收视率分析的理论和实践的观众研究外文翻译资料

 2022-06-15 23:34:43

Ratings Analysis The Theory and Practice of Audience Research

CHAPTER 1

books on the media, made the point rather directly: “The bulk of communication research is commercial research and is addressed to the question of measuring audiences, rather than to study of the process through which audiences reject or inject the information presented to them” (Bogart, 1996, p. 138). Criticisms of Commercial Research Commercial audience research, as described previously, is the subject of several criticisms. Any thoughtful user of audience research should at least be aware of them. One of the more common complaints is that commercial audience research tells us very little about why people use mass media or the consequences of that use. These questions, so the argument goes, ought to be the central concern of communication research. They are certainly important matters, and it is true that audience measurement sheds very little light on these questions. About all that can be said in defense of commercial audience research is that most studies were never designed to answer such questions. Every type of research has certain limitations. It is the job of the user to know what those limitations are and, if need be, how to overcome them. Critics also claim that commercial audience research fosters undesirable consequences by reducing people to neat numerical summaries. The first problem, pertaining especially to “official” syndicated reports, is that people will regard the numbers as incontrovertible facts. Most published numbers are estimates, not nearly as “hard” as an inexperienced user might imagine. Here again, the user must know where the numbers come from and what they mean. This is why we pay considerable attention to critiquing the methods used to generate audience research reports. A related problem derives from the fact that

收视率分析的理论和实践的观众研究

第一章

关于媒体的书籍，直截了当地说:“大量的传播研究是商业研究，是针对测量观众的问题，而不是研究观众拒绝或注射所呈现给他们的信息的过程”(鲍格特，1996，第138页)。对商业研究商业观众研究的批评，如前所述，是一些批评的主题。任何有思想的听众研究人员至少应该意识到这一点。一个更常见的抱怨是，商业观众研究很少告诉我们为什么人们使用大众媒体或使用的后果。因此，这些问题，应该成为传播学研究的核心问题。它们当然是重要的事情，而观众的测量也确实对这些问题没有多少帮助。在商业观众研究的辩护中，几乎所有的研究都是为了回答这些问题而设计的。每种类型的研究都有一定的局限性。用户的工作是了解这些限制是什么，如果需要，如何克服它们。批评者还声称，商业受众研究通过将人简化为简洁的数字摘要，从而产生了不良后果。第一个问题，尤其是关于“官方”的辛迪加报告，是人们会把数字看成是不容置疑的事实。大多数公布的数字都是估计数，并不像没有经验的用户想象的那样“硬”。在这里，用户必须知道数字来自哪里以及它们的含义。这就是为什么我们非常重视批评用于生成受众研究报告的方法。一个相关的问题源于一个事实，即商业受众研究是媒体市场的产物。根据批评者的说法，卖家将他们的研究产品偏向于客户的需求。用一句古老的谚语说:“出钱的人说了算。”虽然这种批评看似合理，但对经济动机的分析表明，这种观点存在弱点。因为在市场上销售受众度量的公司服务于不同的客户，如果他们偏离了公平和客观，他们就会失去他们的生意。最后的担忧主要由批判学者提出，是商业观众研究是一种镇压手段。通过将人变成数字，使观众商品化的整个过程至少是不人性化的。通过这样做，商业受众研究参与了大众的控制和殖民化。这最后一种批评的有效性似乎在旁观者的眼中。其他学者认为，观众研究实际上是通过给观众一个声音(韦伯斯特和弗伦，1997)来赋予听众力量。

commercial audience research is a product in

the media marketplace. According to critics, sellers skew their research products in favor of clientsrsquo; needs. In the words of an old proverb, “He who pays the piper calls the tune.” While this criticism might seem reasonable, an analysis of economic motivations suggests a weakness in the argument. Because companies selling audience measurement serve diverse clients in the market, they would lose their businesses if they drifted too far from fairness and objectivity. The final concern, voiced mainly by critical scholars, is that commercial audience research is an instrument of repression. The whole business of commodifying audiences by turning people into numbers is, at the very least, dehumanizing. By doing so, commercial audience research participates in the control and colonization of the masses. The validity of this last criticism seems to be in the eye of the beholder. Other academics have argued that audience research actually empowers audiences by giving them a voice (Webster amp; Phalen, 1997).

