This edited volume investigates the role of digital communication in relation to linguistic diversity and language education in today's digitally networked world. It aims to examine (1) how language(s) are (re)contextualized and (re)localized concerning other languages, multimodalities, semiotic resources, genres, and repertoires in various domains of digital communication and (2) what pragmatic functions digital communication may serve in terms of language education - both in and out of classroom - and pedagogy. The collection includes contributions exploring diverse digital venues in which language has multiple different roles and functions, illustrating micro- and macro-linguistic practices in varied areas of society, including education, politics, technology, media, and popular culture.

As the publishing, film and music industries are dominated by Big Media conglomerates, there is often recourse to simplistic ideological and conspiratorial readings of industry dynamics. Copyright, Creativity, Big Media and Cultural Value: Incorporating the Author explains why copyright is much more than a creator's private property right or a mechanism through which corporations control cultural production and influence mass consumption choices. The volume is grounded in extensive, painstakingly detailed and colourful original archival research into business histories of major successful artists including Conan Doyle, Hall Caine, Margaret Atwood, Dame Nellie Melba, Radiohead and Banksy, and the industries and genres that grew up around their activities. Chapters address big questions about how copyright generates income and how distributions of profits are allocated in the publishing, film and music industries. It includes discussion of the creation of new formats, the interplay between old media and new technologies, international copyright reform and cross-industry relations. Copyright, Creativity, Big Media and Cultural Value is a wide-ranging and important resource for students and practitioners of law and policy, media studies, cultural studies and literary history.

Taking a political economy of media approach, this book examines Amazon as a significant actor in the global media landscape. Amazon is mainly conceived in the popular consciousness and media commentary as a corporate body, selling products and services to individual consumers and organisations, but Brevini and Swiatek show that Amazon has become a communication giant that trades in diversified media (its own and others), and exerts a significant influence on global communication, especially through its online services. Further, the authors provide evidence of Amazon's multiple influences on politics, economics, and culture. With its comprehensive and critical overview, this book is ideal for students, scholars, and researchers of media and communication studies and political economy.

The book reflects on the role of the creative economies in a range of African countries (namely Ghana, Kenya, Nigeria, South Africa and Uganda). Chapters explore how creative economies emerge and can be supported in African countries. The contributors focus on two key dimensions: the role of higher education and the role of policy. Firstly, they consider the role of higher education and alternative forms of specialised education to reflect on how the creative aspirations of students (and future creative workers) of these countries are met and developed. Secondly, they explore the role of policy in supporting the agendas of the creative economy, taking also into consideration the potential historical dimension of policy interventions and the impact of a lack of policy frameworks. The book concludes by reflecting on how these two pillars of creative economy development, which are usually taken for granted in studying creative economies in the global north, need to be understood with their own specificity in the context of our selected case studies in Africa. This book will be of interest to students, scholars and professionals researching the creative economies in Africa across the humanities and social sciences. All the royalties from the publication of this book will be donated to the not-for-profit organisation The Craft and Design Institute (CDI) (https://www.thecdi.org.za/) in South Africa, supporting capacity building for young creative practitioners from disadvantaged backgrounds.

Creative Industry practices are increasingly manifested through hybrid models and methods and emerging sub-sectors. With ever finer dividing lines between form and content, product and service, participation and consumption, the distinctions between sectors are increasingly blurred, while new, convergent models emerge. Reflecting this fluid context, this book provides a new perspective on strategy in the Creative Industries. Based on extensive original research and live empirical data derived from case studies, interviews, and observations with creative managers, it reveals strategic decision-making by analysing business manoeuvres and stages of innovation in the Creative Industries. Through analysing the interactive features of aesthetically driven information assets, and how new user/consumer cultures are applied, it uncovers the principles that are transforming strategy in the Creative Industries. This innovative volume will be of significant interest to scholars, advanced students and practitioners in the Creative Industries as well as well as industry consultancies and practitioners.

Recent years have witnessed the remarkable development of the cultural and creative industries (CCIs) in Asia, from the global popularity of the Japanese games and anime industries, to Korea’s film and pop music successes. While CCIs in these Asian cultural powerhouses aspire to become key players in the global cultural economy, Southeast Asian countries such as Malaysia and Thailand are eager to make a strong mark in the region’s cultural landscape. As the first handbook on CCIs in Asia, this book provides readers with a contextualized understanding of the conditions and operation of Asian CCIs. Both internationalising and de-Westernising our knowledge of CCIs, it offers a comprehensive contribution to the field from academics, practitioners and activists alike. Covering 12 different societies in Asia from Japan and China to Thailand, Indonesia and India, the themes include: State policy in shaping CCIs Cultural production inside and outside of institutional frameworks Circulation of CCIs products and consumer culture Cultural activism and independent culture Cultural heritage as an industry. Presenting a detailed set of case studies, this book will be an essential companion for researchers and students in the field of cultural policy, cultural and creative industries, media and cultural studies, and Asian studies in general.

