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Books > Business & Economics > Industry & industrial studies > Media, information & communication industries
Re-Inventing the Book: Challenges from the Past for the Publishing
Industry chronicles the significant changes that have taken place
in the publishing industry in the past few decades and how they
have altered the publishing value chain and the structure of the
industry itself. The book examines and discusses how most
publishing values, aims, and strategies have been common since the
Renaissance. It aims to provide a methodological framework, not
only for the understanding, explanation, and interpretation of the
current situation, but also for the development of new strategies.
The book features an overview of the publishing industry as it
appears today, showing innovative methods and trends, highlighting
new opportunities created by information technologies, and
identifying challenges. Values discussed include globalization,
convergence, access to information, disintermediation,
discoverability, innovation, reader engagement, co-creation, and
aesthetics in publishing.
A riotous and revealing story of Hollywood’s most spectacular flops and how they ended careers, bankrupted studios and changed film history.
From grand follies to misunderstood masterpieces, disastrous sequels to catastrophic literary adaptations, Box Office Poison tells a hugely entertaining alternative history of Hollywood, through a century of its most notable flops. What can these films tell us about the Hollywood system, the public’s appetite–or lack of it–and the circumstances that saw such flops actually made? Away from the canon, this is the definitive take on these ill-fated, but essential celluloid failures.
Robey covers a vast century of flops, including: Intolerance; Queen Kelly; Freaks; Sylvia Scarlett; The Magnificent Ambersons; Land of the Pharoahs; Doctor Dolittle; Sorcerer; Dune; The Adventures of Baron Munchausen; Nothing But Trouble; The Hudsucker Proxy; Cutthroat Island; Speed 2: Cruise Control; Babe: Pig in the City; Supernova; Rollerball; The Adventures of Pluto Nash; Gigli; Alexander; Catwoman; A Sound of Thunder; Speed Racer; Synecdoche, New York; Pan; and Cats.
From Daily Telegraph film critic Tim Robey, this is a brilliantly fun exploration of human nature and stupidity in some of the greatest film flops throughout history.
Music made in Akron symbolized an attitude more so than a singular sound. Crafted by kids hell-bent on not following their parents into the rubber plants, the music was an intentional antithesis of Top 40 radio. Call it punk or call it new wave, but in a short few years, major labels signed Chrissie Hynde, Devo, the Waitresses, Tin Huey, the Bizarros, the Rubber City Rebels and Rachel Sweet. They had their own bars, the Crypt and the Bank. They had their own label, Clone Records. They even had their own recording space, Bushflow Studios. London's Stiff Records released an Akron compilation album, and suddenly there were "Akron Nights" in London clubs and CBGB was waiving covers for people with Akron IDs. Author Calvin Rydbom of the "Akron Sound" Museum remembers that short time when the Rubber City was the place.
Since the advent of digitization, the conceptual confusion
surrounding the semantic galaxy that comprises the media and
journalism universes has increased. Journalism across several media
platforms provides rapidly expanding content and audience
engagement that assist in enhancing the journalistic experience.
Exploring Transmedia Journalism in the Digital Age provides
emerging research on multimedia journalism across various platforms
and formats using digital technologies. While highlighting topics,
such as immersive journalism, nonfictional narratives, and design
practice, this book explores the theoretical and critical
approaches to journalism through the lens of various technologies
and media platforms. This book is an important resource for
scholars, graduate and undergraduate students, and media
professionals seeking current research on media expansion and
participatory journalism.
Filmmakers and cinema industries across the globe invest more time,
money and creative energy in projects and ideas that never get
produced than in the movies that actually make it to the screens.
Thousands of projects are abandoned in pre-production, halted, cut
short, or even made and never distributed – a “shadow cinema”
that exists only in the archives. This collection of essays by
leading scholars and researchers opens those archives to draw on a
wealth of previously unexamined scripts, correspondence and
production material, reconstructing many of the hidden histories of
the last hundred years of world cinema. Highlighting the fact that
the movies we see are actually the exception to the rule, this
study uncovers the myriad reasons why ‘failures’ occur and
considers how understanding those failures can transform the
disciplines of film and media history. The first survey of this new
area of empirical study across transnational borders, Shadow Cinema
is a vital and fascinating demonstration of the importance of the
unmade, unseen, and unknown history of cinema.
