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1
Incongruous entertainment: Camp, cultural value, and the MGM musical. Durham: Duke University Press, 2005.
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Harrington, Stephen, ed. Entertainment Values. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-47290-8.
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(India), Haryana. Haryana Value Added Tax Act, 2003: With ready reckoner & procedure, rules, forms, saved portion, CST Act & rules & forms, CST (Pb.) Haryana rules, LADT act & rules, RTI act & state rules, Punjab Passengers Goods & Taxation Act, 1952 & rules, Punjab Entrtainemnt [sic] Duty Act & rules, Punjab Entertainment (Cinematograph) Shows act & rules. 3rd ed. Delhi: Virmani Publications, 2006.
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4
Make-believe media: The politics of entertainment. New York: St. Martin's Press, 1992.
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Cohan, Steven. Incongruous Entertainment: Camp, Cultural Value, and the MGM Musical. Duke University Press, 2005.
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6
Herx, Henry, and Tony Zaza. The Family guide to movies on video: The moral and entertainment value of 5,000 movies on TV and videocassette. Crossroad, 1988.
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7
Smallwood, Brian MacInnis. Productivity Through Wellness for Live Entertainment and Theatre Technicians: Increasing Productivity, Avoiding Burnout, and Maximizing the Value of an Hour. Taylor & Francis Group, 2020.
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Smallwood, Brian MacInnis. Productivity Through Wellness for Live Entertainment and Theatre Technicians: Increasing Productivity, Avoiding Burnout, and Maximizing the Value of an Hour. Taylor & Francis Group, 2020.
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Smallwood, Brian MacInnis. Productivity Through Wellness for Live Entertainment and Theatre Technicians: Increasing Productivity, Avoiding Burnout, and Maximizing the Value of an Hour. Taylor & Francis Group, 2020.
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Smallwood, Brian MacInnis. Productivity Through Wellness for Live Entertainment and Theatre Technicians: Increasing Productivity, Avoiding Burnout, and Maximizing the Value of an Hour. Taylor & Francis Group, 2020.
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11
Guthrie, Graeme. Fighting back. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190641184.003.0013.
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A board of directors that attempts to defeat a hostile takeover attempt will try to raise the cost and lower the value of the shares the raider needs to complete the takeover. This can be achieved using binding contractual arrangements with the target’s customers, suppliers, and employees, that lower the value of the firm if it is acquired, but do not directly affect it otherwise. Boards resisting a hostile takeover will also issue carefully designed securities to the target’s bondholders and shareholders that have a similar effect. Ultimately, a target’s board can reconfigure the firm’s capital structure to defeat a takeover attempt. This chapter describes the tactics involved using the bitter takeover battle involving Carl Icahn and Lions Gate Entertainment.
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Martin, Brian. The Business of History. Edited by Paula Hamilton and James B. Gardner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199766024.013.6.
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This chapter considers the business of history in the context of the common business mission to satisfy customers and employees while generating sufficient profits to sustain the enterprise. It emphasizes the customer’s role in defining markets for history and explores how customers value history to establish identity, to obtain and apply historical knowledge, or for entertainment. It argues that history businesses need professional historians who are competitive, collaborative, and capable while suggesting criteria for good history and skill sets for marketable historians. Finally, it briefly highlights the role of money in fueling and measuring business success while challenging the notion that history produced for a profit is inherently untrustworthy.
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pastor, Solomon Jerry, ed. Arts, entertainment & Christian values: Probing the headlines that impact your family. Grand Rapids, MI: Kregel Publications, 2000.
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Church, David. Post-Horror. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474475884.001.0001.
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Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed “elevated horror” and “post-horror” in popular film criticism, texts such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from high-minded critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema. It argues that the affect produced by these films’ minimalist aesthetic has fueled taste-based disagreements between professional film critics, genre fans, and more casual viewers about whether the horror genre can or should be upheld as more than a populist entertainment form, especially as the genre turned away from the post-9/11 debates about graphic violence that consumed the first decade of the twenty-first century. The book thus explores the aesthetic qualities, historical precursors, affective resonances, and thematic concerns of this emerging cycle by situating these texts within revived debates between over the genre’s larger artistic, cultural, and entertainment value. Chapters include thematic analyses of trauma, gaslighting, landscape, existential dread, and political identity across a range of films straddling the line between art-horror and multiplex fare since approximately 2013.
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Scott, Peter. America’s Route to a Mass Market in Radio. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198783817.003.0005.