This book explains divergent media system trajectories in the countries in southeast Europe, and challenges the presumption that the common socialist experience critically influences a common outcome in media development after democratic transformations, by showing different remote and proximate configuration of conditions that influence their contemporary shape. Applying an innovative longitudinal set-theoretical methodological approach, the book contributes to the theory of media systems with a novel theoretical framework for the comparative analysis of post-socialist media systems. This theory builds on the theory of historical institutionalism and the notion of critical junctures and path dependency in searching for an explanation for similarities or differences among media systems in the Eastern European region. Extending the understanding of media systems beyond a political journalism focus, this book is a valuable contribution to the literature on comparative media systems in the areas of media systems studies, political science, Southeast and Central European studies, post-socialist studies and communication studies.

*Winner of the AEJMC-Knudson Latin America Prize 2017* Social movements throughout contemporary Latin America are successfully influencing and shaping media policy. In this highly original, detailed, and in-depth study, Silvio Waisbord and Maria Soledad Segura scrutinize the goals, tactics, and impact of civic media movements across the region, demonstrating the full extent of media activism on domestic policy and politics. Media Movements goes beyond simple conceptions of 'the national' versus 'the global' to reveal the complicated process of media policy-making, and to evaluate the significance of local political elites and citizens, global actors, and legal frameworks. With success rates varying across the region, the authors offer an assessment of the impact of citizens' mobilization on policy-making, as well as the effects of legislation on ownership, funding, community media, non-profit media, and public media.

Making Culture provides an in-depth discussion of Australia's relationship between the building of national cultural identity - or 'nationing' - and the country's cultural production and consumption. With the 1994 national cultural policy Creative Nation as a starting point for many of the essays included in this collection, the book investigates transformations within Australia's various cultural fields, exploring the implications of nationing and the gradual movement away from it. Underlying these analyses are the key questions and contradictions confronting any modern nation-state that seeks to develop and defend a national culture while embracing the transnational and the global. Including topics such as publishing, sport, music, tourism, art, Indigeneity, television, heritage and the influence of digital technology and output, Making Culture is an essential volume for students and scholars within Australian and Cultural studies.

This book explores and critiques different aspects of arts leadership within contemporary contexts. While this is an exploration of ways arts leadership is understood, interpreted and practiced, it is also an acknowledgement of a changing cultural and economic paradigm. Understanding the broader environment for the arts is therefore part of the leadership imperative. This book examines aspects such as individual versus collective leadership, gender, creativity and the influences of stakeholders and culture. While the book provides a theoretical and critical understanding of arts leadership, it also gives examples of arts leadership in practice.

Description Cooperative Gaming provides context and practical advice regarding diversity in the games industry. The book begins with a deep dive into research literature and the history of diversity in the games industry to provide context around what diversity is and why it is a topic worth considering. The book looks at the different facets of diversity and games, exploring the issues and solutions within game development, studio management, event planning, and more. It provides people with practical advice about being a marginalized person in the games industry and how to be heard, how studios can support inclusive practices, and events can actively become more accessible to a diverse audience. Key Features * Explores the history of diversity in games * Provides important information around what it is like to be a marginalized person in the industry * Gives practical steps to improve the inclusivity of the industry that are designed to aid in contextualizing and upskilling new developers Author Bios Alayna Cole is the managing director of Queerly Represent Me, a not-for-profit championing queer representation in games. Alayna is also a producer at Sledgehammer Games, co-chair of the IGDA LGBTQ+ special interest group, and an award-winning games journalist and game developer. She was featured on the 2016 and 2017 Develop Pacific 30 Under 30 lists and the 2017 and 2019 Develop Pacific Women in Games lists, and she has received several other accolades in the industry. Jessica Zammit started writing in 2013 for Start Select Media, and for the next five years she followed her interest in writing about representations of mental health, diversity, and particularly, sexuality in video games. Jessica has been speaking about diversity in games at conventions such as PAX Australia since 2016 and has been featured on several other discussions in and around the topic of representation in games and games criticism. Along with her co-author, she is co-chair of the IGDA LGBTQ+ special interest group, and she was featured on the 2018 Develop Pacific 30 Under 30 and Women in Games lists.

