Relevant bibliographies by topics / Entertainment and media law

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Entertainment and media law'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Entertainment and media law"

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Pertierra, Anna Cristina. "Entertainment publics in the Philippines." Media International Australia 179, no. 1 (January 11, 2021): 66–79. http://dx.doi.org/10.1177/1329878x20985960.

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Since the late 1980s, Filipino entertainment television has assumed and maintained a dominance in national popular culture, which expanded in the digital era. The media landscape into which digital technologies were launched in the Philippines was largely set in the wake of the 1986 popular movement and change of government referred to as the EDSA revolution: television stations that had been sequestered under martial law were turned over to family-dominated commercial enterprises, and entertainment media proliferated. Building upon the long development of entertainment industries in the Philippines, new social media encounters with entertainment content generate expanded and engaged publics whose formation continues to operate upon a foundation of televisual media. This article considers the particular role that entertainment media plays in the formation of publics in which comedic, melodramatic and celebrity-led content generates networks of followers, users and viewers whose loyalty produces various forms of capital, including in notable cases political capital.
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Al-Atawneh, Muhammad. "Leisure and Entertainment (malāhī) in Contemporary Islamic Legal Thought: Music and the Audio-Visual Media." Islamic Law and Society 19, no. 4 (2012): 397–415. http://dx.doi.org/10.1163/156851912x639932.

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AbstractThe status of leisure and entertainment (hereafter: malāhī) is an age-old issue that emerged during the very early stages of Islam and is still being debated today. Generations of Muslim scholars and jurists have attempted to identify and delineate the permissible and the forbidden in this regard to accommodate the socio-cultural contexts of their respective societies. This article examines contemporary Islamic discourse on entertainment, particularly music and audio-visual media, e.g., television, Internet, cinema and theater. How do contemporary Muslim scholars define and relate to malāhī? What is the nature and characteristics of legitimate entertainment and leisuretime activities from the Islamic religio-legal perspective? I suggest that modern-day Muslim scholars, like their predecessors, never came to an agreement on the nature and scope of malāhī. These scholars merely acknowledge that different ethico-legal boundaries are applied to malāhī in contemporary Muslim societies.
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Sarnelli, Viola, and Hafssa Kobibi. "National, regional, global TV in Algeria: University students and television audience after the 2012 Algerian media law." Global Media and Communication 13, no. 1 (March 14, 2017): 57–83. http://dx.doi.org/10.1177/1742766517694473.

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This article investigates new trends in the consumption of national and transnational television channels in Algeria, following the changes introduced by the 2012 media law. Research on this topic was conducted through a small-scale audience survey among university students in Mostaganem, West Algeria, at the beginning of 2015. As with other neighbouring countries, since the 1980s, Algeria has been exposed to a rising amount of transnational television flows. After an initial French dominance, the last 10 years saw a gradual growth in the Gulf channels’ penetration, while national television became increasingly neglected. This partially changed after the 2011 uprisings as many Arab countries accelerated a process of media liberalization. In Algeria, the media law approved in 2012 opened the door to the creation of private television channels. The article explores the choices made by young Algerians in terms of national and transnational television content, both for news and for entertainment. Based on the results of our survey and on other historical and contextual data, we argue that a new national perspective on news and current affairs is emerging in the country, together with the success of non-Western productions for entertainment formats. In both these domains, students from different faculties and backgrounds showed similar preferences, going beyond the linguistic, cultural and social segmentation that has characterized the Algerian audience since the emergence of satellite television.
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Hanafi, Lukmanul Hakim, Zulkifli Mohamad Al-Bakri, and Raja Raziff Raja Shaharuddin. "Hiburan: Muzik, Nyanyian, Nasyid Menurut Perspektif Fiqh dan Fatwa." Journal of Fatwa Management and Research 3, no. 1 (October 23, 2018): 83–108. http://dx.doi.org/10.33102/jfatwa.vol3no1.110.

