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1.
《媒体管理杂志》2013,15(2):84-91
Films have become an essential asset to transnational media corporations (TNMCs) such as Sony, Time Warner, or Disney. Since the 1990s these and other corporations have utilized a strategy called event movie. The central goal of this marketing strategy is to ensure the success of a film, as well as to provide content for the many different divisions owned or controlled by TNMCs, for example home entertainment, cable, and pay-television. The event movie strategy takes advantage of the film industry's macro structure and combines established concepts (blockbuster, high-concept marketing) with new business models, turning the value chain into a value cycle. This article describes an analytical framework for the event movie strategy that is used by the world's leading TNMCs. As a conclusion, the framework of the event movie strategy can be applied to better understand the success of individual films. The concept can also be expanded to describe the individual TNMC's strategy within the field of audiovisual content. 相似文献
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David Crider 《Journal of Radio & Audio Media》2020,27(1):134-150
The 2015 radio controversy “SaladGate” revealed a lack of female music artists gaining airplay. This study expands a previous gender analysis of American music radio into a longitudinal study. A content analysis of 192 stations revealed that airplay is increasing for females. However, most of these gains came from the Top-40 format, echoing concerns about the recording industry’s preference that women become pop stars, leaving all other musical genres to men. The results suggest the existence of a gender order in music radio, one that works hand-in-hand with the music industry to exclude women. 相似文献
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Isabel Molina Guzmán 《Critical Studies in Media Communication》2013,30(3):232-251
This article analyzes the discourses of Latina/o identity embedded in the movie Frida, the Latino news coverage about the film, and an on-line chat stream about the film. Comparing the identity discourses circulated by the movie's producers, Latina/o journalists, and Latina/o audiences when discussing the film shows how different communities negotiate the meanings of ethnic identity. The study concludes that the discourses of ethnic identity circulated through the movie, news coverage, and chat stream disrupt notions of Latina/o ethnic identity as a stable and commodifiable demographic category. 相似文献
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《Journal of Radio & Audio Media》2013,20(1):165-180
This article critically examines the golden age radio mystery-thriller genre in order to rectify the history of the horror genre and contribute to the history of radio horror. An excavation of the mystery-thriller's generic roots and an analysis of the program Dark Fantasy illustrate how this genre included, but was not limited to, horror. It offered a broad variety of narrative types that are not addressed in histories of the horror genre or radio horror. Such generic and narrative diversity suggests fruitful connections with radio's science fiction, noir, and mystery genres, and with fantastic television anthologies like The Twilight Zone. 相似文献
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Abstract This article reviews the test of a home market model of international trade in media products using a movie industry database covering 6 major countries (the United States, Japan, Germany, Italy, France, and the United Kingdom) over the 1950 to 2003 period. In support of the model, this study finds a consistently positive relation between domestic theater box-office market shares and various measures of domestic movie spending or domestic movie attendance, and negative relations between domestic movie spending and the market shares of imported American film products. Based on these results, declining domestic film production industries in Europe and Japan after about the 1970s, along with growing dominance of the world film market by the United States, is attributed to a relatively rapid growth of domestic consumer spending on movies in the United States. 相似文献
6.
Frank M. Schneider 《Communication methods and measures》2017,11(1):49-75
Audiences’ movie evaluations have often been explored as effects of experiencing movies. However, little attention has been paid to the criteria viewers use when they evaluate a movie or its specific features. Adding to this, the present research introduces the idea of subjective movie evaluation criteria (SMEC), conceptualizes SMEC as the mental representation of important attitudes toward specific film features, and describes the scale construction for their measurement and its validation process. Findings from pilot work and 2 studies including over 1,500 participants provide first evidence that 8 dimensions—Story Verisimilitude, Story Innovation, Cinematography, Special Effects, Recommendation, Innocuousness, Light-heartedness, and Cognitive Stimulation—are largely determined by stable individual differences, substantially but differentially related to film-specific constructs and personality traits, and that the SMEC scales are reliable and valid instruments for measuring subjective movie evaluation criteria. 相似文献
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Jeffrey F. Klenotic 《The Communication Review》2013,16(4):461-495
In the 1920s, Hollywood moved to normalize a vertically integrated industrial structure based on centralized control over film production, distribution, and exhibition. The intensity of this effort at greater corporate rationalization increased dramatically between 1926 and 1932, as major studios aggressively assumed ownership of key first‐run movie palaces in cities and towns across America. Current studies of moviegoing during this period often suggest that studio control over exhibition helped standardize the contexts of film reception, thereby pressing pre‐existing class specificities of moviegoing into a more easily managed and legitimized middle‐class form of cultural practice. The case study presented here offers a theoretically‐informed but empirically grounded investigation of film exhibition and moviegoing during this period, and argues that film exhibition and moviegoing continued to be marked by cultural distinctions that helped articulate class relations in the wider social formation. 相似文献
8.