RATINGS RESEARCH Audience ratings are undoubtedly the most visible example of commercial audience research. They hold a unique place in industry practice and public consciousness. Hugh Beville, a former network executive who is often referred to as the “dean” of broadcast audience research, made the following observation: Ratings are a powerful force in broadcasting and telecommunications. They determine the price that will be paid for programs and the pay that performers will receive. They govern the rates that advertisers will pay for 60-second or 30-second or smaller commercial units in and around each program. Ratings determine stationsrsquo; audience and rank order in their market, and to a large

收视率研究的收视率无疑是商业观众研究中最明显的例子。他们在行业实践和公众意识中占有独特的地位。前网络主管休·贝维尔(Hugh Beville)经常被称为广播观众研究的“院长”，他发表了如下评论:收视率是广播和电信行业的强大力量。他们决定了项目的价格和表演者将得到的报酬。他们控制广告主在每一个节目中支付60秒或30秒或更小的商业单位的费用。收视率决定了电视台的收视率和市场秩序，在很大程度上决定了广播电台的盈利能力以及它们在出售时的价值。关键网络和车站官员的工资和奖金补偿也受到评级成功的制约。评级结果最终决定了电视和广播电台的高层管理和节目和新闻管理是否会保留他们的工作，被提升或降职。

对收视率的关注超越了媒体行业不同于其他形式的辛迪加研究，评级已经进入流行文化。几乎每个人都听说过“Nielsens”，并对它们形成了一些看法。拉森(1992)认为:大多数观众只知道尼尔森的制造商子弹杀死了如《星际迷航》和“双峰”,但认为其评级专门的惊人力量是低估了尼尔森的深度对文化的影响,内容,和商业电视,因此,尼尔森是在我们的消费电视文化本身的发展。(105页)

尼尔森是电视。虽然很容易被夸大，但观众的收视率肯定是有影响的。事实上，许多电子媒体的人会交替使用“评级”和“受众研究”这两个词，好像什么都不重要。因为这本书广泛地讨论了对评级数据的分析，所以似乎应该考虑为什么评级是一种显而易见的、无处不在的受众研究形式。从一开始我们就应该注意到，我们将“评级”这个词作为人们接触电子媒体的数据的简称。严格地说，收视率是众多可以从这些数据中获得的观众摘要之一。正如我们将在第六章中看到的，评级研究是在20世纪30年代开始的，因为快速发展的广播业想把广播变成大众广告媒介。当时，报纸和杂志与广告客户有很大的优势，因为他们可以用订阅数据来证明读者。广播电台没有类似的听众，所以广告商没有公信力。

degree they dictate the profitability of broadcasting stations and their value when they are put up for sale. The salary and bonus compensation of key network and station officials is also governed by ratings success. Ratings results ultimately determine whether top management and program and news management in television and radio broadcast organizations will retain their jobs, be promoted, or demoted. (Beville, 1988, p. xi)

The preoccupation with audience ratings goes beyond the media industry. Unlike any other form of syndicated research, ratings have worked their way into popular culture. Almost everyone has heard about the “Nielsens,” and formed some opinion about them. As Larson (1992) ha

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Ratings Analysis The Theory and Practice of Audience Research

收视率分析的理论和实践的观众研究

CHAPTER 1

books on the media, made the point rather directly: “The bulk of communication research is commercial research and is addressed to the question of measuring audiences, rather than to study of the process through which audiences reject or inject the information presented to them” (Bogart, 1996, p. 138). Criticisms of commercial research commercial audience research, as described previously, is the subject of several criticisms. Any thoughtful user of audience research should at least be aware of them. One of the more common complaints is that commercial audience research tells us very little about why people use mass media or the consequences of that use. These questions, so the argument goes, ought to be the central concern of communication research. They are certainly important matters, and it is true that audience measurement sheds very little light on these questions. About all that can be said in defense of commercial audience research is that most studies were never designed to answer such questions. Every type of research has certain limitations. It is the job of the user to know what those limitations are and, if need be, how to overcome them. Critics also claim that commercial audience research fosters undesirable consequences by reducing people to neat numerical summaries. The first problem, pertaining especially to “official” syndicated reports, is that people will regard the numbers as incontrovertible facts. Most published numbers are estimates, not nearly as “hard” as an inexperienced user might imagine. Here again, the user must know where the numbers come from and what they mean.

第一章

译文：关于媒体的书籍，直截了当地说:“大量的传播研究是商业研究，是针对测量观众的问题，而不是研究观众拒绝或注射所呈现给他们的信息的过程”(鲍格特，1996，第138页)。对商业研究商业观众研究的批评，如前所述，是一些批评的主题。任何有思想的听众研究人员至少应该意识到这一点。一个更常见的抱怨是，商业观众研究很少告诉我们为什么人们使用大众媒体或使用的后果。因此，这些问题，应该成为传播学研究的核心问题。它们当然是重要的事情，而观众的测量也确实对这些问题没有多少帮助。在商业观众研究的辩护中，几乎所有的研究都是为了回答这些问题而设计的。每种类型的研究都有一定的局限性。用户的工作是了解这些限制是什么，如果需要，如何克服它们。批评者还声称，商业受众研究通过将人简化为简洁的数字摘要，从而产生了不良后果。第一个问题，尤其是关于“官方”的辛迪加报告，是人们会把数字看成是不容置疑的事实。大多数公布的数字都是估计数，并不像没有经验的用户想象的那样“硬”。在这里，用户必须知道数字来自哪里以及它们的含义。

