Elgar Research Agendas outline the future of research in a given area. Leading scholars are given the space to explore their subject in provocative ways, and map out the potential directions of travel. They are relevant but also visionary. Over the past 20 years, the concept of creative industries has become a widely recognised policy paradigm adopted in numerous countries, agencies and educational institutions around the world. A Research Agenda for Creative Industries probes the key issues that will help to advance research into creative industries as a productive and innovative intervention in public policy. Issues addressed include how much should a research agenda for creative industries be policy-oriented? How workable is the so-called triple bottom line rationale for creative industries? What innovative theories, research approaches and methods are called for in advancing a creative industries agenda? With contributions from leading scholars, policy and industry specialists, this interdisciplinary Research Agenda will be a vital resource for students and academics working in the fields of communication, culture, film and media, geography, business and policy studies, and Internet and social media studies.

On March 15, 2011, Donald Trump changed television forever. The Comedy Central Roast of Trump was the first major live broadcast to place a hashtag in the corner of the screen to encourage real-time reactions on Twitter, generating more than 25,000 tweets and making the broadcast the most-watched Roast in Comedy Central history. The #trumproast initiative personified the media and tech industries' utopian vision for a multiscreen and communal live TV experience. In Social TV: Multiscreen Content and Ephemeral Culture, author Cory Barker reveals how the US television industry promised-but failed to deliver-a social media revolution in the 2010s to combat the imminent threat of on-demand streaming video. Barker examines the rise and fall of Social TV across press coverage, corporate documents, and an array of digital ephemera. He demonstrates that, despite the talk of disruption, the movement merely aimed to exploit social media to reinforce the value of live TV in the modern attention economy. Case studies from broadcast networks to tech start-ups uncover a persistent focus on community that aimed to monetize consumer behavior in a transitionary industry period. To trace these unfulfilled promises and flopped ideas, Barker draws upon a unique mix of personal Social TV experiences and curated archives of material that were intentionally marginalized amid pivots to the next big thing. Yet in placing this now-forgotten material in recent historical context, Social TV shows how the era altered how the industry pursues audiences. Multiscreen campaigns have shifted away from a focus on live TV and toward all-day "content" streams. The legacy of Social TV, then, is the further embedding of media and promotional material onto every screen and into every moment of life.

German Crime Dramas from Network Television to Netflix approaches German television crime dramas to uncover the intersections between the genre's media-specific network and post-network formats and how these negotiate with and contribute to concepts of the regional, national, and global. Part I concentrates on the ARD network's long-running flagship series Tatort (Crime Scene 1970-). Because the domestically produced crime drama succeeded in interacting with and competing against dominant U.S. formats during 3 different mediascapes, it offers strategic lessons for post-network television. Situating 9 Tatort episodes in their televisual moment within the Sunday evening flow over 38 years and 3 different German regions reveals how producers, writers, directors, critics, and audiences interacted not only with the cultural socio-political context, but also responded to the challenges aesthetically, narratively, and media-reflexively. Part II explores how post-2017 German crime dramas (Babylon Berlin, Dark, Perfume, and Dogs of Berlin) rework the genre's formal and narrative conventions for global circulation on Netflix. Each chapter concentrates on the dynamic interplay between time-shifted viewing, transmedia storytelling, genre hybridity, and how these interact with projections of cultural specificity and continue or depart from established network practices. The results offer crucial information and inspiration for producers and executives, for creative teams, program directors, and television scholars.

It may be stipulated that, in the emergent media age of illusion, the scope of media issues is vast and pervasive in every field of scientific research as-well-as mystical philosophy. Issues of a "conscious universe", "universal fractal "sentience", and subjects of nanotechnology and the "Psychic paranormal" have begun to be understood as issues of the global media that have been subdivided into issues of "fake news", social media, propaganda, transpersonal psychology, human "embodiment", climate change & human intention, governmental structure, and more. This book establishes a possible template for addressing the global media mandate as a scientific study of paranormal influence on global culture. Such an approach to the "New Normal" has been mandated by recent events (especially the attempted insurrection in the U.S.) that highlight global issues of mediated influences on the dynamic of government. Futurist academics and professionals who are researching this ""new normal"" of the mediasphere and this book will be a valuable contribution to the field.