Kate Newbold 《Media History》2013,19(2):208-223
This essay explores the diverse field of audio records manufactured as tie-ins to popular American radio programs of the postwar period. Little has been written on such products as meaningful artifacts of consumption during any phase in broadcasting history. Yet radio records proved especially meaningful to customers in the 1940s and 1950s, as they offered a highly convenient way to upend rigid transmission schedules and program ephemerality. Here, I focus on spoken word radio albums that promised listeners important broadcast knowledge stored for ‘posterity’ on disk. Phonograph companies like Columbia banked on consumer interest in replay of these programs to sell radio records as technologies of permanence and documents with unparalleled historical and cultural value. I analyze program-to-record case studies like You Are There (1949) and The Quick and the Dead (1951) to illustrate how producers lay claim to historical authenticity via capturing, recording, or releasing transient moments on records. 相似文献
9.
This article examines the economic effect of the 3D feature on movie success by using secondary data from all movies released in digital 3D between 2004 and 2011, and a 2D control sample. Using propensity score matching, the authors provide evidence for a sample selection bias that leads to an overestimation of the 3D effect if not accounted for. Matching results show that 3D movies are, on average, not economically advantageous when compared with 2D “twins.” However, subsequent weighted least squares regression analyses find that the impact of 3D on movie success varies in a non-linear, inverted U-shaped way with a “trend” variable that measures the point in time of a movie release and with a number of movie genres. A post-hoc analysis shows that a consumer's decision to attend a 3D screening of a 3D movie (instead of a 2D screening) is influenced by several factors, including whether the film is originally shot in 3D or the 3D element is added during postproduction. 相似文献
10.
Harrod Suarez 《传播与批判/文化研究》2013,10(1):67-84
In this paper, I argue that listening to a film is as significant as watching it; in spite of what seems like a formalist argument, I examine in what ways such an approach intervenes in the production of knowledge around Philippine history and Filipina/o bodies. In Kidlat Tahimik's film, Mababangong Bangungot, an overprivileging of the visual aids and abets the film's masculinist nationalism, despite the best efforts of critics to find a “third term.” That third term just might come from listening to the film, which delivers its own kind of postcolonial and feminist critique, one which impacts how we think about contemporary communication and cultural studies. 相似文献
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Robert K. Avery 《Journal of Radio & Audio Media》2017,24(2):189-199
This introductory essay serves to frame this special public radio symposium that commemorates the 50th anniversary of the Public Broadcasting Act of 1967, on November 7, 2017. Drawing from his earlier writings on public broadcasting history, the author tells the story of how educational radio got its start and continued to struggle for survival until the fledgling enterprise could be reborn as public radio, a result of what may be the most significant piece of communications legislation of the second half of the 20th century. The author argues that despite the enterprise’s marginalized roots and repeated political attacks that span a half century, public radio, in one form or another, will survive well into the future. 相似文献
14.
