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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.
Traditional media are being reshaped by digital technologies. The
funding model for quality journalism has been undermined by the
drift of advertising online, demarcations between different forms
of media are rapidly fading, and audiences have fragmented. We can
catch up with our favourite TV show on a tablet, social media can
be more important than mainstream radio in a crisis, and
organisations large and small have become publishers in their own
right on apps. Nevertheless mainstream media remain powerful. The
Media and Communications in Australia offers a systematic
introduction to this dynamic field. Fully updated and revised to
take account of recent developments, this fourth edition outlines
the key media industries and explains how communications
technologies are impacting on them. It provides a thorough overview
of the main approaches taken in studying the media, and includes an
expanded 'issues' section with new chapters on social media,
gaming, apps, the environment, media regulation, ethics and
privacy. With contributions from some of Australia's best
researchers and teachers in the field, The Media and Communications
in Australia remains the most comprehensive and reliable
introduction to media and communications available. It is an ideal
student text, and a reference for teachers of media and anyone
interested in this influential industry.
Traditional media are being reshaped by digital technologies. The
funding model for quality journalism has been undermined by the
drift of advertising online, demarcations between different forms
of media are rapidly fading, and audiences have fragmented. We can
catch up with our favourite TV show on a tablet, social media can
be more important than mainstream radio in a crisis, and
organisations large and small have become publishers in their own
right on apps. Nevertheless mainstream media remain powerful.The
Media and Communications in Australia offers a systematic
introduction to this dynamic field. Fully updated and revised to
take account of recent developments, this fourth edition outlines
the key media industries and explains how communications
technologies are impacting on them. It provides a thorough overview
of the main approaches taken in studying the media, and includes an
expanded 'issues' section with new chapters on social media,
gaming, apps, the environment, media regulation, ethics and
privacy.With contributions from some of Australia's best
researchers and teachers in the field, The Media and Communications
in Australia remains the most comprehensive and reliable
introduction to media and communications available. It is an ideal
student text, and a reference for teachers of media and anyone
interested in this influential industry.
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.
Explores new perspectives on social media entertainment There is a
new class of cultural producers-YouTube vloggers, Twitch
gameplayers, Instagram influencers, TikTokers, Chinese wanghong,
and others-who are part of a rapidly emerging and highly disruptive
industry of monetized "user-generated" content. As this new wave of
native social media entrepreneurs emerge, so do new formations of
culture and the ways they are studied. In this volume, contributors
draw on scholarship in media and communication studies, science and
technology studies, and social media, Internet, and platform
studies, in order to define this new field of study and the
emergence of creator culture. Creator Culture introduces readers to
new paradigms of social media entertainment from critical
perspectives, demonstrating both relations to and differentiations
from the well-established media forms and institutions
traditionally within the scope of media studies. This volume does
not seek to impose a uniform perspective; rather, the goal is to
stimulate in-depth, globally-focused engagement with this
burgeoning industry and establish a dynamic research agenda for
scholars, teachers, and students, as well as creators and
professionals across the media, communication, creative, and social
media industries. Contributors include: Jean Burgess, Zoe Glatt,
Sarah Banet-Weiser, Brent Luvaas, Carlos A. Scolari, Damian
Fraticelli, Jose M. Tomasena, Junyi Lv, Hector Postigo, Brooke Erin
Duffy, Megan Sawey, Jarrod Walzcer, Sangeet Kumar, Sriram Mohan,
Aswin Punathambekar, Mohamed El Marzouki, Elaine Jing Zhao, Arturo
Arriagada, Jeremy Shtern, Stephanie Hill
Television is the most pervasive mass medium of the industrialised
world. It is blamed for creating alienation and violence in
society, yet at the same time regarded as trivial and unworthy of
serious attention. It is the main purveyor of global popular
culture, yet also intensely local. The Australian TV Book paints
the big picture of the small screen in Australia. It examines
industry dynamics in a rapidly changing environment, the impact of
new technology, recent changes in programming, and the ways in
which the television industry targets its audiences. The authors
highlight what is distinctive about television in Australia, and
how it is affected by international developments. This book is
essential reading for anyone who wants to understand Australian
television today. Stuart Cunningham is Professor of Media and
Journalism at Queensland University of Technology. Graeme Turner is
director of the Centre for Critical and Cultural Studies at the
University of Queensland. They are editors of the leading textbook
The Media in Australia and authors of many other works on the
media.