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The introduction of entertainment radio in the United States was a spectacular success, with far-reaching economic and social impacts. However, as with many new technology booms, most of the leading early radio equipment manufacturers failed to maintain their positions as key players in the market over the long term. This chapter charts the early growth of the American radio manufacturing sector, the importance of intensive marketing, and strong downstream value chains to developing and sustaining successful brands, and the reasons why—with one exception—the dominant set makers of the 1930s were not the big names of the 1920s. It also discusses the development of US marketing techniques that were to prove important to the marketing of radio in Britain, together with others—such as door-to-door selling—that were less appropriate for British conditions.
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Parenti, Michael. Make-Believe Media: The Politics of Entertainment. Wadsworth Publishing, 1991.
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Parenti, Michael. Make-Believe Media: The Politics of Entertainment. St Martins Pr, 1991.
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18
Shope, Bradley. Orchestras and musical intersections with regimental bands, blackface minstrel troupes, and jazz in India, 1830s–1940s. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0013.
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This chapter discusses blackface minstrel troupes, British regimental bands and jazz orchestras performing in India from the mid-nineteenth century to the mid-twentieth century. It details their challenges and strategies for success, and suggests that their capacity to facilitate cosmopolitan encounters in the wider world contributed to their popularity and value. It first introduces problems and practicalities in maintaining bands performing British military music in India in the mid- and late-nineteenth century. It then briefly introduces the character and scope of ballroom dance music and blackface minstrelsy in urban centres. To end, it examines the character of jazz orchestras between the 1920s and 1940s, detailing the role of the gramophone industry, entertainment venues such as hotel and cinema hall ballrooms, and the Allied military in Calcutta on their growth and profitability. In each example, it articulates thoughts on the role and usefulness of orchestras and notes issues confronting their musicians.
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Acland, Charles R. Consumer Electronics and the Building of an Entertainment Infrastructure. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039362.003.0011.
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This concluding chapter explores how Hollywood's “technological tentpoles”—films that strategically promote cross-media commodities and new generations of devices, platforms, and hardware—serve as vehicles for the advancement of a broader technological system. In light of this cross-media industrial circumstance, the highly visible, international, big-budget blockbuster production makes manifest the developing relationships among media forms. The blockbuster, in a time of expanding talk and exploitation of “long tail” microcultural economies, advances multiple products and devices at once, and it does so through the formal mechanisms of cross-media promotional deals as well as through indirect support by being the most highly valued content for various platforms. Moving between entertainment industry events and a proliferating field of consumer electronics, the chapter then shows how audiovisual infrastructure is a product not only of economic priorities, but also of the conceptual frames that are circulated about them.
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Arts, Entertainment, and Christian Values: Probing the Headlines (Probing the Headlines That Impact Your Family). Kregel Publications, 2000.
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Henry, Herx, Zaza Tony 1945-, and United States Catholic Conference, eds. The Family guide to movies on video: The moral and entertainment values of 5,000 movies on TV and videocassette. New York: Crossroad, 1988.
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22
Berliner, Todd. Hollywood Aesthetic. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.001.0001.
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Hollywood makes the most widely successful pleasure-giving artworks the world has ever known. The American film industry operates under the assumption that pleasurable aesthetic experiences, among large populations, translate into box office success. More than any other historical mode of art, Hollywood has systematized the delivery of aesthetic pleasure, packaging and selling it on a mass scale. If the Hollywood film industry succeeds in delivering aesthetic pleasure both routinely and, at times, in an outstanding way, then we should ultimately regard Hollywood cinema as an artistic achievement, not merely a commercial success. Hollywood Aesthetic accounts for the chief attraction of Hollywood cinema worldwide: its entertainment value. The book addresses four fundamental components of Hollywood’s aesthetic design: narrative, style, ideology, and genre. Grounded in film history and in the psychological and philosophical literature in aesthetics, the book explains: (1) the intrinsic properties characteristic of Hollywood cinema that induce aesthetic pleasure; (2) the cognitive and affective processes, sparked by Hollywood movies, that become engaged during aesthetic pleasure; and (3) the exhilarated aesthetic experiences afforded by an array of persistently entertaining Hollywood movies. Offering a comprehensive appraisal of the capacity of Hollywood cinema to provide aesthetic pleasure, the book sets out to explain how Hollywood creates, for masses of people, some of their most exhilarating experiences of art.
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MacDonald, John, Charles Branas, and Robert Stokes. Changing Places. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691195216.001.0001.
