{"product_id":"the-business-of-entertainment-3-volumes-praeger-perspectives","title":"The Business of Entertainment: [3 Volumes] (Praeger Perspectives)","description":"\n\u003ctable align=\"center\" border=\"0\" cellpadding=\"2\" cellspacing=\"0\" width=\"100%\"\u003e\n\u003ctr\u003e\n\u003ctd class=\"productDetailSmallElements\"\u003e\n\u003cp\u003e\n\u003cstrong\u003eBiographical Note\u003c\/strong\u003e:\u003cbr\u003e\n\u003cb\u003eRobert C. Sickels\u003c\/b\u003e is Associate Professor of American Film and Popular Culture at Whitman College. He has made several short films that have played nationally at festivals around the country. In addition to publishing numerous journal articles and book chapters, he is also the author of \n\u003ci\u003eAmerican Popular Culture Through History: The 1940s\u003c\/i\u003e (Greenwood, 2004), and \n\u003ci\u003eAmerican Film in the Digital Age\u003c\/i\u003e (Praeger 2009).\u003cbr\u003e\u003cbr\u003e\n\u003cstrong\u003eBrief Description\u003c\/strong\u003e:\u003cbr\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eWe love to be entertained. And today's technology makes that easier than ever. Listen to tunes while working out? No problem. Watch a movie on your cell phone? Can do. Get 450 channels of digital entertainment bounced off a satellite and into your vehicle--even while traveling through empty wastelands? Simple. But behind these experiences is a complex industry, dominated by a handful of global media conglomerates whose executives exert considerable influence over the artists and projects they bankroll, the processes by which products are developed, and the methods they use to promote and distribute entertainment. As this set shows, the industries in which commerce, art, and technology intersect are among the most fascinating in all of business.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003eEntertainment is a high-stakes industry where stars are born and flame out in the blink of an eye, where multimillion dollar deals are made on a daily basis, and where cultural mores, for better or worse, are shaped and reinforced. \u003ci\u003eThe Business of Entertainment\u003c\/i\u003e lifts the curtain to show the machinery (and sleight of hand) behind the films, TV shows, music, and radio programs we can't live without. \u003ci\u003eThe Business of Entertainment \u003c\/i\u003e comprises three volumes, covering movies popular music, and television. But it's not all about stars and glitter--it's as much about the nuts and bolts of daily life in the industry, including the challenges of digitizing content, globalization, promoting stars and shows, protecting intellectual property, developing talent, employing the latest technology, and getting projects done on time and within budget. Challenges don't end there. There's also advertising and product placement, the power of reviews and reviewers, the cancerous spread of piracy, the battles between cable and satellite operators (and the threat to both from telephone companies), the backlash to promoting gangsta lifestyles, and more. Each chapter is written by an authority in the field, from noted scholars to entertainment industry professionals to critics to screenwriters to lawyers. The result is a fascinating mosaic, with each chapter a gem that provides insight into the industry that--hands down--generates more conversations on a daily basis than any other.\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cstrong\u003eMarc Notes\u003c\/strong\u003e:\u003cbr\u003e\n\t\t\t\t\t\t\t\tIncludes bibliographical references and index.;v. 1. Movies -- v. 2. Popular music -- v. 3. Television.