This is why we pay considerable attention to critiquing the methods used to generate audience research reports. A related problem derives from the fact that commercial audience research is a product in the media marketplace. According to critics, sellers skew their research products in favor of clientsrsquo; needs. In the words of an old proverb, “He who pays the piper calls the tune.” While this criticism might seem reasonable, an analysis of economic motivations suggests a weakness in the argument. Because companies selling audience measurement serve diverse clients in the market, they would lose their businesses if they drifted too far from fairness and objectivity. The final concern, voiced mainly by critical scholars, is that commercial audience research is an instrument of repression. The whole business of commodifying audiences by turning people into numbers is, at the very least, dehumanizing. By doing so, commercial audience research participates in the control and colonization of the masses. The validity of this last criticism seems to be in the eye of the beholder. Other academics have argued that audience research actually empowers audiences by giving them a voice (Webster amp; Phalen, 1997).

译文：这就是为什么我们非常重视批评用于生成受众研究报告的方法。一个相关的问题源于一个事实，即商业受众研究是媒体市场的产物。根据批评者的说法，卖家将他们的研究产品偏向于客户的需求。用一句古老的谚语说:“出钱的人说了算。”虽然这种批评看似合理，但对经济动机的分析表明，这种观点存在弱点。因为在市场上销售受众度量的公司服务于不同的客户，如果他们偏离了公平和客观，他们就会失去他们的生意。最后的担忧主要由批判学者提出，是商业观众研究是一种镇压手段。通过将人变成数字，使观众商品化的整个过程至少是不人性化的。通过这样做，商业受众研究参与了大众的控制和殖民化。这最后一种批评的有效性似乎在旁观者的眼中。其他学者认为，观众研究实际上是通过给观众一个声音(韦伯斯特和弗伦，1997)来赋予听众力量。

RATINGS RESEARCH Audience ratings are undoubtedly the most visible example of commercial audience research. They hold a unique place in industry practice and public consciousness. Hugh Beville, a former network executive who is often referred to as the “dean” of broadcast audience research, made the following observation: Ratings are a powerful force in broadcasting and telecommunications. They determine the price that will be paid for programs and the pay that performers will receive. They govern the rates that advertisers will pay for 60-second or 30-second or smaller commercial units in and around each program. Ratings determine stationsrsquo; audience and rank order in their market, and to a largedegree they dictate the profitability of broadcasting stations and their value when they are put up for sale. The salary and bonus compensation of key network and station officials is also governed by ratings success. Ratings results ultimately determine whether top management and program and news management in television and radio broadcast organizations will retain their jobs, be promoted, or demoted. (Beville, 1988, p. xi)

译文：收视率研究的收视率无疑是商业观众研究中最明显的例子。他们在行业实践和公众意识中占有独特的地位。前网络主管休·贝维尔(Hugh Beville)经常被称为广播观众研究的“院长”，他发表了如下评论:收视率是广播和电信行业的强大力量。他们决定了项目的价格和表演者将得到的报酬。他们控制广告主在每一个节目中支付60秒或30秒或更小的商业单位的费用。收视率决定了电视台的收视率和市场秩序，在很大程度上决定了广播电台的盈利能力以及它们在出售时的价值。关键网络和车站官员的工资和奖金补偿也受到评级成功的制约。评级结果最终决定了电视和广播电台的高层管理和节目和新闻管理是否会保留他们的工作，被提升或降职。

The preoccupation with audience ratings goes beyond the media industry. Unlike any other form of syndicated research, ratings have worked their way into popular culture. Almost everyone has heard about the “Nielsens,” and formed some opinion about them. As Larson (1992) has argued: Most viewers know Nielsen only as the maker of the bullets that killed such shows as “Star Trek” and “Twin Peaks,” but to think of its ratings exclusively in terms of their show-stopping power is to underestimate the depth of Nielsenrsquo;s influence over the culture, content, and business of television, and therefore, over the evolution of our consumer culture itself. Nielsen is television. (p. 105)

译文：对收视率的关注超越了媒体行业不同于其他形式的辛迪加研究，评级已经进入流行文化。几乎每个人都听说过“Nielsens”，并对它们形成了一些看法。拉森(1992)认为:大多数观众只知

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