Television is the most pervasive mass medium of the industrialised
world. It is blamed for creating alienation and violence in
society, yet at the same time regarded as trivial and unworthy of
serious attention. It is the main purveyor of global popular
culture, yet also intensely local. The Australian TV Book paints
the big picture of the small screen in Australia. It examines
industry dynamics in a rapidly changing environment, the impact of
new technology, recent changes in programming, and the ways in
which the television industry targets its audiences. The authors
highlight what is distinctive about television in Australia, and
how it is affected by international developments. This book is
essential reading for anyone who wants to understand Australian
television today.Stuart Cunningham is Professor of Media and
Journalism at Queensland University of Technology. Graeme Turner is
director of the Centre for Critical and Cultural Studies at the
University of Queensland. They are editors of the leading textbook
The Media in Australia and authors of many other works on the
media.
In Chinese, the term wanghong refers to creators, social media
entrepreneurs alternatively known as KOLs (key opinion leaders) and
zhubo (showroom hosts), influencers and micro-celebrities. Wanghong
also refers to an emerging media ecology in which these creators
cultivate online communities for cultural and commercial value by
harnessing Chinese social media platforms, like Weibo, WeChat,
Douyu, Huya, Bilibili, Douyin, and Kuaishuo. Framed by the concepts
of cultural, creative, and social industries, the book maps the
development of wanghong policies and platforms, labor and
management, content and culture, as they operate in contrast to its
non-Chinese counterpart, social media entertainment, driven by
platforms like YouTube, Facebook, Instagram, and Twitch. As
evidenced by the backlash to TikTok, the threat of competition from
global wanghong signals advancing platform nationalism.
Like music and the news media before it, the film and television
business is now facing its time of digital disruption. Major
changes are being brought about in global online distribution of
film and television by new players, such as Google/YouTube, Apple,
Amazon, Yahoo , Facebook, Netflix and Hulu, some of whom massively
outrank in size and growth the companies that run film and
television today. Content, Hollywood has always asserted, is King.
But the power and profitability in screen industries have always
resided in distribution. Incumbents in the screen industries tried
to control the emerging dynamics of online distribution, but
failed. The new, born digital, globally focused, players are
developing TV network-like strategies, including commissioning
content that has widened the net of what counts as television.
Content may be King, but these new players may become the King
Kongs of the online world.
Winner, 2020 Outstanding Book Award, given by the International
Communication Association Honorable Mention, 2020 Nancy Baym Book
Award, given by the Association of Internet Researchers How the
transformation of social media platforms and user-experience have
redefined the entertainment industry In a little over a decade,
competing social media platforms, including YouTube, Facebook,
Twitter, Instagram, and Snapchat, have given rise to a new creative
industry: social media entertainment. Operating at the intersection
of the entertainment and interactivity, communication and content
industries, social media entertainment creators have harnessed
these platforms to generate new kinds of content separate from the
century-long model of intellectual property control in the
traditional entertainment industry. Social media entertainment has
expanded rapidly and the traditional entertainment industry has
been forced to cede significant power and influence to content
creators, their fans, and subscribers. Digital platforms have
created a natural market for embedded advertising, changing the
worlds of marketing and communication in their wake. Combined,
these factors have produced new, radically shifting demands on the
entertainment industry, posing new challenges for screen regimes,
media scholars, industry professionals, content creators, and
audiences alike. Stuart Cunningham and David Craig chronicle the
rise of social media entertainment and its impact on media
consumption and production. A massive, industry-defining study with
insight from over 100 industry insiders, Social Media Entertainment
explores the latest transformations in the entertainment industry
in this time of digital disruption.