In 1985 The WELL, a dial-up discussion board based on the
utilization of desktop computer technology, invited popular
participation in one of the first examples of what would eventually
evolve into the "blog"- an interactive website allowing reaction
comments to initial statements, and now providing the primary
Internet means for dialogue. The WELL began with the phrase: "You
own your own words." Though almost everything else about online
discussion has changed in the two decades since, those words still
describe its central premise, and this basic idea underlies both
the power and the popularity of blogging today. Appropriately
enough, it also describes American journalism as it existed a
century and a half before The WELL was organized, before the
concept of popular involvement in the press was nearly swept away
on the rising tide of commercial and professional journalism. In
this book, which is the first to provide readers with a
cultural/historical account of the blog, as well as the first to
analyze the different aspects of this growing phenomenon in terms
of its past, Aaron Barlow provides lay readers with a thorough
history and analysis of a truly democratic technology that is
becoming more important to our lives every day. The current
popularity of political blogs can be traced back to currents in
American culture apparent even at the time of the Revolution. At
that time there was no distinct commercial and professional press;
the newspapers, then, provided a much more direct outlet for the
voices of the people. In the nineteenth century, as the press
became more commercial, it moved away from its direct involvement
with politics, taking on an "observer" stance--removing itselffrom
the people, as well as from politics. In the twentieth century, the
press became increasingly professional, removing itself once more
from the general populace. Americans, however, still longed to
voice their opinions with the freedom that the press had once
provided. Today, blogs are providing the means for doing just that.
Media Control: News as an Institution of Power and Social Control
challenges traditional (and even some radical) perceptions of how
the news works. While it's clear that journalists don't operate
objectively - reporters don't just cover news, but they make it -
Media Control goes a step further by arguing that the cultural
institution of news approaches and presents everyday information
from particular and dominant cultural positions that benefit the
power elite. From analysing how the press operate as police agents
by conducting surveillance and instituting social order through its
coverage of crime and police action to bolstering private business
and neoliberal principles by covering the news through notions of
boosterism, Media Control presents the news through a cultural
lens. Robert E. Gutsche, Jr. introduces or advances readers'
applications of critical race theory and cultural studies
scholarship to explore cultural meanings within news coverage of
police action, the criminal justice system, and embedding into the
news democratic values that are later used by the power elite to
oppress and repress portions of the citizenry. Media Control helps
the reader explicate how the power elite use the press and the veil
of the Fourth Estate to further white ideologies and American
Imperialism.
Handbook of Media Economics provides valuable information on a
unique field that has its own theories, evidence, and policies.
Understanding the media is important for society, and while new
technologies are altering the media, they are also affecting our
understanding of their economics. The book spans the large scope of
media economics, simultaneously offering in-depth analysis of
particular topics, including the economics of why media are
important, how media work (including financing sources,
institutional settings, and regulation), what determines media
content (including media bias), and the effects of new
technologies. The book provides a powerful introduction for those
interested in starting research in media economics.
Belfast, Beirut and Berlin are notorious for their internal
boundaries and borders. As symbols for political disunion, the
three cities have inspired scriptwriters and directors from diverse
cultural backgrounds. Despite their different histories, they share
a wide range of features central to divided cities. In each city,
particular territories take on specific symbolic and psychological
meanings. Following a comparative approach, this book concentrates
on the cinematographic representations of Belfast, Beirut and
Berlin. Filmmakers are in constant search for new ways in order to
engage with urban division. Making use of a variety of genres
reaching from thriller to comedy, they explore the three cities'
internal and external borders, as well as the psychological
boundaries existing between citizens belonging to different
communities. Among the characters featuring in films set in
Belfast, Berlin and Beirut we may count dangerous gunmen,
prisoners' wives, soldiers and snipers, but also comic
Stasi-members, punk aficionados and fake nuns. The various
characters contribute to the creation of a multifaceted image of
city limits in troubled times.
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