\u003cbr\u003e\u003cbr\u003e\n\u003cstrong\u003eTable of Contents\u003c\/strong\u003e:\u003cbr\u003e\n\u003cp\u003e\u003cb\u003eVolume I, Movies\u003c\/b\u003e\u003cbr\u003ePreface\u003cbr\u003eAcknowledgments\u003cbr\u003eBehind the Greenlight: Why Hollywood Makes the Films it Makes by Jeffrey Hirschberg\u003cbr\u003eThe Six Faces of Piracy: Global Media Distribution from Below by Ramon Lobato\u003cbr\u003eKingKong.com versus LOLTheMovie.com: Toward a Framework of Corporate and Independent Online Film Production by Mary P. Erickson\u003cbr\u003eReacting Synergistically: Batman and Time Warner by Kimberly A. Owczarski\u003cbr\u003e'You believe in pirates, of course . . .': Disney's Commodification and 'Closure' of Pirates of the Caribbean by Anne H. Petersen\u003cbr\u003eThe Business of Race in The Lord of the Rings Trilogy by Sue J. Kim\u003cbr\u003eDream Worlds: Film-Game Franchising and Narrative Form by Harry Brown\u003cbr\u003eCo-Opting \"Independence': Hollywood's Marketing Label by Mary P. Erickson\u003cbr\u003eEntertainment in the Margins of the American Film Industry: 'Orion Pictures Presents a Filmhaus Production of A David Mamet Film' by Yannis Tzioumakis\u003cbr\u003ePiercing Steven Soderbergh's Bubble by R. Colin Tait\u003cbr\u003eCelebrity Juice, Not from Concentrate: Perez Hilton, Gossip Blogs, and the New Star Production by Anne H. Petersen\u003cbr\u003eMoney and Tears: A Behind-the-Scenes of Celebrity Journalism by Zachary Snider\u003cbr\u003eAbout the Editor and Contributors\u003cbr\u003e\u003cb\u003eVolumne II, Popular Music\u003c\/b\u003e\u003cbr\u003ePreface\u003cbr\u003eAcknowledgments\u003cbr\u003eSongwriting, Creativity and the Music Industry by Phillip McIntyre\u003cbr\u003eThe Devaluation of Recorded Music: A New Business Model for the Music Industry by Richard Strasser\u003cbr\u003eThe Macro\/International Music Business: Australian Trajectories and Perspectives in a Global Context by Guy Morrow\u003cbr\u003eMusic Copyright in the 21st Century by Robert McParland\u003cbr\u003eRock Brands by Mike Emery\u003cbr\u003eMapping the Territory: Cultural Authenticity in World Music by Amy M. Corey\u003cbr\u003e'I Gave My Rights Away for A Song': How Billy Bragg Persuaded MySpace to Change its Tune on Ownership by Stephanie Vie\u003cbr\u003e15MB of Fame: Independent Musicians Use of MySpace by Marjorie D. Kibby\u003cbr\u003e'It's Up to You . . . No Really, It's Up to You': Radiohead, Big Music, and the Future of the 'Record\" Industry by Andrew deWaard\u003cbr\u003eRadio in the Digital Age by John Allen Hendricks\u003cbr\u003eThe Business of Radio in the Daily Soundscape: Reshaping and Defining the Music Box in Consumer Culture by Phylis Johnson\u003cbr\u003eThe Great Globalization Swindle? The Relationship between the Global Economy and Music Reconsidered by Franz Kasper Krönig\u003cbr\u003eThe Independent Record Store as a Site of Cultural Resistance and Anti-McDonaldization-A Case Study of The House of Records by David Gracon\u003cbr\u003eAbout the Editor and Contributors\u003cbr\u003e\u003cb\u003e Volumne III, Television\u003c\/b\u003e\u003cbr\u003ePreface\u003cbr\u003eAcknowledgments\u003cbr\u003eThe Business of Entertainment: Television Fans by Patricia Ventura and Beth Mauldin\u003cbr\u003eA Joint (Ad)Venture: The CW Network and the Youth Market by Caryn Murphy\u003cbr\u003eU Know U Love Me: New Media, Gossip Girl, and the (Un)Changing Discourses of Girlhood by Anne H. Petersen\u003cbr\u003eWhy I Love The OfficeAnd Hate NBC by Sue J. Kim\u003cbr\u003eWho Wins with NASCAR on ESPN? by Wanda Little Fenimore\u003cbr\u003eShow Time: Sundance Meets Corporate America by K. Alex Ilyasova\u003cbr\u003eTemporary Resistance: Strategies of Freelance Workers in American Network Television New by Kathleen Ryan\u003cbr\u003eThe Economic and Business Realities of Reality Television by Richard Crew\u003cbr\u003eReality Television: The Business of Mediating (Extra)Ordinary Life by Valerie Palmer-Mehta and Alina Haliliuc\u003cbr\u003e'The Way of the Gay' Bravo TV, Lifestyle Consumption, and Promotional Culture by Amy Corey\u003cbr\u003eThe 'Real' O.C.: Laguna Beach, MTV, and the Business of Reality Star Production by Anne H. Petersen\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cstrong\u003ePublisher Marketing\u003c\/strong\u003e:\u003cbr\u003e\n\u003cp\u003eWe love