This book addresses current debates about globalisation and culture
by tracing the emergence of Australia as a significant exporter of
television to the world market. The authors investigate why
Australian programmes have found such international popularity. The
text examines the Australian industry and the international
television marketplace. It also looks at the impact of Australian
programmes on the television cultures of the importing countries.
The authors outline policy implications and speculate on future
directions of Australian television.
This book addresses current debates about globalisation and culture
by tracing the emergence of Australia as a significant exporter of
television to the world market. The authors investigate why
Australian programmes have found such international popularity. The
text examines the Australian industry and the international
television marketplace. It also looks at the impact of Australian
programmes on the television cultures of the importing countries.
The authors outline policy implications and speculate on future
directions of Australian television.
In Chinese, the term wanghong refers to creators, social media
entrepreneurs alternatively known as KOLs (key opinion leaders) and
zhubo (showroom hosts), influencers and micro-celebrities. Wanghong
also refers to an emerging media ecology in which these creators
cultivate online communities for cultural and commercial value by
harnessing Chinese social media platforms, like Weibo, WeChat,
Douyu, Huya, Bilibili, Douyin, and Kuaishuo. Framed by the concepts
of cultural, creative, and social industries, the book maps the
development of wanghong policies and platforms, labor and
management, content and culture, as they operate in contrast to its
non-Chinese counterpart, social media entertainment, driven by
platforms like YouTube, Facebook, Instagram, and Twitch. As
evidenced by the backlash to TikTok, the threat of competition from
global wanghong signals advancing platform nationalism.
Explores new perspectives on social media entertainment There is a
new class of cultural producers—YouTube vloggers, Twitch
gameplayers, Instagram influencers, TikTokers, Chinese wanghong,
and others—who are part of a rapidly emerging and highly
disruptive industry of monetized “user-generated” content. As
this new wave of native social media entrepreneurs emerge, so do
new formations of culture and the ways they are studied. In this
volume, contributors draw on scholarship in media and communication
studies, science and technology studies, and social media,
Internet, and platform studies, in order to define this new field
of study and the emergence of creator culture. Creator Culture
introduces readers to new paradigms of social media entertainment
from critical perspectives, demonstrating both relations to and
differentiations from the well-established media forms and
institutions traditionally within the scope of media studies. This
volume does not seek to impose a uniform perspective; rather, the
goal is to stimulate in-depth, globally-focused engagement with
this burgeoning industry and establish a dynamic research agenda
for scholars, teachers, and students, as well as creators and
professionals across the media, communication, creative, and social
media industries. Contributors include: Jean Burgess, Zoë Glatt,
Sarah Banet-Weiser, Brent Luvaas, Carlos A. Scolari, Damián
Fraticelli, José M. Tomasena, Junyi Lv, Hector Postigo, Brooke
Erin Duffy, Megan Sawey, Jarrod Walzcer, Sangeet Kumar, Sriram
Mohan, Aswin Punathambekar, Mohamed El Marzouki, Elaine Jing Zhao,
Arturo Arriagada, Jeremy Shtern, Stephanie Hill
Winner, 2020 Outstanding Book Award, given by the International
Communication Association Honorable Mention, 2020 Nancy Baym Book
Award, given by the Association of Internet Researchers How the
transformation of social media platforms and user-experience have
redefined the entertainment industry In a little over a decade,
competing social media platforms, including YouTube, Facebook,
Twitter, Instagram, and Snapchat, have given rise to a new creative
industry: social media entertainment. Operating at the intersection
of the entertainment and interactivity, communication and content
industries, social media entertainment creators have harnessed
these platforms to generate new kinds of content separate from the
century-long model of intellectual property control in the
traditional entertainment industry. Social media entertainment has
expanded rapidly and the traditional entertainment industry has
been forced to cede significant power and influence to content
creators, their fans, and subscribers. Digital platforms have
created a natural market for embedded advertising, changing the
worlds of marketing and communication in their wake. Combined,
these factors have produced new, radically shifting demands on the
entertainment industry, posing new challenges for screen regimes,
media scholars, industry professionals, content creators, and
audiences alike. Stuart Cunningham and David Craig chronicle the
rise of social media entertainment and its impact on media
consumption and production. A massive, industry-defining study with
insight from over 100 industry insiders, Social Media Entertainment
explores the latest transformations in the entertainment industry
in this time of digital disruption.