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Nowadays, entertainment has become part of human life especially to the Muslim young generation. Entertainment is a need at any time and anywhere such as while driving, at home or during leisure time. However, there is a different opinion regarding entertainment itself. Some of the views opine that it is forbidden either through media or any other medium, and there is also an opinion saying that it is only permissible by medium of nasyid. This article intends to explain and discuss the law or ‘hukm’ of media entertainment either by way of hearing the music, song, nasyid or by manner of singing from fiqh and fatwa perspectives. Documentary research method will be adopted in the study and gathering of information on views from the Islamic perspective with regards to this issue. Outcome of research asserts that Islam does not object to music whether in the traditional or modern form as long as it does not transgress with the teachings of Islam. The Fuqaha opine that entertainment is permissible in Islam in so far as it does not contain elements of neglect, badness or forbidden by Islam. Keywords: Entertainment, music, fatwa, traditional, permissible. Abstrak Mutakhir kini, hiburan merupakan sebahagian daripada kehidupan manusia, terutamanya umat Islam daripada golongan muda. Di mana jua berada sama ada ketika memandu, di rumah atau ketika waktu lapang pasti hiburan menjadi teman lapangan. Namun begitu, persoalan yang timbul adalah berkaitan dengan hiburan sendiri, terdapat pendapat mengatakan ia haram tidak kira sama ada berhibur melalui media mahupun sebaliknya, dan terdapat juga pendapat mengatakan ianya harus jika berhibur dengan irama nasyid sahaja. Artikel ini bertujuan menjelaskan dan membincangkan hukum berhibur melalui media sama ada dengan cara mendengar muzik, lagu, nasyid dan menyanyi dari pandangan fiqh dan fatwa. Metodologi analisa dokumen digunakan bagi meneliti dan memperolehi maklumat berkaitan pandangan Islam akan isu ini. Dapatan kajian mendapati Islam tidak menghalang sesuatu seni muzik sama ada tradisional atau moden selagi mana ia tidak bercanggah dengan syariat Islam. Fuqaha berpandangan bahawa hiburan dalam Islam adalah harus hukumnya melainkan hiburan itu jelas mendatangkan kelalaian dan keburukan ataupun wujudnya unsur-unsur yang haram dalamnya maka jadilah ia haram. Kata kunci: Hiburan, muzik, fatwa, tradisional, harus.
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Pant, Ritika. "Televisual Tales From Across the Border: Mapping Neo-Global Flows in Media Peripheries." BioScope: South Asian Screen Studies 10, no. 2 (December 2019): 164–82. http://dx.doi.org/10.1177/0974927619897439.

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Foreign programming on Indian television was largely dominated by American and British TV programmes until 2014, when a Hindi entertainment channel Zindagi, owned by Zee Entertainment Enterprises, began broadcasting syndicated television content from Pakistan. The channel’s tagline Jodey Dilon Ko (uniting hearts) shaped the possibility for peaceful reconciliation between the two political rivals, India and Pakistan, by offering ‘ sarhad paar ki kahaaniyaan’ (stories from across the border) to Indian audiences. The popularity of Pakistani serials in India may be observed against the backdrop of a television industry inundated with formulaic saas–bahu (mother-in-law/daughter-in-law) plotlines over the last decade. While Indian television and films have been a part of Pakistani popular culture for years, Pakistani serials like Humsafar (life partner, 2011) and Zindgai Gulzar Hai (life is a bed of roses, 2012) broadcast on Zindagi gave Indian audiences a peek into their neighbours’ socio-cultural environment. These serials dismantled the conventional mediatised image of the distanced ‘other’ and redefined the former perception of ‘foreign’ as essentially ‘Western’ in Indian television programming. Through an analysis of new trajectories of flows between media peripheries that I term ‘neo-global’ flows, this article argues that Pakistani dramas broadcast on Zindagi between 2014 and 2016 offered a ‘mediating space’ to Indian audiences by maintaining a balance between Indian tradition and Pakistani modernity.
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Waldin, Valerie Lang. "Introduction to animal law: Resources for online research and study." College & Research Libraries News 81, no. 1 (January 6, 2020): 40. http://dx.doi.org/10.5860/crln.81.1.40.

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Animal law is the body of statutory and case law governing the treatment of nonhuman animals, including wildlife, companion animals, and animals used for research, entertainment, and food. Emerging rapidly on academic and legal horizons since 2000, entire programs of study at all levels are now dedicated to training students to be effective humane educators, attorneys, law enforcement officers, and citizens.High-profile court cases, such as SeaWorld v. California Coastal Commission, along with the proliferation of animal protection documentaries, such as Blackfish, Earthlings, and Tyke: Elephant Outlaw, have raised profound questions about our treatment of other species. Animal protection is now a mainstream phenomenon, largely due to the Internet and social media providing instant visibility to and awareness of the critical issues of our time.
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Rincón, Omar. "New Television Narratives: Entertainment, Telling, Citizenship, Experimental." Comunicar 18, no. 36 (March 1, 2011): 43–50. http://dx.doi.org/10.3916/c36-2011-02-04.

