This timely volume engages with one of the most important shifts in recent film studies: the turn away from text-based analysis towards the viewer. Historically this marks a return to early interest in the effect of film on the audience by psychoanalysts & psychologists which was overtaken by concern with the effects of film linked to calls for censorship & moral panics rather than to understanding the mental & behavioral world of the spectator. Early cinema history has revealed the diversity of film-viewing habits while traditional box office studies which treated the audience initially as a homogeneous market have been replaced by the study of individual consumers & their motivations. Latterly there has been a marked turn towards more sophisticated economic & sociological analysis of attendance data. & as the film experience fragments across multiple formats the perceptual & cognitive experience of the individual viewer (who is also an auditor) has become increasingly accessible. With contributions from Gregory Waller John Sedgwick & Martin Barker this work spans the spectrum of contemporary audience studies revealing work being done on local non-theatrical & live digital transmission audiences & on the relative attraction of large-scale domestic & mobile platforms.