* Emphasizing the intertwined concepts of freedom of the press and social responsibility, this is the first book to cover media ethics from a truly global perspective. Case studies on hot topics and issues of enduring importance in media studies are introduced and thoroughly analyzed, with particular focus on ones involving social media and public protest * Written by two global media ethics experts with extensive teaching experience, this work covers the whole spectrum of media, from news, film, and television, to advertising, PR, and digital media * End-of-chapter exercises, discussion questions, and commentary boxes from a global group of scholars reinforce student learning, engage readers, and offer diverse perspectives

"The most ambitious, thoughtful and internationally aware assessment to date of the creative economy. Defining creativity as the production of newness in complex, adaptive systems, the authors make the case that together the creative economy, along with other cultural outputs, represent a planet-wide innovation capability which marks an epochal turn in human affairs." - Ian Hargreaves, CBE, Professor of Digital Economy, Cardiff University Creativity, new ideas and innovation - and with them the growth of knowledge - have spilled out of the lab, studio and factory into the street, scene, and social media. Now, everyday life is productive, everyone is creative, and new ideas can come from anywhere around the world. Instead of confining cultural expression to talented artists and expert professionals, this book investigates creative new ideas from everyone. Instead of confining the 'creative industries' to one sector of the economy and one type of productivity, this book extends the idea of creative innovation to everything. Instead of confining the growth of knowledge to wealthy countries or markets, this book looks for it in developing and emergent countries, everywhere. The productivity of creativity can now be seen as a global phenomenon. It demands a systems-based and dynamic mode of explanation. Creative Economy and Culture pursues the conceptual, historical, practical, critical and educational issues and implications. It looks at conceptual challenges, the forces and dynamics of change, and prospects for the future of creative work at planetary scale. It is essential reading for upper level students and researchers of the creative and cultural industries across media and cultural studies, communication and sociology.

Conversations about climate change at the science-policy interface and in our lives have been stuck for some time. This handbook integrates lessons from the social sciences and humanities to more effectively make connections through issues, people, and things that everyday citizens care about. Readers will come away with an enhanced understanding that there is no 'silver bullet' to communications about climate change; instead, a 'silver buckshot' approach is needed, where strategies effectively reach different audiences in different contexts. This tactic can then significantly improve efforts that seek meaningful, substantive, and sustained responses to contemporary climate challenges. It can also help to effectively recapture a common or middle ground on climate change in the public arena. Readers will come away with ideas on how to harness creativity to better understand what kinds of communications work where, when, why, and under what conditions in the twenty-first century.

In Working Musicians Timothy D. Taylor offers a behind-the-scenes look at the labor of the mostly unknown composers, music editors, orchestrators, recording engineers, and other workers involved in producing music for films, television, and video games. Drawing on dozens of interviews with music workers in Los Angeles, Taylor explores the nature of their work and how they understand their roles in the entertainment business. Taylor traces how these cultural laborers have adapted to and cope with the conditions of neoliberalism as, over the last decade, their working conditions have become increasingly precarious. Digital technologies have accelerated production timelines and changed how content is delivered while new pay schemes have emerged that have transformed composers from artists into managers and paymasters. Taylor demonstrates that as bureaucratization and commercialization affect every aspect of media, the composers, musicians, music editors, engineers, and others whose soundtracks excite, inspire, and touch millions face the same structural economic challenges that have transformed American society, concentrating wealth and power in fewer and fewer hands.

"This guide to the emerging language of creative industries field is a valuable resource for researchers and students alike. Concise, extensively referenced, and accessible, this this is an exceptionally useful reference work." - Dr Gauti Sigthorsson, Communication and Creative Arts, Greenwich University "There could be no better guides to the conceptual map of the creative industries than John Hartley and his colleagues, pioneers in the field. This book is a clear, comprehensive and accessible tool-kit of ideas, concepts, questions and discussions which will be invaluable to students and practitioners alike. Key Concepts in Creative Industries is set to become the corner stone of an expanding and exciting field of study" - Chris Barker, Associate Professor of Media and Cultural Studies, University of Wollongong, Australia Creativity is an attribute of individual people, but also a feature of organizations like firms, cultural institutions and social networks. In the knowledge economy of today, creativity is of increasing value, for developing, emergent and advanced countries, and for competing cities.