Description Cooperative Gaming provides context and practical advice regarding diversity in the games industry. The book begins with a deep dive into research literature and the history of diversity in the games industry to provide context around what diversity is and why it is a topic worth considering. The book looks at the different facets of diversity and games, exploring the issues and solutions within game development, studio management, event planning, and more. It provides people with practical advice about being a marginalized person in the games industry and how to be heard, how studios can support inclusive practices, and events can actively become more accessible to a diverse audience. Key Features * Explores the history of diversity in games * Provides important information around what it is like to be a marginalized person in the industry * Gives practical steps to improve the inclusivity of the industry that are designed to aid in contextualizing and upskilling new developers Author Bios Alayna Cole is the managing director of Queerly Represent Me, a not-for-profit championing queer representation in games. Alayna is also a producer at Sledgehammer Games, co-chair of the IGDA LGBTQ+ special interest group, and an award-winning games journalist and game developer. She was featured on the 2016 and 2017 Develop Pacific 30 Under 30 lists and the 2017 and 2019 Develop Pacific Women in Games lists, and she has received several other accolades in the industry. Jessica Zammit started writing in 2013 for Start Select Media, and for the next five years she followed her interest in writing about representations of mental health, diversity, and particularly, sexuality in video games. Jessica has been speaking about diversity in games at conventions such as PAX Australia since 2016 and has been featured on several other discussions in and around the topic of representation in games and games criticism. Along with her co-author, she is co-chair of the IGDA LGBTQ+ special interest group, and she was featured on the 2018 Develop Pacific 30 Under 30 and Women in Games lists.

This book investigates the success of U.S. nonprofit university centers, where students work alongside investigative reporters, from a professional and educational perspective. Drawing on a detailed investigation of four of the most prominent and renowned centers in the U.S. - the IRP Berkeley (UC Berkeley), the Stabile Center (Columbia University), the Workshop (American University), and the New England CIR (Boston University) - the newsroom role and the classroom role of university nonprofits is examined. Finding the description of a win-win situation - where overstretched newsrooms get extra resources; while students learn from the best - an oversimplification, the author explores learning outcomes, student experiences, financial benefits, and quality of the student output. Offering an in-depth analysis of the characteristics, challenges and benefits of different forms of journalistic cooperation, this book will be a useful resource to scholars, students and practitioners of journalism, journalism education, and media practice.

With a foreword from Michael Schudson, The Rise of Nonprofit Investigative Journalism in the United States examines the rapid growth, impact and sustainability of not-for-profit investigative reporting and its impact on US democracy and mainstream journalism. The book addresses key questions about the sustainability of foundation funding, the agendas of foundations, and the ethical issues that arise from philanthropically funded journalism. It provides a theoretical framework that enables readers to recognize connections and relationships that the nonprofit accountability journalism sector has with the economic, political and mainstream media fields in the United States. As battered news media struggled to survive the financial crisis of 2007-2009, dozens of investigative and public service reporting startups funded by foundations, billionaires and everyday citizens were launched to scrutinize local, state and national issues. Foundations, donors and many journalists believed there was a crisis for investigative journalism and democracy in the United States. This book challenges this and argues that legacy editors acted to quarantine their investigative teams from newsroom cuts. It also demonstrates how nonprofit journalism transformed aspects of journalistic practice. Through detailed research and practical discussion, it provides a comprehensive study of this increasingly important genre of journalism. The Rise of Nonprofit Investigative Journalism in the United States is an important text for academics and students of journalism, communications theory, media and democracy-related units, as well as journalists worldwide.

This volume gathers scholarship from varying disciplinary perspectives to explore media owned or created by members of the African diaspora, examine its relationship with diasporic audiences, and consider its impact on mainstream culture in general. Contributors highlight creations and contributions of people of the African diaspora, the interconnections of Black American and African-centered media, and the experiences of audiences and users across the African diaspora, positioning members of the Black and African Diaspora as subjects of their own narratives, active participants and creators. In so doing, this volume addresses issues of identity, culture, audiences, and global influence.

Around the globe, people now engage with media content across multiple platforms, following stories, characters, worlds, brands and other information across a spectrum of media channels. This transmedia phenomenon has led to the burgeoning of transmedia studies in media, cultural studies and communication departments across the academy. The Routledge Companion to Transmedia Studies is the definitive volume for scholars and students interested in comprehending all the various aspects of transmediality. This collection, which gathers together original articles by a global roster of contributors from a variety of disciplines, sets out to contextualize, problematize and scrutinize the current status and future directions of transmediality, exploring the industries, arts, practices, cultures, and methodologies of studying convergent media across multiple platforms.

In one of the first English-language studies of Grupo Prisa, this book delivers a comprehensive and concise approach to the political, economic and social-cultural profile of one of the leading cross-media conglomerates in Europe, tracing its development from a single newspaper publisher in 1972. Prisa is now the world's leading Spanish and Portuguese-language media group in the creation and distribution of content in the fields of culture, education, and information, producing content for more than twenty countries with global brands like El Pais (newspaper), Los 40 (radio), or Santillana (education). Using a critical political economy approach, the authors track Prisa's journey to becoming a cross-media conglomerate, and examine how it mirrors the recent history of the economic and political developments in Spain. This concise and highly contemporary volume is ideal for students, scholars and researchers looking to further their understanding of a growing Spanish-language media power, or more generally interested in international communication and media industries.

