The phrase "audience orientation" is correct and usable in written English.
It can be used in contexts related to communication, marketing, or presentations, where the focus is on understanding and addressing the needs and preferences of the audience.
Example: "Effective communication requires a strong audience orientation to ensure that the message resonates with the listeners."
Alternatives: "audience focus" or "audience-centered approach".
It's a shift in audience orientation".
Experiment 2 dealt with the influence of profiles on audience orientation in the different community types.
The ways of strategic manoeuvring identified are basically three: topic selection, audience orientation, and the selection of presentational devices, and these can be effectively deployed at each stage of argumentation (Van Eemeren 2010, 94).
An award-winner at several high-profile lesbian and gay film festivals, this succeeds on a universal level and deserves to be embraced by audiences of all orientations.
Bernie Telsey, one of the producers of "The Pride," said that he too saw his play as a story about the true nature of relationships and love, and that he could see audience members — regardless of sexual orientation — relating equally to the themes.
The limited time the musical will be staged, its orientation toward family audiences and its Christmas theme mean "we have to get the word out" early, Mr. McCollum said.
More troubling is their failure to scratch the surface of the deeper historical forces at work in the turn of so much of the industry and its audiences alike from a news orientation to an entertainment one.
If an international big-hitter is American in flavour these days, then it's probably part of an established franchise that is the real means of orientation for an impossibly diverse audience.
However, the film was praised by science-fiction novelist Samuel R. Delany who was impressed by how the film undercuts the audience's normal sense of space and orientation in several ways.
An explicit orientation to this over-hearing audience is displayed in Massimo's announcement and subsequent narrative, where he talks about Dina in the third person (see also Extract 4, lines 1 5).
The question remains: What is it about all of these projects that has struck a chord with audiences and backers, apart from their sexual orientation?