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The design of every aspect of the urban landscape—from streets and sidewalks to green spaces, mass transit, and housing—fundamentally influences the health and safety of the communities who live there. It can affect people's stress levels and determine whether they walk or drive, the quality of the air they breathe, and how free they are from crime. This book provides a compelling look at the new science and art of urban planning, showing how scientists, planners, and citizens can work together to reshape city life in measurably positive ways. It demonstrates how well-designed changes to place can significantly improve the well-being of large groups of people. The book argues that there is a disconnect between those who implement place-based changes, such as planners and developers, and the urban scientists who are now able to rigorously evaluate these changes through testing and experimentation. It covers a broad range of structural interventions, such as building and housing, land and open space, transportation and street environments, and entertainment and recreation centers. Science shows we can enhance people's health and safety by changing neighborhoods block-by-block. The book explains why planners and developers need to recognize the value of scientific testing, and why scientists need to embrace the indispensable know-how of planners and developers. It reveals how these professionals, working together and with urban residents, can create place-based interventions that are simple, affordable, and scalable to entire cities.
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Allen, William. 4. Drama. Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199665457.003.0004.
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‘Drama’ considers two of the most popular genres of ancient literature — tragedy and comedy — and tries to account for their success as forms of mass entertainment. It shows how each of the surviving major playwrights, Greek and Roman, engages with the values of his audience, and encourages them to relate the world on stage to their own experience. Theatre was an important part of community life in the ancient world. The surviving Greek tragedies of Aeschylus, Sophocles, Euripides and the comedies of Cratinus, Eupolis, and Aristophanes are reviewed along with the Roman comedies of Plautus and Terence and tragedies of Seneca.
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Romanowski, William D. English Cinema and the Bible. Edited by Paul C. Gutjahr. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190258849.013.1.
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As prop, subject, quotation, or theme, the Bible appears both explicitly and implicitly in countless movies. Arranged to provide some historical context while considering films from the silent era to the present, this account considers significant films as part of an ongoing struggle between two dynamic institutions—religion and cinema—over cultural power and the function of entertainment. The tension between commercial and religious values is crucial to understanding the production and reception of Bible-related films and surrounding discourse. More than explicitly Bible-based fare, movies that fuse biblical motifs with American ideals and assumptions demonstrate the significance of the Bible and cinema as an expression of American culture.
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Gibbons, William. Unlimited Replays. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.001.0001.
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This book explores the intersections of values and meanings in two types of replay: where video games meet classical music, and vice versa. From the bleeps and bloops of 1980s arcades to the world’s most prestigious concert halls, classical music and video games have a long history together. Medieval chant, classical symphonies, postminimalist film scores, and everything in between fill the soundtracks of many video games, while world-renowned orchestras frequently perform concerts of game music to sold-out audiences. Yet combining video games and classical music also presents a challenge to traditional cultural values around these media products. Classical music is frequently understood as high art, insulated from the whims of popular culture; video games, by contrast, are often regarded as pure entertainment, fundamentally incapable of crossing over into art. By delving into the shifting and often contradictory cultural meanings that emerge when classical music meets video games, Unlimited Replays offers a new perspective on the possibilities and challenges of art in contemporary society.
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Dallam, Marie W. The Wider World of the 21st-Century Cowboy Christian. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190856564.003.0006.
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Chapter 6 pulls away from the cowboy church specifically to examine aspects of the broader cultural context of cowboy Christians. Topics include media and entertainment that deliberately blend ideas of cowboy values with religion, and how they are packaged for consumption by cowboy Christians. Examples including racetrack chaplaincy, Christian horse whisperers, and television shows demonstrate cowboy Christian alignment with the trends of consumerism found in mainstream evangelicalism. The second half of the chapter revisits and concludes various thematic discussions raised throughout the book, comparing the cowboy church to the Jesus movement of the 1960s and 1970s and the recurring iterations of muscular Christianity, and schematically charting potential developments for the cowboy church on the basis of developmental patterns for other new religious movements.
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Epstein, William M. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190467067.003.0011.
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The Conclusion argues that the nation’s attachment to policy romanticism prevents its social maturation. Incorporating freely chosen, widely cherished values, policy romanticism remains antagonistic to liberal democracy, or at least to the Enlightenment hopes for social progress. Americans are not innocent of American problems. The nation’s problems are created as the effects of consensual, embedded norms. In contrast, the control of social policy making by illegitimate elites is so improbable that mass preference and mass consent would seem to be a logical default position. Mass consent should be specifically refuted with hard evidence of conspiracies of one sort or another before considering other explanations. The political passivity of Americans signaling contentment or at least acceptance is a more reasonable surmise than the success of hidden evil forces in pacifying the population through a narcosis of liquor, drugs, and the nearly infinite diversions of numbing entertainment.
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Gordon, Robert, and Olaf Jubin, eds. The Oxford Handbook of the British Musical. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.001.0001.
