Products related to Entertainment:
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Streaming, Sharing, Stealing : Big Data and the Future of Entertainment
How big data is transforming the creative industries, and how those industries can use lessons from Netflix, Amazon, and Apple to fight back. "[The authors explain] gently yet firmly exactly how the internet threatens established ways and what can and cannot be done about it.Their book should be required for anyone who wishes to believe that nothing much has changed."-The Wall Street Journal"Packed with examples, from the nimble-footed who reacted quickly to adapt their businesses, to laggards who lost empires."-Financial TimesTraditional network television programming has always followed the same script: executives approve a pilot, order a trial number of episodes, and broadcast them, expecting viewers to watch a given show on their television sets at the same time every week.But then came Netflix's House of Cards. Netflix gauged the show's potential from data it had gathered about subscribers' preferences, ordered two seasons without seeing a pilot, and uploaded the first thirteen episodes all at once for viewers to watch whenever they wanted on the devices of their choice.In this book, Michael Smith and Rahul Telang, experts on entertainment analytics, show how the success of House of Cards upended the film and TV industries-and how companies like Amazon and Apple are changing the rules in other entertainment industries, notably publishing and music.We're living through a period of unprecedented technological disruption in the entertainment industries.Just about everything is affected: pricing, production, distribution, piracy.Smith and Telang discuss niche products and the long tail, product differentiation, price discrimination, and incentives for users not to steal content.To survive and succeed, businesses have to adapt rapidly and creatively.Smith and Telang explain how. How can companies discover who their customers are, what they want, and how much they are willing to pay for it?Data. The entertainment industries, must learn to play a little "moneyball." The bottom line: follow the data.
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The Arena Concert : Music, Media and Mass Entertainment
The Arena Concert: Music, Media and Mass Entertainment is the first sustained engagement with what might said to be - in its melding of concert and gathering, in its evolving relationship with digital and social media, in its delivery of event, experience, technology and star - the art form of the 21st century.This volume offers interviews with key designers, discussions of the practicalities of mounting arena concerts, mixing and performing live to a mass audience, recollections of the giants of late twentieth century music in performance, and critiques of latter-day pretenders to the throne.The authors track the evolution of the arena concert, consider design and architecture, celebrity and fashion, and turn to feminism, ethnographic research, and ideas of humour, liveness and authenticity, in order to explore and frame the arena concert.The arena concert becomes the “real time” centre of a global digital network, and the gig-goer pays not only for an immersion in (and, indeed, role in) its spectacular nature, but also for a close encounter with the performers, in this contained and exalted space.The spectacular nature of the arena concert raises challenges that have yet to be fully technologically overcome, and has given rise to a reinvention of what live music actually means. Love it or loathe it, the arena concert is a major presence in the cultural landscape of the 21st century.This volume finds out why.
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Entertainment, Death
The album signals new chapters for the band on multiple fronts, being the first to feature their new three-piece lineup, as well as the first to be entirely self-recorded and produced. Guitarist/vocalist Zack Schwartz and bassist/vocalist Rivka Ravede are now joined by new member Corey Wichlin, a multi-instrumentalist who relocated from Chicago to the band's home territory of Philadelphia last year.
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Vivendi : A Key Player in Global Entertainment and Media
This book identifies and analyses the main socio-economic trends that characterize Vivendi, the French mass media conglomerate, and explores how they have oriented its development and evolution. Philippe Bouquillion explores the industrial, financial, globalization and public policy issues in the various sectors in which Vivendi is involved, paying particular attention to recorded music, pay television, publishing, video games, advertising and telecommunications.He examines Vivendi’s role as a key global player in the entertainment and cultural industries as a result of its established position as world number one in recorded music via Universal Music Group.He also highlights Vivendi’s involvement in various national markets, including their notable strategies in African markets and their significance in the telecommunications and television markets in Italy. This book will be of interest to students, scholars and researchers of global media, media and cultural industries, and political economy.
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Is Baroque music serious music or entertainment music?
Baroque music can be seen as both serious music and entertainment music. On one hand, it was often composed for religious or ceremonial purposes, and its intricate compositions and use of counterpoint demonstrate a high level of musical sophistication. On the other hand, Baroque music was also performed in social settings and was meant to entertain and delight audiences. Its lively rhythms and expressive melodies were often used for dancing and other forms of entertainment. Therefore, Baroque music can be appreciated for its serious artistic qualities as well as its ability to provide enjoyment and entertainment.
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Does entertainment determine the music videos?
Entertainment can influence the content and style of music videos, but it does not necessarily determine them. While music videos are often created with the intention of entertaining and engaging audiences, they can also serve as a platform for artistic expression and storytelling. The creative vision of the artist and director, as well as the message of the song, can also play a significant role in shaping the content and direction of music videos. Ultimately, a combination of factors, including entertainment value, artistic vision, and the message of the music, can contribute to the final product.
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What is the counterpart to entertainment music?
The counterpart to entertainment music is often considered to be art music, also known as classical music. While entertainment music is created primarily for commercial purposes and to entertain a wide audience, art music is typically created for artistic expression and is often more complex and intellectually stimulating. Art music is often performed in concert halls and is associated with a long tradition of classical composers and works. Both entertainment music and art music have their own unique qualities and serve different purposes within the music industry.
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What entertainment media and entertainment electronics are available?
