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.

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.

The provision of IP-based multimedia services is one of the most exiting and challenging aspects of next generation wireless networks. A significant evolution has been underway for enabling such multimedia services and for ultimately migrating the Internet to the wireless world. This book examines this evolution, looking at an array of the most up-to-date wireless multimedia technologies and services. The first part focuses on enabling technologies for wireless multimedia, while the second is dedicated to the new wireless multimedia services that are expected to play a key role in the future wireless environment. In addition, the related recent standardization, research and industry activities are addressed.
* Covers a complete range of multimedia hot topics, ranging from audio/video coding techniques to multimedia protocols and applications
* Discusses QoS issues in WLANs, 3G and hybrid 3G/WLAN networks
* Provides in-depth discussion of the most modern multimedia services, such as Push-to-Talk, Instant Messaging, Presence, mobile payments, MMS, WAP, and location-based multimedia services
* Addresses the emerging Multimedia Broadcast/Multicast Service (MBMS) and the key aspects of IP Multimedia Subsystem (IMS) in 3G networks
* Numerous on-line references will assist readers in their quest for the most up-to-date information
This comprehensive resource will have instant appeal to students in electrical and computer engineering or IT disciplines. It is also essential reading for engineering managers, engineers in wireless systems and multimedia, and wireless multimedia researchers.

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.

*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.

This volume builds on previous notions of transmedia practices to develop the concept of transtexts, in order to account for both the industrial and user-generated contributions to the cross-media expansion of a story universe. On the one hand exists industrial transmedia texts, produced by supposedly authoritative authors or entities and directed to active audiences in the aim of fostering engagement. On the other hand are fan-produced transmedia texts, primarily intended for fellow members of the fan communities, with the Internet allowing for connections and collaboration between fans. Through both case studies and more general analyses of audience participation and reception, employing the artistic, marketing, textual, industrial, cultural, social, geographical, technological, historical, financial and legal perspectives, this multidisciplinary collection aims to expand our understanding of both transmedia storytelling and fan-produced transmedia texts.

This book examines the role of community filmmaking in society and its connection with issues of cultural diversity, innovation, policy and practice in various places. Deploying a range of examples from Europe, North America, Australia and Hong Kong, the chapters show that film emerging from outside the mainstream film industries and within community contexts can lead to innovation in terms of both content and processes and a better representation of the cultural diversity of a range of communities and places. The book aims to situate the community filmmaker as the central node in the complex network of relationships between diverse communities, funding bodies, policy and the film industries.

In recent years the widely held misconception of the media as an 'ephemeral' industry has been challenged by research on the industry's significant material footprint. Despite this material turn, no systematic study of this sector has been conducted in ways that considers the role of the media industries as consumers and users of a range of natural resources. Filling this gap, Environmental Management of the Media discusses the environmental management of the media industries in the UK and the Nordic countries. These Nordic countries, both as a set of small nations and as a regional constellation, are frequently perceived as some of the 'greenest' in the world, yet, not only is the footprint of the media industries practically ignored in academic research, but the very real stakes of the industries' global impact are not comprehensively understood. Here, the author focuses on four key areas for investigating the material impact of Nordic media: (1) resources used for production and dissemination; (2) regulation of the media; (3) organizational management; and (4) labour practices. By adopting an interdisciplinary perspective that combines ecocritical analysis with interrogation of the political economy of the creative industries, Kaapa argues that taking the industries to task on their environmental footprint is a multilevel resource and organizational management issue that must be addressed more effectively in contemporary media studies. This book will be of great interest to students and scholars of media, communication and environmental studies.

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.

In Transnational Korean Cinema author Dal Yong Jin explores the interactions of local and global politics, economics, and culture to contextualize the development of Korean cinema and its current place in an era of neoliberal globalization and convergent digital technologies. The book emphasizes the economic and industrial aspects of the story, looking at questions on the interaction of politics and economics, including censorship and public funding, and provides a better view of the big picture by laying bare the relationship between film industries, the global market, and government. Jin also sheds light on the operations and globalization strategies of Korean film industries alongside changing cultural policies in tandem with Hollywood’s continuing influences in order to comprehend the power relations within cultural politics, nationally and globally. This is the first book to offer a full overview of the nascent development of Korean cinema.

This examination of film and television remakes focuses explicitly on why - since the dawn of cinema - studios have remade films over and over again. Each chapter provides insight into the business of Hollywood, the motivations of filmmakers and also the pleasures for audiences, and offers a separate explanation for the whys of remaking. Utilizing an interdisciplinary approach, the author draws from existing literature, close readings of films and a dataset of hundreds of film reviews, to provide a taxonomy and deep-dive into six unique rationales for remaking premade titles: the better remake the economic remake the nostalgic remake the Americanized remake the creative remake the fashionable remake. This unique examination of the industrial activity of remaking will be of great interest to academics and students working in the areas of film and adaptation studies, narrative, media discourse, transmedia storytelling, American cinema and cultural studies.