This book is the first to present an organized study of the key concepts that underlie and motivate the field of creative industries. Written by a world-leading team of experts, it presents readers with compact accounts of the history of terms, the debates and tensions associated with their usage, and examples of how they apply to the creative industries around the world.

Crisp and relevant, this is an invaluable text for students of the creative industries across a range of disciplines, especially media, communication, economics, sociology, creative and performing arts and regional studies.

This is the first scholarly history of Fox from its origins in 1904 to the present. It builds upon research and histories of individual periods to describe how one company responded to a century-long evolution of the audience, nationally and globally. In the beginning, William Fox grabbed a once-in-a-millennium opportunity to build a business based on a genuinely new art form. This study explores the enduring legacy of F.W. Murnau, Will Rogers, Shirley Temple, John Ford, Spyros Skouras, George Lucas, James Cameron, and many others, offering discussion of those behind and in front of the camera, delving deeply into the history and evolution of the studio. Key films covered include The Iron Horse, The Grapes of Wrath, How Green Was My Valley, Forever Amber, All About Eve, Cleopatra, The Sound of Music, Planet of the Apes, Star Wars, Titanic, and Fight Club, providing an extensive look at the successes and flops that shaped not only Twentieth Century Fox, but the entire Hollywood landscape. Through a chronological study, the book charts the studio's impact right up to the present day, providing a framework to allow us to look to the future of moviemaking and film consumption. Lively and fresh in its approach, this book is a comprehensive study of the studio for scholars, students, and enthusiasts of Hollywood cinema, film history, and media industries.

How are grey market imports changing media industries? What is the role of piracy in developing new markets for movies and TV shows? How do jailbroken iPhones drive innovation? The Informal Media Economy provides a vivid, original, and genuinely transnational account of contemporary media, by showing how the interactions between formal and informal media systems are a feature of all nations rich and poor, large and small. Shifting the focus away from the formal businesses and public enterprises that have long occupied media researchers, this book charts a parallel world of cultural intermediaries driving global media production and circulation. It shows how unlicensed, untaxed, or unregulated networks, which operate across the boundaries of established media markets, have been a driving force of media industry transformation. The book opens up new insights on a range of topical issues in media studies, from the creative disruptions of digitisation to amateur production, piracy and cybercrime.

The management and labor culture of the entertainment industry. In popular culture, management in the media industry is frequently understood as the work of network executives, studio developers, and market researchers-"the suits"-who oppose the more productive forces of creative talent and subject that labor to the inefficiencies and risk aversion of bureaucratic hierarchies. However, such portrayals belie the reality of how media management operates as a culture of shifting discourses, dispositions, and tactics that create meaning, generate value, and shape media work throughout each moment of production and consumption. Making Media Work aims to provide a deeper and more nuanced understanding of management within the entertainment industries. Drawing from work in critical sociology and cultural studies, the collection theorizes management as a pervasive, yet flexible set of principlesdrawn upon by a wide range of practitioners-artists, talent scouts, performers, directors, show runners, and more-in their ongoing efforts to articulate relationships and bridge potentially discordant forces within the media industries. The contributors interrogate managerial labor and identity, shine a light on how management understands its roles within cultural and creative contexts, and reconfigure the complex relationship between labor and managerial authority as productive rather than solely prohibitive. Engaging with primary evidence gathered through interviews, archives, and trade materials, the essays offer tremendous insight into how management is understood and performed within media industry contexts. The volume as a whole traces the changing roles of management both historically and in the contemporary moment within US and international contexts, and across a range of media forms, from film and television to video games and social media.

Today's digital revolution is a worldwide phenomenon, with profound and often differential implications for communities around the world and their relationships to one another. This book presents a new, explicitly international theory of media ethics, incorporating non-Western perspectives and drawing deeply on both moral philosophy and the philosophy of technology. Clifford Christians develops an ethics grounded in three principles - truth, human dignity, and non-violence - and shows how these principles can be applied across a wide range of cases and domains. The book is a guide for media professionals, scholars, and educators who are concerned with the global ramifications of new technologies and with creating a more just world.