This essay proposes the notion of the “jazz vernacular” as a tool specific to the Creole culture in New Orleans for understanding racial discourses of disposability both geographically and historically. We argue that the jazz vernacular is a discourse structured by musical repertoire. The jazz vernacular provides a channel for the historical pain of the black diaspora by playing in the background, both literally and figuratively, of communication in and about New Orleans. This essay considers Spike Lee's documentary When The Levees Broke to understand how the jazz vernacular frames hurricane Katrina as well as how it frames Lee's film as an intervention into “neoliberal” racial discourses. We argue that Lee's film utilizes the jazz vernacular as a metadiscourse to reinforce the ways in which residents used jazz to restructure cultural memory around the rhetoric of the dispossessed in New Orleans after Katrina. When the Levees Broke uses testimonials and affective communication to structure the narrative of Katrina through elements of the jazz vernacular like: displacement, embodiment, brashness, and improvisation to connect contemporary Creole New Orleanians to a long history of structural oppression and violence. By harnessing performative elements, Lee's film performs a jazz intervention into neoliberal discourses about freedom, defense, safety, and heroism that contrasts these discourses with the despair and the resistance of black America. Consequently, Lee's use of the jazz vernacular relies on native musical culture to recontextualize what neoliberalism had erased. 相似文献
15.
刘维 《浙江传媒学院学报》2003,10(3):31-33
重新认识电影与文学的关系和新的电影观的确立绝非没有积极的作用,尤其是在世界电影正通过高科技大踏步走向"景观化"、而中国电影由于忽视了视昕语言已远远落后于世界电影潮流的时候,这种对电影本性的寻求和回归显得更加重要. 相似文献
16.
The southernmost area of Texas, known as the Rio Grande Valley, is largely absent from histories of early radio. The social, political, and economic history of the Valley from 1848 to the 1950s prompts the authors to approach the region’s broadcast history from the context of rural and farm radio. The papers of broadcaster Bradford Smith, housed at the Margaret H. McAllen Memorial Archives at the Museum of South Texas History, provide an entryway for Valley radio to become part of the larger body of rural and farm radio scholarship. Smith’s radio reports emphasize the centrality of localism for remote communities, and they provide competing narratives about the region’s modern identity and its Mexican roots. 相似文献
17.
Kristen Hoerl 《Communication Studies》2013,64(4):355-370
Spike Lee's film Malcolm X (1992) presented Malcolm X's life story using the narrative framework of the American Dream myth central to liberal ideology. Working from Gramsci's notion of common sense in the process of hegemony, I explain how Lee appealed to this mythic structure underlying American popular culture to give a platform to Malcolm X's controversial ideas. By adopting a common sense narrative to tell Malcolm X's life story, this movie functioned as a form of cinematic jujitsu that invited critical consciousness about the contradictions between liberal ideology and the life experiences of racially excluded groups. Other formal devices in Lee's film incorporated Malcolm X's rhetoric within the common sense of mainstream politics and connected Malcolm X to more contemporary racial struggles. This analysis suggests that common sense framings of controversial figures may provide a limited space to challenge institutionalized forms of racism within popular culture. 相似文献
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Patrick Parsons 《Journal of Radio & Audio Media》2014,21(1):66-79
This article examines the early history of the media remote control, focusing on the technical development of radio remotes in the 1920s and 1930s. Using a co-evolutionary model of technical change, it considers the technical and social conditions that served as the foundation for the first radio remotes. Drawing on patent records, it then examines the development, firstly, of wired radio remotes and, secondly, of wireless radio remotes, offering evidence of a direct patent-based link between the latter and the earliest successful wireless television remote of the 1950s. 相似文献
20.
Jennifer Hyland Wang 《Journal of Radio & Audio Media》2019,26(1):63-74
The physical remnants of long-lost radio programs are not the only sounds that broadcast historians must unearth to unravel the mysteries of radio production and reception. In this essay, I examine the audio tapes of a 1980 oral history interview of Isabel Baumann, a Wisconsin farm wife, rural activist, and radio personality who appeared for twenty years on a monthly local radio show called The We Say What We Think Club. I tell the story of how these recordings came to be archived at the State Historical Society of Wisconsin and the unique institutional context that preserved Baumann’s voice for future generations. The tapes of Baumann’s recollections of her farm life and radio career offer us not only one of the few examples of the sound of Baumann’s voice, but gives insight into how the very process of making oral histories helped her (and ultimately, us) understand the power of her radio work. Oral histories offer a space for women, so often marginalized in the industry and in historical narratives, to say what they think. Most importantly, the audio recovered from these academic projects allow historians to record with more fidelity what these women thought. 相似文献