to be entertained. And today's technology makes that easier than ever. Listen to tunes while working out? No problem. Watch a movie on your cell phone? Can do. Get 450 channels of digital entertainment bounced off a satellite and into your vehicle--even while traveling through empty wastelands? Simple. But behind these experiences is a complex industry, dominated by a handful of global media conglomerates whose executives exert considerable influence over the artists and projects they bankroll, the processes by which products are developed, and the methods they use to promote and distribute entertainment. As this set shows, the industries in which commerce, art, and technology intersect are among the most fascinating in all of business. \u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003eEntertainment is a high-stakes industry where stars are born and flame out in the blink of an eye, where multimillion dollar deals are made on a daily basis, and where cultural mores, for better or worse, are shaped and reinforced. \n\u003ci\u003eThe Business of Entertainment\u003c\/i\u003e lifts the curtain to show the machinery (and sleight of hand) behind the films, TV shows, music, and radio programs we can't live without. \n\u003ci\u003eThe Business of Entertainment \u003c\/i\u003e comprises three volumes, covering movies popular music, and television. But it's not all about stars and glitter--it's as much about the nuts and bolts of daily life in the industry, including the challenges of digitizing content, globalization, promoting stars and shows, protecting intellectual property, developing talent, employing the latest technology, and getting projects done on time and within budget. Challenges don't end there. There's also advertising and product placement, the power of reviews and reviewers, the cancerous spread of piracy, the battles between cable and satellite operators (and the threat to both from telephone companies), the backlash to promoting gangsta lifestyles, and more. Each chapter is written by an authority in the field, from noted scholars to entertainment industry professionals to critics to screenwriters to lawyers. The result is a fascinating mosaic, with each chapter a gem that provides insight into the industry that--hands down--generates more conversations on a daily basis than any other. \n\u003cp\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\n\u003cp\u003e\n\u003cstrong\u003eReview Citations:\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"italic\"\u003eReference and Research Bk News\u003c\/span\u003e 02\/01\/2009 pg. 279 (EAN 9780275998387, Hardcover)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"italic\"\u003eLibrary Journal Supplements\u003c\/span\u003e 11\/15\/2008 pg. 62 (EAN 9780275998387, Hardcover)\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003cbr\u003e\n\u003cp\u003e\n\u003cstrong\u003eContributor Bio:\u003c\/strong\u003eSickels, Robert C\u003cbr\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRobert C. Sickels\u003c\/b\u003e is Associate Professor of American Film and Popular Culture at Whitman College. He has made several short films that have played nationally at festivals around the country. In addition to publishing numerous journal articles and book chapters, he is also the author of \u003ci\u003eAmerican Popular Culture Through History: The 1940s\u003c\/i\u003e (Greenwood, 2004), and \u003ci\u003eAmerican Film in the Digital Age\u003c\/i\u003e (Praeger 2009).\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\n\u003cbr\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\n","brand":"Praeger","offers":[{"title":"Default Title","offer_id":51502551040278,"sku":"9780275998387","price":205.2,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0857\/9910\/8886\/files\/9780275998387.jpg?v=1783310110","url":"https:\/\/lusper.myshopify.com\/products\/the-business-of-entertainment-3-volumes-praeger-perspectives","provider":"Lusperbooks","version":"1.0","type":"link"}