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The Wizard of Oz, Singin' in the Rain, Easter Parade, Gigi. These and many other classics of the American musical film were the products of Arthur Freed and his incredble MGM production unit, which ruled over Hollywood's golden age like a royal family. Freed brought together the top talent of the day - actors, writers, directors, choreographers, composers, and set designers - and gave them all the freedom to express themselves creatively and without concern for the usual constraints of monet, time, location, and equipment. The results are the films that will still have people singing and dancing for generations to come. Now, in anecdotes drawn from over 500 hours of taped interviews, studio documents, and with over 300 photographs, Hugh Fordin brings the Freed Unit together again for a nostalgic and fascinating look back at what happened - and what might have happened - in the movies' greatest musicals.
This new book offers an insightful guide into the complex tapestry of global entertainment media markets. It features analyses and case studies from leading international media scholars, who explore the causes and effects of globalization upon this ever-evolving industry. There are still opposing and restraining forces to globalization processes taking place in media, and the global mediascape comprises international, regional and local markets, and global and local players, which in recent years have evolved at an uneven pace. By analyzing similarities and differences in a landscape where driving forces of globalization meet locally situated audiences and institutions, this volume unveils a complex, contested space comprising global and local players, whose success is determined by both their national and international dimensions. It guides its readers to the geographical and intellectual exploration of the international media landscape, analyzing the global and local media players and their modus operandi. Editor Paolo Sigismondi’s insightful, engaging collection presents a compelling and novel approach to the analysis of global entertainment media. World Entertainment Media: Global, Regional and Local Perspectives is an ideal starting point for students and practitioners alike looking to build a solid understanding of the global mediascape, and a great resource for instructors and scholars in global media entertainment.
Entertainment Marketing NOW: Every Platform, Technology, and Opportunity Covers film, cable, broadcast, music, sports, publishing, social media, gaming, and more Reflects powerful trends ranging from smartphones to globalization Demonstrates breakthrough strategies integrating advertising, promotion, PR, and online content distribution By industry insiders with decades of experience as leaders and consultants Entertainment spending is soaring worldwide, driven by new technologies, new platforms, new business models, and unrelenting demand amongst seven billion consumers. That means entertainment marketing opportunities are soaring, too. But this business is more complex and competitive than ever-and it's changing at breakneck speed. Now, two leading practitioners show how to transform content into profits today and tomorrow...any content, on any platform, in any market, worldwide. You'll master innovative new ways to grab consumers' attention and wallets fast...make your experiences wannasee, haftasee, mustsee...drive more value through social platforms, mobile technologies, and integrated marketing strategies...overcome challenges ranging from bad buzz to piracy...fully leverage licensing, merchandising, and sponsorships...and successfully market all forms of entertainment.
A history of "the Freed Unit" at Metro-Goldwyn-Mayer, from the 1930s through the early 1970s.
This collection brings together the work of a range of scholars from around the world with different perspectives on one simple question: How can we assess the value of various entertainment products and forms? Entertainment is everywhere. The industries that produce it earn billions of dollars each year and employ hundreds of thousands of people. Its pervasiveness means almost everyone has something to say about entertainment, too, whether it be our opinion on the latest Hollywood blockbuster, a new celebrity couple, or our concerns over its place in the world of politics. And yet, in spite of its significance, entertainment has too-often been dismissed with surprising ease within the academy as a ‘mindless’, ‘lowbrow’ – even ‘dangerous’ – form of culture, and therefore unworthy of serious appraisal (let alone praise). Entertainment Values, challenges this assumption, offering a better understanding of what entertainment is, why we should take it seriously, as well as helping us to appreciate the significant and complex impact it has on our culture.
Today, vaudeville is imagined as a parade of slapstick comedians, blackface shouters, coyly revealed knees, and second-rate acrobats. But vaudeville was also America's most popular commercial amusement from the mid-1890s to the First World War; at its peak, 5 million Americans attended vaudeville shows every week. Telling the story of this pioneering art form's rise and decline, David Monod looks through the apparent carnival of vaudeville performance and asks: what made the theater so popular and transformative? Although he acknowledges its quirkiness, Monod makes the case that vaudeville became so popular because it offered audiences a guide to a modern urban lifestyle. Vaudeville acts celebrated sharp city styles and denigrated old-fashioned habits, showcased new music and dance moves, and promulgated a deeply influential vernacular modernism. The variety show's off-the-rack trendiness perfectly suited an era when goods and services were becoming more affordable and the mass market promised to democratize style, offering a clear vision of how the quintessential twentieth-century citizen should look, talk, move, feel, and act.