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Broadcasting and industrial television is a trip back to the past, to a space devoid of meaning, and to the boredom resulting from its moral conservatism, lack of creativity, thought and entertainment. But television’s monopoly over public screening is over; now, anyone can be a producer, an audiovisual narrator with his or her own screen. New television and other screens are daring to change the way stories are told: a more subjective, testimonial and imagebased journalism; a hyperrealist soap opera that dares to bring melodrama to comedy, documentary and local cultures; a bottom-up media with people in charge of breaking with the thematic and political homogeneity of the media, market and development machines. This essay will argue in favor of television as a space for expression by unstable identities, narrative experiments and unknown possibilities for audiovisual creation…only if «it takes the form» of women, indigenous peoples, African races, the environment, other sexualities…and plays on YouTube and new screens that are community-based and cellular. The most important thing is for television to move away from an obsession with content towards aesthetic and narrative explorations of other identities and into narratives that are more «collaboractive», with the possibility that they become the stories we want them to be.La televisión generalista e industrial es un viaje al pasado, al vacío de sentido y al aburrimiento por su conservadurismo moral, su pereza creativa, su ausencia de pensamiento y su pobre modo de entender el entretenimiento. Pero el monopolio televisivo de la pantalla pública se acabó, pues ahora todo ciudadano puede ser un productor, narrador audiovisual y tener pantalla. Así aparecen nuevas televisiones y otras pantallas que se atreven a contar distinto: un periodismo más subjetivo, testimonial y pensado desde las imágenes; una telenovela hiperrealista que se atreve a intervenir el melodrama desde la comedia, el documental y las culturas locales; unos medios de abajo y con la gente que se hacen para romper con la homogeneidad temática y política de las máquinas mediática, del mercado y del desarrollo. En este ensayo se argumenta a favor de la televisión como lugar de expresión de identidades inestables, experimentos narrativos y posibilidades inéditas para la creación audiovisual… solo si «toma la forma» de mujer, de lo indígena, afro, medio ambiental, otras sexualidades… y juega en nuevas pantallas como Youtube, lo comunitario y el celular. Lo más urgente es que la televisión pase de la obsesión por los contenidos a las exploraciones estéticas y narrativas desde las identidades otras y en narrativas más «colaboractivas» porque existe la posibilidad de ser los relatos que queremos ser.
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Tkáčová, Hedviga, Martina Pavlíková, Zita Jenisová, Patrik Maturkanič, and Roman Králik. "Social Media and Students’ Wellbeing: An Empirical Analysis during the Covid-19 Pandemic." Sustainability 13, no. 18 (September 18, 2021): 10442. http://dx.doi.org/10.3390/su131810442.

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Various forms of social media (SM) appear to be very popular among young people because they provide information and entertainment, including a wide range of web technologies such as blogs, wikis, online social networks, and virtual networks. SM plays a huge role in the lives of children and teenagers, especially during the COVID-19 pandemic, when the computer becomes not only a means of entertainment or leisure, but also a necessary and everyday means of education and communication with other people. Thus, COVID-19 has brought a radical change, not only in the daily schedule and leisure time of pupils and students, but also in the perception of the procedures used by this specific group in the online space. Through our own research, using structured interviews and a questionnaire, we examine the use of SM as a tool to promote sustainable well-being in a group of high school students from various schools in central Slovak Republic (formerly Czechoslovakia). The research confirms that during the pandemic, the use of SM by the young respondents contributes significantly to well-being. This is the case when SM is used by high school students as a tool in promoting: (1) personal interests; (2) motivation; (3) communication and interpersonal connectivity; (4) preferred forms of online education; and (5) online games. The article presents a set of recommendations regarding the use of SM as a tool for sustaining the well-being of young people during the pandemic.
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Mathew, Meera. "Freedom of information, right to express and social media in India." Interactive Entertainment Law Review 3, no. 2 (December 23, 2020): 94–104. http://dx.doi.org/10.4337/ielr.2020.02.02.