The study of media industries has become a thriving subfield of media studies. It already comprises a diverse intellectual history, a range of fascinating questions and topics, and many theoretical and methodological frameworks. Media Industry Studies provides the roadmap to this vibrant area of study. Blending a comprehensive overview of foundational literature with an examination of the varied scales and sites media industry studies have considered, the book explores connections among research questions, topics, and methodologies. It includes examples from many media industries - film, television, journalism, music, games - and incorporates emerging scholarship considering the industrial contexts of social and internet-distributed media. Offering an account of the intellectual traditions and approaches that have defined the subfield to date, Media Industry Studies is an indispensable resource for upper-level undergraduates, postgraduates, and scholars.

Overcoming the Exploitation of Passion in Videogame Labor: Passion Play examines the intersection of passion, precarity, and collocation to pinpoint where and how interventions can be made towards better working conditions. Jackson contends that videogames and passion are inextricably linked and explores this intrinsic link where passion is expected and valorized, be it in the context of play, work, or culture. Passion, Jackson argues, is the connective tissue that sews together the shared experiences that people all over the world will undertake through videogames, including that's winning close matches, experiencing new worlds, and forging new friendships. This book interrogates the outcomes of when labour, videogames, and passion collide - work and play become inextricably linked, and suddenly a 'passion for games' becomes an insistent and expected 'passion for work.' This, Jackson ultimately posits, leads to the current reality of much of the videogame production industry, where passion is used as a workplace policing tool and a way to push workers to periods of extended work, or crunch periods. Through theorizations regarding passion, bodies, assembly, and assemblage, this text wrestles with what can be done to manifest real change in the videogame industry. Scholars of media studies, technology, and labour studies will find this book of particular interest.

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.

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.

This book provides a critical political economic examination of the impact of increasingly concentrated global media industries. It addresses different media and communication industries from around the globe, including film, television, music, journalism, telecommunication, and information industries. The authors use case studies to examine how changing methods of production and distribution are impacting a variety of issues including globalization, environmental devastation, and the shifting role of the State. This collection finds communication at a historical moment in which capitalist control of media and communication is the default status and, so, because of the increasing levels of concentration globally allows those in control to define the default ideological status. In turn, these concentrated media forces are deployed under the guise of entertainment but with a mind towards further concentration and control of the media apparatuses many times in convergence with others

The Routledge Companion to Asian American Media offers readers a comprehensive examination of the way that Asian Americans have engaged with media, from the long history of Asian American actors and stories that have been featured in mainstream film and television, to the birth and development of a distinctly Asian American cinema, to the ever-shifting frontiers of Asian American digital media. Contributor essays focus on new approaches to the study of Asian American media including explorations of transnational and diasporic media, studies of intersectional identities encompassed by queer or mixed race Asian Americans, and examinations of new media practices that challenge notions of representation, participation, and community. Expertly organized to represent work across disciplines, this companion is an essential reference for the study of Asian American media and cultural studies.

This book draws on agenda setting theory to examine how cultural organizations relate to media in order to increase their visibility, valence, and eventually build their public image. Most organizations have a keen interest in their symbolic presence, as their media visibility influences public knowledge, perceptions and even behaviors. Diminished public funding, in combination with the global proliferation of cultural entities, creates a competitive environment, leading to a transformation of cultural industries. In the book, several questions are under scrutiny: How do cultural organizations acquire symbolic significance? How do they become prominent in media content? Which mechanisms and processes should be examined by cultural managers as they set out to achieve salience? Is there a relationship between media and public salience? In other words, if an organization becomes symbolically prominent, in what ways is the public influenced, both in terms of perceptions as well as behaviors?

This book offers a new, interdisciplinary model for understanding audience engagement as a type of behaviour, a form of response and a cost to audiences that, combined, offer value to the screen industries. Audience 'engagement' has become the key priority of the screen industries. Understanding Engagement in Transmedia Culture explicitly asks what audiences and screen practitioners mean when they say content is 'engaging' and uses audience focus groups and practitioner interviews to offer a model for understanding the relationship between the screen industry, the content it produces and its audiences. In particular, the model addresses engagement within transmedia culture. As digital screen technologies proliferate, audiences move seamlessly across and between different devices, content formats and distribution platforms, blurring the boundaries between film, television and videogames. This book offers a way of understanding audience engagement that is not restricted to a single media but instead accounts for and adapts to the various ways in which screen content is experienced. Offering a unique approach by presenting practitioner and audience perspectives, it is perfect for students and scholars working in film and television studies, as well as media industries and audience studies.

This book examines cultural participation from three different, but interrelated perspectives: participatory art and aesthetics; participatory digital media, and participatory cultural policies and institutions. Focusing on how ideals and practices relating to cultural participation express and (re)produce different "cultures of participation", an interdisciplinary team of authors demonstrate how the areas of arts, digital media, and cultural policy and institutions are shaped by different but interrelated contextual backgrounds. Chapters offer a variety of perspectives and strategies for empirically identifying "cultures of participation" and their current transformations and tensions in various regional and national settings. This book will be of interest to academics and cultural leaders in the areas of museum studies, media and communications, arts, arts education, cultural studies, curatorial studies and digital studies. It will also be relevant for cultural workers, artists and policy makers interested in the participatory agenda in art, digital media and cultural institutions.