A geographical focus on the United Kingdom, the United States, and India offers international contrasts and comparisons in this look at the evolution of broadcasting and the impact of technology on media. Broadcast equipment, software, and production techniques are discussed with real examples from radio and television news production. Key figures including Steve Case, Ted Turner, Walt Disney, and Rupert Murdoch are profiled, with a discussion of why broadcasting is dominated by large corporations. Information on the code of ethics that governs this fourth estate highlights different challenges presented to private and international channels.

In recent decades, the importance of creative cluster development has gained increasing recognition from national and regional governments. Governments have been investing in initiatives and urban development plans that aim to create or support localized creative industries. Our understanding of creative clusters is expanded with this insightful volume, which looks at issues of governance, place-making and entrepreneurship. In addition to its theoretical contributions, the book also presents a rich range of international case studies, including, among others, an analysis of coworking spaces in Toronto, business park development in MediaCityUK and mediapark.brussels and public-private partnerships in Warsaw. Creative Cluster Development will be valuable reading for advanced students, researchers and policymakers in urban planning, regional studies, economic geography, innovation studies and the creative and cultural industries.

With its unique focus on video game engines, the data-driven architectures of game development and play, this innovative textbook examines the impact of software on everyday life and explores the rise of engine-driven culture. Through a series of case studies, Eric Freedman lays out a clear methodology for studying the game development pipeline, and uses the video game engine as a pathway for media scholars and practitioners to navigate the complex terrain of software practice. Examining several distinct software ecosystems that include the proprietary efforts of Amazon, Apple, Capcom, Epic Games and Unity Technologies, and the unique ways that game engines are used in non-game industries, Freedman illustrates why engines matter. The studies bind together designers and players, speak to the labors of the game industry, value the work of both global and regional developers, and establish critical connection points between software and society. Freedman has crafted a much-needed entry point for students new to code, and a research resource for scholars and teachers working in media industries, game development and new media.

The industrialization of information resources has been a growing trend across the world in recent years, especially in China, where the information resource industry has expanded exponentially for more than a decade. While analyzing the development conditions of China's information resource industry, this book clearly defines the implications and strategic value of the industry, summarizes basic information resource industry theories, and clarifies the history of its development and special regional characteristics within the Chinese context. Drawing on the statistics and measurement of various economic indicators of the information resource industry, the authors propose four stages of development: a germination period, an initial development period, a subsequent rapid development period, and lastly, a steady development period. At the same time, the book draws upon various theoretical models such as the "Dynamic Resource Triangle" model, the "Information Resource Industrial Symbiosis" model, the value chain model, and the explanation model of information consumption in order to shed light on the information resource industry's elements and the optimization of its management. In addition, the authors present the Information Resource Industry Development Index (IRIDI) to evaluate the industry's development in different provinces and cities across mainland China and monitor its dynamics from the point of view of industrial value and the external environment. While the book lays a solid theoretical foundation for the growth of China's information resource industry, it will also give international readers a clear picture of China's emerging industries in the current era.

This edited volume explores media management as engaged scholarship, building a bridge between theory and practice and discussing research collaboration between academia, policymakers and the media industry. In addition to advancing the scholarly discipline, it also questions, investigates and discusses the practical value of the research undertaken, showing how media management research can provide actionable, practice-relevant knowledge to decision makers throughout the media industry. The volume is broken into two parts: a section reflecting on the need for collaboration between research and practice, and a section overviewing specific projects that aim to deliver administrative value to stakeholders. The international research projects presented here span topics such as digital transformation, business models in news and digital journalism, media entrepreneurship and start-ups, ad-blocking, location-based services, audiovisual consumption preferences, the sustainability of small television markets, co-located and clustered industries and digital privacy. Incorporating under-used methodological approaches, such as action research and ethnography, Media Management Matters brings suggestions for how scholarship might be promoted outside academia. Simply put, this book aims to demonstrate why media management matters. Featuring an international roster of contributors, this collection is essential reading for scholars and practitioners of media management, business and policy.