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People's right to know, to hold opinions, right to access, to seek and receive information, as well as to disseminate and impart ideas, despite frontiers, are protected under all democratic nations' constitutional right of freedom of expression. This duty to inform and disseminate news is undoubtedly the responsibility vested with media as the fourth estate and as a watchdog thereby enabling it to exert due checks and monitors on the working of the nation. By this, it mandates a strong, independent and adequately resourced media to operate in order to serve the general public interest and to place and keep up high standards of journalism. With the changing notions of media and with the prevalence of social media and interactive entertainment platforms, where users write the content, edit the same and disseminate it to the public, the question arises if social media does indeed actually function as ‘media’ as envisioned by our constitutional drafters. Disseminating information accurately to the public is a sacrosanct duty and if such a duty gets affected, the edifice of democracy is devastated. From the traditional media having reliance on what had been circulated, it moved to a system where the ordinary citizen has the capability to manage media technologies and notify own stories creating trends more for a business purpose. This change as named as media-morphosis has also crushed the right to be informed accurately. Against this backdrop, this article addresses the rising frequency of disinformation ‒ occasionally indicated as ‘misinformation’ or ‘fake news’ in social media, inflamed by both states and non-state stakeholders, plus the diverse issues to which they perhaps are a causative part or key source. It also critically evaluates the obligation states have to enable a conducive environment for freedom of expression that comprise encouraging and defending diverse media however, simultaneously, to curtail any sort of misinformation being disseminated to its people. As is evident from the title of this article, the jurisprudential aspects of freedom of information vis-a-vis the freedom to disseminate are examined where the primary examination focus is on – if media that is used to keep a watchful eye on the dealings of government and act as a champion of the public's right to know, has departed from this constitutional duty with the emergence of social media. Moreover, the nexus between ‘contours of expression to disseminate the information’ and ‘extent of limitations as to such information dissemination’ will be analysed. To illustrate, Indian legal framework is used and applied. In its conclusion the author endeavours to question the unwarranted benefit social media enjoys as ‘intermediary’ and as ‘media’ thereby ponders if the current Indian legal framework is adequate to deal with the ramifications.
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Kearns, Erin M., and Joseph K. Young. "“If Torture Is Wrong, What About 24?” Torture and the Hollywood Effect." Crime & Delinquency 64, no. 12 (November 28, 2017): 1568–89. http://dx.doi.org/10.1177/0011128717738230.

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Since 9/11, entertainment media has focused on depictions of terrorism and counterterrorism. How do dramatic depictions of counterterrorism practices—specifically torture—affect public opinion and policy? Using a mixed within-subjects and between-subjects experimental design, we examine how framing affects support for torture. Participants ( n = 150) were randomly assigned to a condition for dramatic depictions showing torture as (a) effective, (b) ineffective, or (c) not present ( control). Participants who saw torture as effective increased their stated support for it. Participants who saw torture—regardless of whether or not it was effective—were more likely to sign a petition on torture. We discuss the policy implications of our findings on how framing affects opinion and action regarding torture.
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Dissertations / Theses on the topic "Entertainment and media law"

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Wikstrand, Greger. "Improving user comprehension and entertainment in wireless streaming media : introducing cognitive quality of service." Licentiate thesis, Umeå University, Computing Science, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-916.

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In future mobile networks service quality might be poor. A new measure is needed to be able to assess services in terms of their effectiveness and usefulness despite their lacking visual appeal. Cognitive Quality of Service is a way to measure the effectiveness in use of a networked service.

This thesis introduces Cognitive Quality of Service and puts it in relation to other ways to measure quality in streaming media. Through four studies the concept is used to improve multicast performance in a WLAN, to assess the effectiveness of simple animations compared to video, to build an application that fuses video and animations and to assess the differences between various levels of streaming video quality.

Guidelines on how to measure Cognitive Quality of Service are introduced based on a review of available literature and later analyzed in light of the studies presented in the thesis. It turns out that the guidelines are sound and should be used as a basis for assessing Cognitive Quality of Service.

Finally, the usefullness of Cognitive Quality of Service is analyzed. It turns out that it is especially useful when comparing different media, e.g. animations and video. In the video only case even bit-rate might be a useful predictor of subjective quality.


I framtiden kommer användare att titta på videosekvenser i trådlösa apparater, exempelvis mobiltelefoner. På grund av tekniska faktorer som störningar och på grund av kostnaden för det kommer den kvalitet som de erhåller inte att vara jämförbar med till exempel den kvalitet som kan erhållas när man tittar på tv. Trots det kan man anta att sådan video kan vara intressant och upplysande.

I avhandlingen introduceras och används begreppet Cognitive Quality of Service (CQoS) - kognitiv servicekvalitet. Begreppet definieras av att den överföring som ger den bästa förståelsen och känslomässiga reaktionen också har bäst CQoS. För att mäta CQoS bör man följa vissa riktlinjer, särskilt som det är svårt att mäta förståelse i samband med att man tittar på video.

Författaren har tillsammans med medarbetare tittat på hur man kan förbättra förhållandena för själva radioöverföringen (studie I). Genom en algoritm som ger multicast-paket bättre skydd mot kollisioner visas att man kan erhålla förbättrad överföringskapacitet för strömmande video i ett trådlöst nätverk.

