This book defines an agenda for research in information management and systems for media and entertainment industries. It highlights their particular needs in production, distribution, and consumption. Chapters are written by practitioners and researchers from around the world, who examine business information management and systems in the larger context of media and entertainment industries. Human, management, technological, and content creation aspects are covered in order to provide a unique viewpoint. With great interdisciplinary scope, the book provides a roadmap of research challenges and a structured approach for future development across areas such as social media, eCommerce, and eBusiness. Chapters address the tremendous challenges in organization, leadership, customer behavior, and technology that face the entertainment and media industries every day, including the transformation of the analog media world into its digital counterpart. Professionals or researchers involved with IT systems management, information policies, technology development or content creation will find this book an essential resource. It is also a valuable tool for academics or advanced-level students studying digital media or information systems.

Antiquarianism and the Visual Histories of Louis XIV: Artifacts for a Future Past provides a new interpretation of objects and images commissioned by Louis XIV (1638-1715) to document his reign for posterity. The Sun King's image-makers based their prediction of how future historians would interpret the material remains of their culture on contemporary antiquarian methods, creating new works of art as artifacts for a future time. The need for such items to function as historical evidence led to many pictorial developments, and medals played a central role in this. Coin-like in form but not currency, the medal was the consummate antiquarian object, made in imitation of ancient coins used to study the past. Yet medals are often elided from the narrative of the arts of ancient regime France, their neglect wholly disproportionate to the cultural status that they once held. This revisionary study uncovers a numismatic sensibility throughout the iconography of Louis XIV, and in the defining monuments of his age. It looks beyond the standard political reading of the works of art made to document Louis XIV's history, to argue that they are the results of a creative process wedded to antiquarianism, an intellectual culture that provided a model for the production of history in the grand siecle.

This book defines an agenda for research in information management and systems for media and entertainment industries. It highlights their particular needs in production, distribution, and consumption. Chapters are written by practitioners and researchers from around the world, who examine business information management and systems in the larger context of media and entertainment industries. Human, management, technological, and content creation aspects are covered in order to provide a unique viewpoint. With great interdisciplinary scope, the book provides a roadmap of research challenges and a structured approach for future development across areas such as social media, eCommerce, and eBusiness. Chapters address the tremendous challenges in organization, leadership, customer behavior, and technology that face the entertainment and media industries every day, including the transformation of the analog media world into its digital counterpart. Professionals or researchers involved with IT systems management, information policies, technology development or content creation will find this book an essential resource. It is also a valuable tool for academics or advanced-level students studying digital media or information systems.

The essays in this volume show that Versailles was not the static creation of one man, but a hugely complex cultural space; a centre of power, but also of life, love, anxiety, creation, and an enduring palimpsest of aspirations, desires, and ruptures. The splendour of the Château and the masterpieces of art and design that it contains mask a more complex and sometimes more sordid history of human struggle and achievement. The case studies presented by the contributors to this book cannot provide a comprehensive account of the Palace of Versailles and its domains, the life within its walls, its visitors, and the art and architecture that it has inspired from the seventeenth century to the present day: from the palace of the Sun King to the Penthouse of Donald Trump. However, this innovative collection will reshape—or even radically redefine—our understanding of the palace of Versailles and its posterity.

The essays in this volume show that Versailles was not the static creation of one man, but a hugely complex cultural space; a centre of power, but also of life, love, anxiety, creation, and an enduring palimpsest of aspirations, desires, and ruptures. The splendour of the Château and the masterpieces of art and design that it contains mask a more complex and sometimes more sordid history of human struggle and achievement. The case studies presented by the contributors to this book cannot provide a comprehensive account of the Palace of Versailles and its domains, the life within its walls, its visitors, and the art and architecture that it has inspired from the seventeenth century to the present day: from the palace of the Sun King to the Penthouse of Donald Trump. However, this innovative collection will reshape—or even radically redefine—our understanding of the palace of Versailles and its posterity.

Antiquarianism and the Visual Histories of Louis XIV: Artifacts for a Future Past provides a new interpretation of objects and images commissioned by Louis XIV (1638-1715) to document his reign for posterity. The Sun King's image-makers based their prediction of how future historians would interpret the material remains of their culture on contemporary antiquarian methods, creating new works of art as artifacts for a future time. The need for such items to function as historical evidence led to many pictorial developments, and medals played a central role in this. Coin-like in form but not currency, the medal was the consummate antiquarian object, made in imitation of ancient coins used to study the past. Yet medals are often elided from the narrative of the arts of ancient regime France, their neglect wholly disproportionate to the cultural status that they once held. This revisionary study uncovers a numismatic sensibility throughout the iconography of Louis XIV, and in the defining monuments of his age. It looks beyond the standard political reading of the works of art made to document Louis XIV's history, to argue that they are the results of a creative process wedded to antiquarianism, an intellectual culture that provided a model for the production of history in the grand siecle.