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As the first comprehensive academic survey of British musical theatre from its origins to its current state, this volume is a detailed guide to understanding a vibrant form of entertainment ‘made in Britain’. It provides both a historical account of musical theatre from 1728 to the present day and a range of in-depth critical analyses of key works and productions that illustrate the aesthetic values and sociocultural meanings of the genre. The twenty-eight essays offer new perspectives on the British musical, conceiving it as a cultural form complementary to the American musical rather than its poor relation, and questioning the cultural bias that views shows initiated in the West End of London as second-rate imitations of classic Broadway models. As a result of investigating British musicals, which are situated between commercial and subsidized theatre, in the context of British popular culture and British social history, the handbook reveals their distinctive range of cultural priorities and artistic traditions with the aim of promoting scholarly argument and discussion about its unique musical and dramaturgical forms.
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Doyle, Julie, Nathan Farrell, and Michael K. Goodman. Celebrities and Climate Change. Oxford University Press, 2017. http://dx.doi.org/10.1093/acrefore/9780190228620.013.596.
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Since the mid-2000s, entertainment celebrities have played increasingly prominent roles in the cultural politics of climate change, ranging from high-profile speeches at UN climate conferences, and social media interactions with their fans, to producing and appearing in documentaries about climate change that help give meaning to and communicate this issue to a wider audience. The role afforded to celebrities as climate change communicators is an outcome of a political environment increasingly influenced by public relations and attuned toward the media’s representation of political ideas, policies, and sentiments. Celebrities act as representatives of mass publics, operating within centers of elite political power. At the same time, celebrities represent the environmental concerns of their audiences; that is, they embody the sentiments of their audiences on the political stage. It is in this context that celebrities have gained their authority as political, social, and environmental “experts,” and the political performances of celebrities provide important ways to engage electorates and audiences with climate change action.More recently, celebrities offer novel engagements with climate change that move beyond scientific data and facilitate more emotional and visceral connections with climate change in the public’s everyday lives. Contemporary celebrities, thus, work to shape how audiences and publics ought to feel about climate change in efforts to get them to act or change their behaviors. These “after data” moments are seen very clearly in Leonardo DiCaprio’s documentary Before the Flood. Yet, with celebrities acting as our emotional witnesses, they not only might bring climate change to greater public attention, but they expand their brand through neoliberalism’s penchant for the commoditization of everything including, as here, care and concern for the environment. As celebrities build up their own personal capital as eco-warriors, they create very real value for the “celebrity industrial complex” that lies behind their climate media interventions. Climate change activism is, through climate celebrities, rendered as spectacle, with celebrities acting as environmental and climate pedagogues framing for audiences the emotionalized problems and solutions to global environmental change. Consequently, celebrities politicize emotions in ways that that remain circumscribed by neoliberal solutions and actions that responsibilize audiences and the public.
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Garretson, Jeremiah J. The Path to Gay Rights. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479822133.001.0001.
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Why Tolerance Triumphed is the first accessible, data-driven account of how the LGBTQ movement achieved its most unexpected victory---the liberalization of mass opinion on gay rights. The current academic understanding of how social movements change mass opinion---through sympathetic media coverage and endorsements from political leaders---cannot provide an adequate explanation for the phenomenal success of the LGBTQ movement at changing the public’s views. The book argues that these factors were not the direct cause of changing attitudes, but contributed indirectly by signalling to other LGBTQ people across the United States that their lives were valued. The net result was a huge increase in the number of LGBTQ people who ‘came out’ and lived their lives openly. Building on recent breakthroughs in social and political psychology, the study introduces the theory of Affective Liberalization. This theory states that meeting and interacting with lesbians and gays in person---or by watching lesbian and gay characters via entertainment media---leads to more durable attitude change by subtly warming peoples’ subconscious reactions to lesbians and gays. Using expansive date-sets and cutting edge social science methods, the book finds that increased exposure to LGBTQ people, triggered by ACT-UP’s activism, provides a singular, compelling and complete explanation for the success of the LGBTQ movement in changing mass opinion.
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Seeman, Sonia Tamar. Sounding Roman. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199949243.001.0001.