There is a wide range of entertainment media and electronics available, including streaming services like Netflix, Hulu, and Amazon Prime for watching movies and TV shows. Additionally, there are gaming consoles such as PlayStation, Xbox, and Nintendo Switch for playing video games. Other entertainment electronics include smart TVs, sound systems, and virtual reality headsets for an immersive experience. Furthermore, there are also e-readers and audiobook services for those who enjoy reading and listening to books.
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Light Entertainment Rarities
A selection of rare performances from musical artists including Sammy Davis Jr, Bing Crosby, Peggy Lee and Duke Ellington.
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Media & Entertainment Law
Now in its fifth edition, this textbook combines comprehensive coverage with rigorous analysis of a key area of the law.The author illuminates how the courts strive to strike a balance between the freedoms and responsibilities of the press on the one hand and an individual’s right to privacy on the other. Maintaining its coverage of the law across the UK (including Scotland and Northern Ireland) and the EU, the new edition has been brought up to date with expert insights into significant developments and judgments, including: the impact of changes in intellectual property law, data protection, GDPR and copyright law post Brexit – including the cases of Schrems II and Ed Sheeran; analysis of new case law and developments in privacy and freedom of the media – including Duchess of Sussex (Meghan Markle) v The Mail on Sunday and ZXC v Bloomberg; the introduction of new Scottish defamation laws and the importance of defamatory meaning; the response to disinformation, fake news and social media – including tweeting jurors and contempt. With a variety of pedagogical features to encourage critical thinking, this unique textbook is essential reading for media and entertainment law courses at undergraduate and postgraduate levels and an insightful resource for students and reflective practitioners of journalism, public relations and media studies.
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Researching Popular Entertainment
Researching Popular Entertainment is an essential volume for scholars delving into the vibrant yet complex world of popular entertainment. Written by a global network of experts, this book addresses the unique challenges researchers face in this field.The often-dismissed status of popular entertainment, coupled with its reliance on physicality and improvisation over scripted performances, has meant archival and textual sources tend to be more limited than in related theatre and performance disciplines.This scarcity requires historians to find alternative pathways through the available materials to recuperate seemingly insignificant figures and performance forms from our cultural past.This book provides a candid look into the research processes of its authors, highlighting some of the approaches they have adopted to overcome these challenges.It emphasises that reading performance as entertainment is a deliberate methodological choice.Regardless of whether a work is deemed high or low art, legitimate or illegitimate, understanding how it captivates its audience is central to the study of entertainment. Readers will benefit from its in-depth analysis and practical guidance, making it an indispensable resource for anyone studying popular entertainment.
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Researching Popular Entertainment
Researching Popular Entertainment is an essential volume for scholars delving into the vibrant yet complex world of popular entertainment. Written by a global network of experts, this book addresses the unique challenges researchers face in this field.The often-dismissed status of popular entertainment, coupled with its reliance on physicality and improvisation over scripted performances, has meant archival and textual sources tend to be more limited than in related theatre and performance disciplines.This scarcity requires historians to find alternative pathways through the available materials to recuperate seemingly insignificant figures and performance forms from our cultural past.This book provides a candid look into the research processes of its authors, highlighting some of the approaches they have adopted to overcome these challenges.It emphasises that reading performance as entertainment is a deliberate methodological choice.Regardless of whether a work is deemed high or low art, legitimate or illegitimate, understanding how it captivates its audience is central to the study of entertainment. Readers will benefit from its in-depth analysis and practical guidance, making it an indispensable resource for anyone studying popular entertainment.
Price: 39.99 £ | Shipping*: 0.00 £
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What kind of entertainment is there for songs?
Songs can be enjoyed in a variety of entertainment settings, including live concerts, music festivals, and music venues. Additionally, songs are often featured in movies, TV shows, and commercials, providing entertainment through visual and auditory mediums. Furthermore, streaming platforms and radio stations offer a wide range of songs for listeners to enjoy on demand. Overall, songs provide entertainment through live performances, visual media, and digital platforms.
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What is the difference between serious music and entertainment music?
Serious music, also known as classical music, is typically more complex and structured, often requiring formal training to perform and appreciate. It is often focused on artistic expression and can be more emotionally and intellectually demanding. On the other hand, entertainment music, such as pop, rock, and hip-hop, is generally more accessible and designed to entertain and engage a wide audience. It often prioritizes catchy melodies, danceable rhythms, and relatable lyrics, and is more commonly associated with popular culture and commercial success.
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What is entertainment?
Entertainment is any activity or form of amusement that is designed to engage and entertain an audience. It can come in various forms such as movies, music, sports, games, and live performances. The purpose of entertainment is to provide enjoyment, relaxation, and escape from everyday life. It can also serve as a means of storytelling, expression, and cultural enrichment. Ultimately, entertainment is about creating an experience that captivates and brings joy to people.
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How does one enter the music and entertainment industry?
Entering the music and entertainment industry typically involves a combination of talent, hard work, networking, and perseverance. One common way to enter the industry is by creating a strong portfolio of work, whether it be through performing, producing, or other creative endeavors. Building relationships with industry professionals, attending events, and utilizing social media platforms to showcase your work can also help open doors. Additionally, seeking out opportunities for internships, apprenticeships, or entry-level positions within the industry can provide valuable experience and connections.
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