultural experiences of audiences. It argues for research that addresses the intersections across spirituality, popular culture and personal and social experiences (see Mazur and McCarthy 2010). The ambiguity of what is real within reality television connects with a sense of uncertainty with regard to alternative religious beliefs and what this means to audiences in their search for spiritual experiences that they understand as proof of life after death.
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