The term 'two cultures' was coined more than 50 years ago by
scientist and novelist C.P. Snow to describe the divergence in the
world views and methods of scientists and the creative sector. This
divergence has meant that innovation systems and policies have
focused for decades on science, engineering, technology and
medicine and the industries that depend on them. The humanities,
arts and social sciences have been bit players at best; their
contributions hidden from research agendas, policy and program
initiatives, and the public mind. But structural changes to
advanced economies and societies have brought services industries
and the creative sector to greater prominence as key contributors
to innovation. Hidden Innovation peels back the veil, tracing the
way innovation occurs through new forms of screen production
enabled by social media platforms as well as in public
broadcasting. It shows that creative workers are contributing fresh
ideas across the economy and how creative cities debates need
reframing. It traces how policies globally are beginning to catch
up with the changing social and economic realities. In his new
book, Cunningham argues that the innovation framework offers the
best opportunity in decades to reassess and refresh the case for
the public role of the humanities, particularly the media, cultural
and communication studies disciplines.
The term two cultures was coined more than 50 years ago by
scientist and novelist C.P. Snow to describe the divergence in the
world views and methods of scientists and the creative sector. This
divergence has meant that innovation systems and policies have
focused for decades on science, engineering, technology and
medicine and the industries that depend on them. The humanities,
arts and social sciences have been bit players at best; their
contributions hidden from research agendas, policy and program
initiatives, and the public mind. But structural changes to
advanced economies and societies have brought services industries
and the creative sector to greater prominence as key contributors
to innovation. Hidden Innovation peels back the veil, tracing the
way innovation occurs through new forms of screen production
enabled by social media platforms as well as in public
broadcasting. It shows that creative workers are contributing fresh
ideas across the economy and how creative cities debates need
reframing. It traces how policies globally are beginning to catch
up with the changing social and economic realities. In his new
book, Cunningham argues that the innovation framework offers the
best opportunity in decades to reassess and refresh the case for
the public role of the humanities, particularly the media, cultural
and communication studies disciplines.
This is a reproduction of a book published before 1923. This book
may have occasional imperfections such as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in
the preservation process, and hope you enjoy this valuable book.
This is a reproduction of a book published before 1923. This book
may have occasional imperfections such as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in
the preservation process, and hope you enjoy this valuable book.
++++ The below data was compiled from various identification fields
in the bibliographic record of this title. This data is provided as
an additional tool in helping to ensure edition identification:
++++ The Law Relating To Bills Of Sale: With Notes Upon Fraudulent
Assignments And Preferences, And The Doctrine Of Reputed Ownership
In Bankruptcy, And An Appendix Of Statutes, Precedents And Forms
Stuart Cunningham Macaskie, Great Britain Butterworths, 1882 Law;
Commercial; General; Law / Commercial / General; Negotiable
instruments
The Making of the Modern Law: Legal Treatises, 1800-1926 includes
over 20,000 analytical, theoretical and practical works on American
and British Law. It includes the writings of major legal theorists,
including Sir Edward Coke, Sir William Blackstone, James Fitzjames
Stephen, Frederic William Maitland, John Marshall, Joseph Story,
Oliver Wendell Holmes, Jr. and Roscoe Pound, among others. Legal
Treatises includes casebooks, local practice manuals, form books,
works for lay readers, pamphlets, letters, speeches and other works
of the most influential writers of their time. It is of great value
to researchers of domestic and international law, government and
politics, legal history, business and economics, criminology and
much more.++++The below data was compiled from various
identification fields in the bibliographic record of this title.
This data is provided as an additional tool in helping to insure
edition identification: ++++Harvard Law School
Libraryocm18432465London: Stevens and Sons, 1881. xii, 286 p.; 23
cm.
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone
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