"Johnson astutely reveals that franchises are not Borg-like assimilation machines, but, rather, complicated ecosystems within which creative workers strive to create compelling 'shared worlds.' This finely researched, breakthrough book is a must-read for anyone seeking a sophisticated understanding of the contemporary media industry." -Heather Hendershot, author of What's Fair on the Air?: Cold War Right-Wing Broadcasting and the Public Interest While immediately recognizable throughout the U.S. and many other countries, media mainstays like X-Men, Star Trek, and Transformers achieved such familiarity through constant reincarnation. In each case, the initial success of a single product led to a long-term embrace of media franchising-a dynamic process in which media workers from different industrial positions shared in and reproduced familiar cultureacross television, film, comics, games, and merchandising. In Media Franchising, Derek Johnson examines the corporate culture behind these production practices, as well as the collaborative and creative efforts involved in conceiving, sustaining, and sharing intellectual properties in media work worlds. Challenging connotations of homogeneity, Johnson shows how the cultural and industrial logic of franchising has encouraged media industries to reimagine creativity as an opportunity for exchange among producers, licensees, and evenconsumers. Drawing on case studies and interviews with media producers, he reveals the meaningful identities, cultural hierarchies, and struggles for distinction that accompany collaboration within these production networks. Media Franchising provides a nuanced portrait of the collaborative cultural production embedded in both the media industries and our own daily lives.

In the opening chapters the author records his father Toby's remarkable career in PR. This began just before World War II with Toby becoming responsible for taking the initiative away from Germany's propoganda machine controlled by the well organized and funded Nazi party. After the war Toby was one of the first political spin-doctors, worked for the Conservative Party and later rose to be the doyen of commercial and international PR in the UK. Later in the book, Donough picks up his own story and this really comes to life when he joins the Irish Guards. He then treats us to four years of amusing military recollections. On leaving, the author started civilian work in a London that is just beginning to come alive - the Swinging Sixties have arrived. Like his father he goes into PR and records a memoir of the most colourful people of the period. The glamorous certainly feature - Joanna Lumley, Jacqueline Bisset and Charlotte Rampling are just some. His involvement in the opening of the trendiest nightclub of the period, Sibylla's, with its guest list of all the greats of rock n' roll is another seminal moment.

Culture will keep you fit and healthy. Culture will bring communities together. Culture will improve your education. This is the message from governments and arts organisations across the country; however, this book explains why we need to be cautious about culture. Offering a powerful call to transform the cultural and creative industries, Culture is bad for you examines the intersections between race, class, and gender in the mechanisms of exclusion in cultural occupations. Exclusion from culture begins at an early age, the authors argue, and despite claims by cultural institutions and businesses to hire talented and hardworking individuals, women, people of colour, and those from working class backgrounds are systematically disbarred. While the inequalities that characterise both workforce and audience remain unaddressed, the positive contribution culture makes to society can never be fully realised. -- .

If you need to get to grips with QoS, this is the place to start.

Quality of Service (QoS) is continuously growing in importance in the telecommunications industry because competition is growing fiercer by the day. By drawing on 30 years of experience, William C. Hardy explains how to examine specific tools and techniques that he has developed for the measurement and evaluation of QoS and understand the underlying analysis perspectives and methodologies.

• Details the basic concepts of QoS, together with the methodologies for organizing, structuring, and carrying out analyses of QoS from scratch.
• Describes the atttributes of the telecommunications service that determine user perception of quality in non-technical terms.
• Discusses specific measures, measurement techniques and evaluation criteria for all of the factors that affect user perception of QoS.
• Addresses user concerns including:

This volume addresses the transformative power of tourism social media and offers novel theoretical and methodological approaches to its academic investigation. Acknowledging the collective value creation mechanisms of new media, the authors explore how technology nurtures, augments and modifies social or commercial interactions in tourism. The book emphasizes the role of fantasy and imagination in fluid tourism experiences and critically scrutinizes contested concepts pertaining to human interaction in cyberspace, such as equality, anonymity, transparency, democratization, and publicity culture. The chapters summon insights from Media Studies, Actor-Network Theory, Communicative Action and Symbolic Convergence among others, and offer a palette of emerging methods suitable for academic enquiries of virtual worlds. The theoretical grounding, empirical evidences, and interdisciplinary analysis of the anthology expand the actual research agenda and shed light on conceptual tensions and ambiguities in the present literature. As such, Tourism Social Media: Transformations in Identity, Community and Culture contributes to increasing research reflexivity in tourism studies at large.