In Atomic Bill, Vincent Kiernan examines the fraught career of New York Times science journalist, William L. Laurence and shows his professional and personal lives to be a cautionary tale of dangerous proximity to power. Laurence was fascinated with atomic science and its militarization. When the Manhattan Project drew near to perfecting the atomic bomb, he was recruited to write much of the government's press materials that were distributed on the day that Hiroshima was obliterated. That instantly crowned Laurence as one of the leading journalistic experts on the atomic bomb. As the Cold War dawned, some assessed Laurence as a propagandist defending the militarization of atomic energy. For others, he was a skilled science communicator who provided the public with a deep understanding of the atomic bomb. Laurence leveraged his perch at the Times to engage in paid speechmaking, book writing, filmmaking, and radio broadcasting. His work for the Times declined in quality even as his relationships with people in power grew closer and more lucrative. Atomic Bill reveals extraordinary ethical lapses by Laurence such as a cheating scandal at Harvard University and plagiarizing from press releases about atomic bomb tests in the Pacific. In 1963 a conflict of interest related to the 1964 World's Fair in New York City led to his forced retirement from the Times. Kiernan shows Laurence to have set the trend, common among today's journalists of science and technology, to prioritize gee-whiz coverage of discoveries. That approach, in which Laurence served the interests of governmental official and scientists, recommends a full revision of our understanding of the dawn of the atomic era.

"Hoskins, McFadyen and Finn de-dismalise economics. Their book is clearly written, full of cogent and apposite examples and analyses persuasively what makes media and communications like, and unlike, other economic sectors. From network externality to public good, from experience goods to superstars, from dumping to quotas they lucidly guide the reader through the tangles of the new economy and why it now matters less if maids burn books. Eat your heart out Thomas Carlyle." -Richard E. Collins, The Open University, U.K. How does the Internet affect the supply of information-based entertainment and cultural goods? Why do telephone companies have peak and off-peak prices for long-distance calls? Why is broadcasting, but not newspaper publishing, usually regulated and sometimes subsidized? Media Economics: Applying Economics to New and Traditional Media provides a thorough foundation of the microeconomic principles and concepts needed to understand media industries and issues in the converging media environment. Media Economics differs from ordinary media economic texts by taking a conceptual approach to economic issues. As the book progresses through economic principles, authors Colin Hoskins, Stuart McFadyen, and Adam Finn use cases and examples to demonstrate how these principles can be used to analyze media issues and problems. Media Economics emphasizes economic concepts that have distinct application within media industries, including corporate media strategies and mergers, public policy within media industries, how industry structure and changing technologies affect the conduct and performance of media industries, and why the United States dominates trade in information and entertainment. Key Features Chapter opening vignettes introduce the issues analyzed in each chapter Concise definitions of key terms for a clear understanding of basic microeconomic and managerial economic concepts Examples from a variety of media industries including those in the United States, Canada, the United Kingdom, and Australia A concept-driven approach enabling a longer shelf-life as technologies, structures, and revenues change A recognition of the reality of convergence and consolidation in media industries rather than addressing each media outlet individually Media Economics assumes no prior background in economics and is designed for undergraduate and graduate students studying media economics and media industries. The book is an ideal text for public policy and the media as well as media and society courses with an economic perspective taught in Media Studies, Communication, Business, Journalism, Film Studies, Political Studies, and Economics programs.

The status of English as a global language is deeply divisive and hotly contested. The Local Politics of Global English analyzes linguistic globalization in five countries that differ greatly in both their degree of global integration and their use of English. By drawing on the work of language scholars and the growing field of globalization studies, the author provides a revealing portrait of how politicians, activists, scholars and policy-makers in the United States, France, India, South Africa, and Nepal are debating the questions that plague local controversies over global English. Concepts of hegemony and resistance, elites and subalterns, and liberalization and democratization are incorporated into case studies that provide insight into the politics of linguistic globalization from above and from below. Of interest to students of politics and culture, as well as teachers and learners of language, The Local Politics of Global English is a detailed examination of a timely and controversial topic.

With growth in access to high-speed broadband and 4G, and increased ownership of smartphones, tablets and internet-connected television sets, the internet has simultaneously begun to compete with and transform television. Online TV argues that these changes create the conditions for an emergent internet era that challenges the language and concepts that we have to talk about television as a medium. In a wide-ranging analysis, Catherine Johnson sets out a series of conceptual frameworks designed to provide a clearer language with which to analyse the changes to television in the internet era and to bring into focus the power dynamics of the online TV industry. From providing definitions of online TV and the online TV industry, to examining the ways in which technology, rights, interfaces and algorithms are used to control and constrain access to audiovisual content, Online TV is a timely intervention into debates about contemporary internet and television cultures. A must-read for any students, scholars and practitioners who want to understand and analyse the ways in which television is intertwining with and being transformed by the internet.