The importance of spirituality in shaping contemporary visual culture has mostly been disregarded. Mentioning art and spirit in the same sentence was considered embarrassing. In contrast, most of the significant twentieth-century art movements developed in conjunction with spiritual inspiration. This book explores the topic through the lenses of media ecology, art history, and psychology. Media ecology is a theory that media shapes how messages are delivered. The non-commercial nature of spiritual concepts would prevent messages from being offered through commercial media. As a result, many respected artists whose works are familiar have escaped understanding because people haven't yet pierced the spiritual history of modern art. Images once considered devoid of meaning are now being re-examined in terms of their spiritual underpinnings. Kandinsky thought that he could correct nineteenth-century materialism by replacing it with twentieth-century spirituality. However, it was not until the twenty-first century that modern art's spiritual value started to be publicly recognized through scholarship and gallery exhibits. Abstraction provides the opportunity to explore design as a psychological self-revelation of the artist. Automatic drawing, once a tool for spirit messages, became a psychological method with the introduction of Surrealism. Psychology introduced the notion of creative dissociation to replace the idea of mediumship as a basis for art created in altered states. Art, as a personal and reflexive expression, can be used to steady our culture from one that denies spirituality to one that embraces it. We can all use artistic techniques to become more balanced people. Spiritual and psychological artistic techniques created the world of art we experience today. Understanding these influences can help us to better know the world in which we live.

How did the Israeli military learn to cope with the ubiquity of media technologies that routinely document their power abuses? Why did they re-appropriate these to tighten their grip on Palestinian civilians? This book explains why a high-tech nation with advanced military technologies came to rely on the everyday media habits performed by soldiers and civilians. Daniel Mann argues that the intensification of the security regime in Palestine, and the increasingly personal use of media technologies by both soldiers and civilians, are deeply entangled. The book traces how, beginning in the 1990s, the integration of media into the lives of civilians and Israeli soldiers enabled Israel to transfer responsibilities to individual users, who in turn became legally and ethically liable for state abuses of power. Drawing on declassified documents, found footage, and social media, Mann shows how both media and warfare have been remodelled around the figure of the defensive, isolated, and insular 'individual'. Mann suggests that the focus on representations and their close visual analysis paradoxically hinders our ability to understand media. Instead of zooming into fine details, we must step back to reveal the assemblage of images, users, and infrastructure that together serve to maintain the racial, legal and aesthetic divide between Israel and Palestine.

'It's fascinating and moving to discover and identify those LGBT people in less happy times, who fought for the freedoms LGBT people now enjoy in the UK. This book will make you look back with gratitude and astonishment for what has been achieved.' Sir Ian McKellen LGBT activist and civil rights history from the 1960s to the 2000s has had a huge impact on our social and political landscape in the UK, yet much of this history remains hidden. Prejudice and Pride: LGBT Activist Stories from Manchester and Beyond explores aspects of LGBT activist history. It covers educational activism, youth work activism and the history of the LGBT Centre in Manchester. Through personal stories of activists, heard and recorded by young people from LGBT Youth North West, the book explores the 'wibbly wobbly' nature of people's histories. It reveals how they interlink in surprising and creative ways to form the current landscape of both prejudice and pride. Also contains exercises for interpreting and ideas for collecting activist histories within youth work.

We are at a defining point in the history of news. Following a surge of fake news, clickbait and conspiracy theories, the 2020s have ushered in a welter of existential threats for public service broadcasting. So, where do we go from here? Former Today editor and head of BBC television news Roger Mosey thinks public service broadcasters must buck the trends and in this incisive book he offers twenty core ways in which the news can save itself by getting smarter, sharper, more diverse, more nuanced and less exposed to pummelling by politicians. Mosey sees two possible futures: one in which the incitements of populist demagogues and the passions of social media are ever dominant - or one where we fight hard to retain media that has an interest in the public good and preserves truth, fairness and evidence-based judgements. From one of British broadcasting's most experienced voices comes the definitive exploration of Britain's news output and what must change if we are to avoid a future of uninspiring news, uninformed decision-making and accountability-dodging politicians.

Marvelous Rise of Superheroes in Cinema: Evolution of the Genre from Sequels to Universes addresses the superhero movie genre's transformation between 1978 and 2019. To emphasize and illustrate the conceptual and thematic transformation, the main conventions of the genre are scanned through several periods, focusing on the developmental age of the genre, including the dominant period of DC Comics-based superhero movies (1978-1997) and the Marvel "boom" (2000-2007), and the contemporary age. For this purpose, the book traces the fundamentals of superheroes from the first appearance of Superman in Action Comics #1 (1938) to the final installment of the MCU's Phase 3, Spider-Man: Far From Home (2019). The transformation has two significant points. First, the genre's main conventions have been in a change. Second, the genre's focus has changed from sequel filmmaking to the universe concept. The study investigates the Marvel Cinematic Universe's dominant, leading, and major role in the genre's evolutionary process. Besides, the future of the superhero movie genre is questioned through the multiverse concept to broaden an understanding of the genre's following directions.

