This article explores contemporary film genre preferences through an in-depth sociological analysis of taste cultures in film preferences amongst youth aged 16–18 in Flanders (the northern Dutch-speaking part of Belgium). Building on a representative sample of 1015 respondents we statistically analyze the assumption that contemporary media audiences demonstrate mobility and that they are eager to shape their media consumption in accordance with their personal preferences. This article examines whether societal structures that have been found to reflect media preferences remain in (...) place, or whether these structures have eroded with the (supposed) increase in individual choice – an argument often voiced in the context of convergence culture. An analysis of the variables gender, educational level and ethnicity illustrates that societal structures are still reflected through film genre preferences amongst Flemish youth. (shrink)

What is the current state of film studies? How do you enter this field from a media studies background? Is it worthwhile for media scholars to engage in this neighboring field? Can you get a grasp of the key issues, theoretical currents, and analytical approaches consulting a limited number of publications? I will try to answer these questions in an extensive review essay on four fairly recent film studies books. The books approach the field on different levels. Two introductory textbooks (...) supply the basics for beginning students. An anthology of ‘classical’ texts provides an overview of the various theoretical and methodological currents. And a reader with key figures in the field offers state of the art research in search of ‘really useful theory’. This material is of great interest to media studies scholars. As the authors of the books considered here acknowledge, film studies can no longer afford to ignore its interdisciplinary location, intersecting with neighboring disciplines such as media studies and cultural studies, in an engagement with film as popular and mass culture. (shrink)

This article presents an analysis of Turkish film screenings in Belgium as a case study of diasporic media practices in Europe. Turkish blockbusters have only recently become part of the programs of Belgian mainstream film theaters. This study provides insight into both historical and recent dynamics that characterize this new film and audience segment in film exhibition. After analyzing transnational patterns of distribution, selection and promotion, we put forward that changing circulation patterns and the associated power relations define the social (...) and spatial conditions of reception, resulting in the creation of new semi-public diasporic spaces. Thus, the links between the political economy of media and audience research are discussed. The findings of this article are based on archival and press research and a series of semi-structured expert interviews with exhibition and distribution professionals, as well as social workers and representatives from Turkish cultural associations. (shrink)