The relationship between politics and digital media is currently a focus of intense interest: the symbiosis between the two spheres is such that political activity is now almost inseparable from media communication. However, the implications of this development are not fully understood. Digital media are a powerful tool in the hands of mainstream parties, but also make it easier than ever before for the public to express their reactions, or for new actors to enter the political arena. This volume explores the intersection between politics and new media, which involves crucial ideals, values and aspirations, such as informed democracy, citizens' empowerment and social debate, but also negative aspects like manipulation and polarization.

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.

Drawing from theories of the political economy of communication, this book offers readers a comprehensive data-rich assessment of contemporary sports television and its evolution. Providing an in-depth look at the ownership and regulation of sports television in the United States, William M. Kunz analyzes a range of platforms, networks, and sports, with particular focus on the way ownership has become concentrated in five conglomerates: AT&T, CBS, Comcast, Disney and Fox. The end result of years of media consolidation is that broadcast networks are now married to cable and streaming services under a single conglomerate, which has implications for the cost of contracts and the negotiation of distribution deals. Examining multiple platforms, networks and sports in an all-inclusive manner, this volume documents the evolution and current state of affairs of sports television. With historic and current data on rights fees for sports television leagues and events as well as carriage fees and subscription levels for sports-related cable and satellite services, this comparative study offers critical information for students and scholars conducting research on sports television.

The customer was conceptualized as an individual who was surrounded by products and messages and could make a choice between these products and messages, but now the customer can shape the products and messages that are directed to him with engagement by producing content. The customer not only participates in co-production in visible business processes but also through consumption produces identity, image, meaning, value and experience in the marketplace. This book hereby emerged out of the requirement of collecting theories about researching customer and its behaviors which changes with the interaction social media has created, which has a place to stay in relationship within the distances and timelessness created by speed incident to digitalization.

Drawing from theories of the political economy of communication, this book offers readers a comprehensive data-rich assessment of contemporary sports television and its evolution. Providing an in-depth look at the ownership and regulation of sports television in the United States, William M. Kunz analyzes a range of platforms, networks, and sports, with particular focus on the way ownership has become concentrated in five conglomerates: AT&T, CBS, Comcast, Disney and Fox. The end result of years of media consolidation is that broadcast networks are now married to cable and streaming services under a single conglomerate, which has implications for the cost of contracts and the negotiation of distribution deals. Examining multiple platforms, networks and sports in an all-inclusive manner, this volume documents the evolution and current state of affairs of sports television. With historic and current data on rights fees for sports television leagues and events as well as carriage fees and subscription levels for sports-related cable and satellite services, this comparative study offers critical information for students and scholars conducting research on sports television.

A media and advertising CEO explains how his world shapes ours
The TV program coming into our living rooms isn't free. It's a simple Faustian bargain consumers have made but one with enormous implications. It means that David Verklin, CEO of one of the world's largest ad-buying companies, and his clients-the world's largest advertisers-control what TV programs get aired, what magazines get published, and how Google and Yahoo stay in (very healthy) business. In Watch This, Listen Up, Click Here, Verklin and Kanner expose the inner workings of the media, marketing, and advertising industries. Readers will learn why their favorite shows get cancelled, why Oprah gives away cars, and how money, people, politics, and new technologies are transforming TV, the Internet, radio, magazines, and other media Americans consume every day.
David Verklin (New York, NY) is CEO of Carat Americas, the world's largest independent media buying operation. He frequently speaks to executives in marketing, media, and management. Bernice Kanner (d. 2006) was a marketing expert and author for 13 years of New York magazine's "On Madison Avenue" column.

The Game Production Toolbox focuses on the nuts and bolts of producing interactive content and how you can organize and support the creative, technical, and business efforts that are all part of interactive game development. This book isn't going to tell you how to design a game or what technologies to use. Instead it provides techniques for and insights into managing, from concept to release, all the pieces that must come together in order to get a game into the hands of a player. Readers will learn about each phase of game production: prototyping, defining the requirements, assembling the team, making the game, and releasing to the players. Interviews from professional game developers give a behind-the-scenes look at what it takes to make a game. Key Features A framework for how to get an interactive game from concept to release, including information on financing and pitching to publishers and investors. Techniques for working with the game development team to get effective prototypes and documentation to prove out game concept and mechanics. Concrete information on how to plan and execute the different aspects of game production, such as audio, localization, testing, and software ratings. Advice from industry experts on managing teams, project management, communicating effectively, and keeping everyone happy. Information about working effectively with marketing, PR, and other people that are involved with the publishing and release process.

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.