Approved by AQA. The AQA GCSE Media Studies Student Book has been revised and updated to reflect the latest amendments to the specification. This accessible and engaging resource will support students through their GCSE Media Studies course. What's new in the Revised Edition? - Coverage of the new close study products for assessment from 2023 onwards, including: Black Widow (film - media industries) How You Like That by Blackpink (music video - media industries and media audiences) KISS Breakfast (radio - media industries and audiences) His Dark Materials: The City of Magpies (television programme - all four areas of the theoretical framework) The social media and online output of Marcus Rashford (online, social and participatory media - all four areas of the theoretical framework) - New examples of contemporary media products across a range of forms. - Updated sections on media contexts to reflect recent developments in culture and society. - Up-to-date statistics and information about media industries and audiences - New activities to reinforce students' knowledge and understanding. What have we retained? - Highly visual and engaging design. - Detailed coverage of all areas of the specification, supported by highly illustrated examples. - Exploration of the theoretical framework of Media Studies, applied to a range of media forms and products. - Dedicated chapter on the Non-Exam Assessment element of the specification provides clear guidance on how students will be assessed. - Additional online exam guidance chapter introduces students to practice questions and the assessment objectives. - A variety of activities and extension tasks to help students broaden their knowledge and understanding and encourage independent learning.

International advertising is an important discipline in social sciences studies. Many books and articles have been published in international advertising, however only few of them contain information about advertising industry and research in specific international countries/regions. This book intends to give a local/global perspective to international advertising. Therefore, this book provides an ideal resource for academicians, researchers, advertising and marketing experts and students on a global perspective. This book includes information about international advertising and different international cultures. It covers specific countries and specific international regions regarding advertising. This text also includes a literature review of the advertising industry for various countries and regions. This book, within the social science studies discipline, is comprised of articles in international advertising about specific countries and international regions.

The Political Economy of News in China: Manufacturing Harmony is the first full-scale application of Herman and Chomsky's classic propaganda model to the news media content of a country with a system that is not outwardly similar to the United States. Jesse Owen Hearns-Branaman examines the news media of the People's Republic of China using the five filters of the original model. He asks provocative questions concerning the nature of media ownership, the effect of government or private ownership on media content, the elite-centered nature news sourcing patterns, the benefits and costs of having active special interest groups to influence news coverage, the continued usefulness of the concepts of censorship and propaganda, the ability of advertisers to indirectly influence news production, and the potential increase of pro-capitalist, pro-consumerist ideology and nationalism in Chinese news media. This book will appeal to scholars of international media and journalism.

Tourism consumers are increasingly demanding and seek to base their travel decision-making process on relevant and credible tourism information. In recent years, user-generated content on social media, the opinion of travel bloggers, and entertainment programs in the media have influenced the public's travel purchasing behavior and acted as a driving force for the development of tourism products, such as film tourism. It also has played a role in the evolution and development of marketing, giving rise to new applications, as in the case of digital and influence marketing. On the other hand, tourism organizations and destination management organizations face major challenges in communicating the attributes of a tourism product, since this cannot be experienced before consumption. Thus, they need to know how and in which means or platforms of communication they can inform potential consumers. Impact of New Media in Tourism provides theoretical and practical contributions in tourism and communication including current research on the influence of new media and the active role of consumers in tourism. With a focus on decision making and increasing the visibility of products and destinations, the book provides support for tourism agencies and organizations around the world. Covering themes that include digital marketing, social media, and online branding, this book is essential for professionals, academicians, researchers, and students working or studying in the field of tourism and hospitality management, marketing, advertising, and media and communications.

The evolution of how gender and feminism have been portrayed within media and literature has changed dramatically over the years as society continues to understand the importance of representation within entertainment. To fully understand how the field has changed, further study on the current and past forms of media representation is required. The Handbook of Research on Gender Studies and Feminism in Literature and Media engages with literary texts, digital media, films, and art to consider the relevant issues and empowerment strategies of feminism and gender and discusses the latest theories and ideas. Covering topics such as gender performativity, homophobia, patriarchy, sexuality, LGBTQ community, digital studies, and empowerment strategies, this major reference work is ideal for government officials, policymakers, researchers, scholars, academicians, practitioners, instructors, and students.