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Sounding Roman traces the role of music performance in maintaining, shaping, and challenging ascribed social identities of Roman (“Gypsy”) groups, who constitute one of the most socially reviled and yet culturally romanticized minorities in Turkey. Roman communities have been a ubiquitous presence, contributing to social, cultural, and economic life since the Byzantine period in Anatolia up to the present. Alternately exoticized and reviled, Roman communities were valued for their occupational skills and entertainment services. Based on detailed historiographic study and twenty years of ethnographic work, this book examines the issue of cultural and musical representations for creating, maintaining, and contesting social identity practices through philosophical reflections on meaningful symbolic configurations in metaphoricity, iconicity, and mimesis paired with a sociological interrogation of unequal power relationships. Through these lenses, the book investigates the potential of musical performance to configure new social identities and open pathways for political action, while exploring the limits of cultural representation to effect meaningful social change. The book begins with historical representations of çingene as a marked ethnic and social group during the Byzantine to late Ottoman Empire. It then traces how such constructions were revised during the period of the modern Turkish Republic through the creation of a commercial musical genre, the Roman dance tune (Roman oyun havası). The book includes a companion website with illustrative texts, images, and audio examples.
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Gray, Joanne Elizabeth. Google Rules. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190072070.001.0001.
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Google Rules traces the rise of Google through its legal, commercial, and political negotiations over copyright. The first part of the book shows how the public interest suffers in a digital copyright policy debate dominated by powerful industry stakeholders. The second part explores Google’s contributions to digital copyright and the copyright policies that Google enforces across its own platforms. Increasingly, Google self-regulates and negotiates with media and entertainment companies to privately devise copyright rules. Google then deploys algorithmic regulatory technologies to enforce those rules. Google’s private copyright rule-making and algorithmic enforcement limits transparency and accountability in digital copyright governance and privileges private interest and values over the public interest. Today, Google reigns over a technological and economic order that features empowered private actors and rapidly changing technological conditions. How to effectively regulate Google—in an evolving technological environment and in order to achieve public interest outcomes—is one of the most pressing policy questions of our time. Google Rules provides several strategies for taking up this challenge. While the parameters may be narrowly set upon one firm and one area of intellectual property law, ultimately, the book is a contribution to a much broader conversation about a new generation of monopolistic companies, born from the technological developments of the digital age, and the social, political, and economic influence they have acquired in contemporary society.
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Palmer, Landon. Rock Star/Movie Star. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190888404.001.0001.
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When midcentury Hollywood found itself struggling to compete within an expanding entertainment media landscape, certain producers and studios saw an opportunity in making films that showcased performances by rock ’n’ roll stars. Such stars eventually found cinema to be a useful space to extend their creative practices, and the motion picture and recording industries increasingly saw cinematic rock stardom as a profitable means to connect multiple media properties. This book examines how casting rock stars for film provided a tool for bridging new relationships across media industries and practices. Rock Star/Movie Star offers a new perspective on the role of stardom within the convergence of media industries. While hardly the first popular music culture to see its stars making the transition to screen, the timing of rock’s emergence and its staying power within popular culture proved fortuitous for a motion picture business searching for its place in the face of continuous technological and cultural change. At the same time, a post-star-system film industry provided a welcoming context for rock stars who have valued authenticity, creative autonomy, and personal expression. Examining stars from Elvis Presley to Madonna, this book uses illuminating archival resources to demonstrate how rock stars have often proven themselves to be prominent film workers exploring this terrain of platforms old and new—ideal media laborers whose power lies in the fact that they are rarely recognized as such.
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Keenan, Siobhan. The Progresses, Processions, and Royal Entries of King Charles I, 1625-1642. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198854005.001.0001.
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The Progresses, Processions, and Royal Entries of King Charles I, 1625–1642 is the first book-length study of the history, and the political and cultural significance, of the progresses, public processions, and royal entries of Charles I. As well as offering a much fuller account of the king’s progresses and progress entertainments than currently exists, this study throws new light on one of the most vexed topics in early Stuart historiography—the question of Charles I’s accessibility to his subjects and their concerns, and the part that this may, or may not, have played in the conflicts which culminated in the English civil wars and Charles’s overthrow. Drawing on extensive archival research, the book opens with an introduction to the early modern culture of royal progresses and public ceremonial as inherited and practised by Charles I. Part I explores the question of the king’s accessibility and engagement with his subjects further through case studies of Charles’s ‘great’ progresses in 1633, 1634, and 1636. Part II turns attention to royal public ceremonial culture in Caroline London, focusing on Charles’s royal entry on 25 November 1641. More widely travelled than his ancestors, Progresses reveals a monarch who was only too well aware of the value of public ceremonial and who did not eschew it, even if he was not always willing to engage in ceremonial dialogue with his people or able to deploy the power of public display to curry support for his policies as successfully as his Tudor and Stuart predecessors.
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IN DER FERNE EIN HIMMEL: Ein modernes Märchen. Munich, Germany: Ann Sophii, 2011.
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