Today, social media offers an alternative broadcast and communication medium for nonprofit advocacy organizations. At the same time, social media ushers in a "noisy" information era that renders it more difficult for nonprofits to make their voices heard. This book seeks to unpack the prevalence, mechanisms, and ramifications of a new model for nonprofit advocacy in a social media age. The keyword for this new model is attention. Advocacy always starts with attention: when an organization speaks out on a cause, it must ensure that it has an audience and that its voice is heard by that audience; it must ensure that current and potential supporters are paying attention to what it has to say before expecting more tangible outcomes. Yet the organization must also ensure that advocacy does not end with attention: attention should serve as a springboard to something greater. The authors elaborate how attention fits into contemporary organizations' advocacy work and explain the key features of social media that are driving the quest for attention. Developing conceptual models, they explain why some organizations and messages gain attention while others do not. Lastly, the book explores how organizations are weaving together online and offline efforts to deliver strategic advocacy outcomes.

In the twenty-first century, mass media corporations are often seen as profit-hungry money machines. It was a different world in the early days of mass communication in America. Faith in Reading tells the remarkable story of the noncommercial religious origins of our modern media culture. In the early nineteenth century, a few visionary entrepreneurs decided the time was right to reach everyone in America through the medium of print. Though they were modern businessmen, their publishing enterprises were not commercial businesses but nonprofit societies committed to the publication of traditional religious texts. Drawing on organizational reports and archival sources, David Paul Nord shows how the managers of Bible and religious tract societies made themselves into large-scale manufacturers and distributors of print. These organizations believed it was possible to place the same printed message into the hands of every man, woman, and child in America. Employing modern printing technologies and business methods, they were remarkably successful, churning out millions of Bibles, tracts, religious books, and periodicals. They mounted massive campaigns to make books cheap and plentiful by turning them into modern, mass-produced consumer goods. Nord demonstrates how religious publishers learned to work against the flow of ordinary commerce. They believed that reading was too important to be left to the "market revolution," so they turned the market on its head, seeking to deliver their product to everyone, regardless of ability or even desire to buy. Wedding modern technology and national organization to a traditional faith in reading, these publishing societies imagined and then invented mass media in America.

From Bombay to Bollywood analyzes the transformation of the national film industry in Bombay into a transnational and multi-media cultural enterprise, which has come to be known as Bollywood. Combining ethnographic, institutional, and textual analyses, Aswin Punathambekar explores how relations between state institutions, the Indian diaspora, circuits of capital, and new media technologies and industries have reconfigured the Bombay-based industry's geographic reach. Providing in-depth accounts of the workings of media companies and media professionals, Punathambekar has produced a timely analysis of how a media industry in the postcolonial world has come to claim the global as its scale of operations. Based on extensive field research in India and the U.S., this book offers empirically-rich and theoretically-informed analyses of how the imaginations and practices of industry professionals give shape to the media worlds we inhabit and engage with. Moving beyond a focus on a single medium, Punathambekar develops a comparative and integrated approach that examines four different but interrelated media industries--film, television, marketing, and digital media. Offering a path-breaking account of media convergence in a non-Western context, Punathambekar's transnational approach to understanding the formation of Bollywood is an innovative intervention into current debates on media industries, production cultures, and cultural globalization.

Empire of the Air tells the story of three American visionaries-Lee de Forest, Edwin Howard Armstrong, and David Sarnoff-whose imagination and dreams turned a hobbyist's toy into radio, launching the modern communications age. Tom Lewis weaves the story of these men and their achievements into a richly detailed and moving narrative that spans the first half of the twentieth century, a time when the American romance with science and technology was at its peak. Empire of the Air is a tale of pioneers on the frontier of a new technology, of American entrepreneurial spirit, and of the tragic collision between inventor and corporation.