Ever wonder what really goes on behind the scenes of the Oscars? Want to know which actors are funny and which ones are just plain boring? What is it like to interview Madonna, Robin Williams, and Pierce Brosnan? All of these questions (and many more) are answered by veteran entertainment journalist Francine Brokaw. With a delightful mixture of wit and honesty, Francine gives readers an uncensored view of life as an entertainment journalist. In addition to her own perspective, Francine’s colleagues across the country weigh in on questions like . . . • What is the best swag you’ve ever received? • What is the most memorable interview you’ve ever conducted? • Have you ever had to interview someone rude? Perfect for a weekend read or as a companion text to an introductory course in mass media, Beyond the Red Carpet is an informative and entertaining book that covers every aspect of the business of entertainment journalism. Francine Brokaw has been a professional writer for over twenty years, focusing on entertainment and political journalism. Her work has appeared in numerous national and international magazines. She frequently interviews A-list celebrities such as Tom Hanks, Blake Lively, Julie Andrews, and Johnny Depp, but her favorite time period to write about is the studio days of Old Hollywood.
The entertainment industry has long been dominated by legendary screenwriter William Goldman’s “Nobody-Knows-Anything” mantra, which argues that success is the result of managerial intuition and instinct. This book builds the case that combining such intuition with data analytics and rigorous scholarly knowledge provides a source of sustainable competitive advantage – the same recipe for success that is behind the rise of firms such as Netflix and Spotify, but has also fueled Disney’s recent success. Unlocking a large repertoire of scientific studies by business scholars and entertainment economists, the authors identify essential factors, mechanisms, and methods that help a new entertainment product succeed. The book thus offers a timely alternative to “Nobody-Knows” decision-making in the digital era: while coupling a good idea with smart data analytics and entertainment theory cannot guarantee a hit, it systematically and substantially increases the probability of success in the entertainment industry. Entertainment Science is poised to inspire fresh new thinking among managers, students of entertainment, and scholars alike. Thorsten Hennig-Thurau and Mark B. Houston – two of our finest scholars in the area of entertainment marketing – have produced a definitive research-based compendium that cuts across various branches of the arts to explain the phenomena that provide consumption experiences to capture the hearts and minds of audiences. Morris B. Holbrook, W. T. Dillard Professor Emeritus of Marketing, Columbia University Entertainment Science is a must-read for everyone working in the entertainment industry today, where the impact of digital and the use of big data can’t be ignored anymore. Hennig-Thurau and Houston are the scientific frontrunners of knowledge that the industry urgently needs. Michael Kölmel, media entrepreneur and Honorary Professor of Media Economics at University of Leipzig Entertainment Science’s winning combination of creativity, theory, and data analytics offers managers in the creative industries and beyond a novel, compelling, and comprehensive approach to support their decision-making. This ground-breaking book marks the dawn of a new Golden Age of fruitful conversation between entertainment scholars, managers, and artists. Allègre Hadida, Associate Professor in Strategy, University of Cambridge
I hope by the time you reach the last chapter in this book called "MY FINAL THOUGHTS" you will have shared a journey with me through what we know today as the entertainment business. A journey that will show you what the business is, what it does, and who is affected by its agenda. The allure of the entertainment business has always been its ability to show you fantasy and then make that fantasy come to real life, in other words make you believe it. If you've ever listened to music, it got you, if you've ever watched television or a movie, it got you, if you've ever been involved in any form of entertainment or any form of communication, it got you.It's gotten us all. I remember back in 1974 watching a documentary film in high school called Subliminal Seduction. A guy named Wilson Bryan Key shared the process of subliminal advertising. He talked about the way they use film to arouse our desires to get us to do things and buy things we don't even want. Never in a million years could you have convinced me I would have the entertainment experience I've had and I'd be writing this book and that the foundation of the book would be about what came from that one moment in time. To this day, I've never forgotten that documentary and the things it talked about, it seemed so farfetched back then, but here we are today dealing with the same thing and it's as real as ever. They actually had a term back then they used to describe what subliminal seduction was. Even back then it should have alarmed us all, it was called "media rape" a term that infers someone is forceful in their attempt to get you to watch or participate in something that you may not be in agreement with.Things are no different now than back then. It's very easy to fool people, because we are so caught up in our own personal lives we haven't the time to pay any attention to what inevitably will happen to us all if we don't monitor the way we view entertainment. This isn't a forecast of the future nor is it prophecy, it's just good old fashioned truth that we're obligated to give some attention to.