Young adult literature featuring LGBTQ characters is booming. In the 1980s and 1990s, only a handful of such titles were published every year. Recently, these numbers have soared to over one hundred annual releases. Queer characters are also appearing more frequently in film, on television, and in video games. This explosion of queer representation, however, has prompted new forms of longstanding cultural anxieties about adolescent sexuality. What makes for a good "coming out" story? Will increased queer representation in young people's media teach adolescents the right lessons and help queer teens live better, happier lives? What if these stories harm young people instead of helping them? In Queer Anxieties of Young Adult Literature and Culture, Derritt Mason considers these questions through a range of popular media, including an assortment of young adult books; Caper in the Castro, the first-ever queer video game; online fan communities; and popular television series Glee and Big Mouth. Mason argues themes that generate the most anxiety about adolescent culture - queer visibility, risk taking, HIV/AIDS, dystopia and horror, and the promise that "It Gets Better" and the threat that it might not - challenge us to rethink how we read and engage with young people's media. Instead of imagining queer young adult literature as a subgenre defined by its visibly queer characters, Mason proposes that we see "queer YA" as a body of transmedia texts with blurry boundaries, one that coheres around affect - specifically, anxiety - instead of content.

In 1964, less than one year into his tenure as publisher of the Bogalusa Daily News, New Orleans native Lou Major found himself guiding the newspaper through a turbulent period in the history of American civil rights. Bogalusa, Louisiana, became a flashpoint for clashes between African Americans advocating for equal treatment and white residents who resisted this change, a conflict that generated an upsurge in activity by the Ku Klux Klan. Local members of the KKK stepped up acts of terror and intimidation directed against residents and institutions they perceived as sympathetic to civil rights efforts. During this turmoil, the Daily News took a public stand against the Klan and its platform of hatred and white supremacy. Against the Klan, Major's memoir of those years, recounts his attempts to balance the good of the community, the health of the newspaper, and the safety of his family. He provides an in-depth look at the stance the Daily News took in response to the city's civil rights struggles, including the many fiery editorials he penned condemning the KKK's actions and urging peaceful relations in Bogalusa. Major's richly detailed personal account offers a ground-level view of the challenges local journalists faced when covering civil rights campaigns in the Deep South and of the role played by the press in exposing the nefarious activities of hate groups such as the Klan.

Changing practices and perceptions of parenthood and family life have long been the subject of intense public, political and academic attention. Recent years have seen growing interest in the role digital media and technologies can play in these shifts, yet this topic has been under-explored from a discourse analytical perspective. In response, this book's investigation of everyday parenting, family practices and digital media offers a new and innovative exploration of the relationship between parenting, family practices, and digitally mediated connection. This investigation is based on extensive digital and interview data from research with nine UK-based single and/or lesbian, gay or bisexual parents who brought children into their lives in non-traditional ways, for example through donor conception, surrogacy or adoption. Through a novel approach that combines constructivist grounded theory with mediated discourse analysis, this book examines connected family lives and practices in a way that transcends the limiting social, biological and legal structures that still dominate concepts of family in contemporary society.

Rather than a media history of the region or a history of southern media, Remediating Region: New Media and the U.S. South formulates a critical methodology for studying the continuous reinventions of regional space across media platforms. This innovative collection demonstrates that structures of media undergird American regionalism through the representation of a given geography's peoples, places, and ideologies. It also outlines how the region answers back to the national media by circulating ever-shifting ideas of place via new platforms that allow for self-representation outside previously sanctioned media forms. Remediating Region recognizes that all media was once new media. In examining how changes in information and media modify concepts of region, it both articulates the virtual realities of the twenty-first-century U.S. South and historicizes the impact of "new" media on a region that has long been mediated. Eleven essays examine media moments ranging from the nineteenth century to the present day, among them Frederick Douglass's utilization of early photography, video game representations of a late capitalist landscape, rural queer communities' engagement with social media platforms, and contemporary technologies focused on revitalizing Indigenous cultural practices. Interdisciplinary in scope and execution, Remediating Region argues that on an increasingly networked planet, concerns over the mediated region continue to inform how audiences and participants understand their entree into a global world through local space.