Animeringar är ett alternativ till video som kräver låg bandbredd. I ett experiment har man undersökt hur väl animeringar står sig mot video av olika kvalitet när det gäller att upplysa användaren och ge en bra upplevelse (studie II). Det visade sig att animeringar var bättre för förståelsen medan video gav en bättre känslomässig upplevelse. Vanare åskådare föredrog videon medan ovanare åskådare föredrog animeringarna.

Frågan som ställdes var då hur man kunde kombinera respektive mediums fördelar för att få en så bra blandning som möjligt. Å ena sidan var animeringarna billiga och lätta att förstå medan videon var dyrare och mer intressant. Ett prototypgränssnitt skapades. Där kunde användaren själv välja vilken mix mellan de två alternativen som skulle visas (studie III). Det visade sig att försökspanelen föredrog video och dessutom ville ha mer information om spelare och match.

Trots animationernas förträfflighet kan man anta att det ändå är video som kommer att dominera i framtiden. En sista studie genomfördes för att se om man kunde finna liknande resultat vid olika kvalitetsgrader i video som man tidigare hade funnit mellan video och animeringar (studie IV). Det visade sig att så länge man höll sig till ett format var sambanden enklare. Mer var helt enkelt bättre upp till en viss gräns där det inte tillförde mer att öka överföringsresurserna för videon.

Sammanfattningsvis visar studierna att CQoS kan ge värdefull designkunskap. I synnerhet när man jämför olika presentationsformer som i det här fallet animeringar och video. Nästa steg blir att gå vidare med att applicera CQoS i tvåvägskommunikation, särskilt i Conversational Multimedia (CMM)– ungefär bildtelefoni – där det är särskilt goda möjligheter att sammanställa en för omständigheterna anpassad mediamix.

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Reisfield, Alexander. "The De Havilland Law - How One Woman stood up to the Hollywood System." Scholarship @ Claremont, 2018. https://scholarship.claremont.edu/cmc_theses/2088.

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Olivia de Havilland’s legal victory over Warner Brothers in 1943 set a new precedent for labor relations in Hollywood. Not an isolated piece of litigation, the resulting law now is referred to by her name. It was the culmination of long struggle for actors in the studio system for representation and fair treatment under the law. Much of the work during Hollywood’s studio era was undertaken by women. They used their positions on screen both to appeal to their individual audiences. More than any other, the female star defined the pictures they performed in and the brand of the studios that employed them. Hollywood’s studio system bound stars like de Havilland contractually for a period of up to seven years, which was the legal limit at the time. This did not stop studios from abusing those legal limits through loopholes like the suspension clause. In 1943, the suspension clause was what Warner Brothers used to keep Olivia de Havilland beyond the seven calendar years she had worked for the studio. Actors rejoiced when the powerful suspension clause was declared unlawful by de Havilland’s suite. With the De Havilland Law, actors were entitled to independence that had previously be reserved for the lucky few.
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Wright, Kelly E. "The Reflection and Reification of Racialized Language in Popular Media." UKnowledge, 2017. http://uknowledge.uky.edu/ltt_etds/18.

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This work highlights specific lexical items that have become racialized in specific contextual applications and tests how these words are cognitively processed. This work presents the results of a visual world (Huettig et al 2011) eye-tracking study designed to determine the perception and application of racialized (Coates 2011) adjectives. To objectively select the racialized adjectives used, I developed a corpus comprised of popular media sources, designed specifically to suit my research question. I collected publications from digital media sources such as Sports Illustrated, USA Today, and Fortune by scraping articles featuring specific search terms from their websites. This experiment seeks to aid in the demarcation of socially salient groups whose application of racialized adjectives to racialized images is near instantaneous, or at least less questioned. As we view growing social movements which revolve around the significant marks unconscious assumptions leave on American society, revealing how and where these lexical assignments arise and thrive allows us to interrogate the forces which build and reify such biases. Future research should attempt to address the harmful semiotics these lexical choices sustain.
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Austin, Alexander Chance. "Expectations across entertainment media." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39157.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007.
Includes bibliographical references (p. 131-132).
An audience's satisfaction with an entertainment product is dependent on how well their expectations are fulfilled. This study delves into the implicit contract that is formed between the purveyor of an entertainment property and their audience, as well as the consequences of frustrating audience expectations. Building on this model of the implicit contract, the creation of expectations through marketing, character and world development, and the invocation of genre discourses are examined through the lens of the television shows House M.D. and Veronica Mars. The issues surrounding the dynamic equilibrium between novelty and stability in serial entertainment and entertainment franchises brought up by these initial case studies are examined in further detail through the collectible card game Magic: the Gathering, and the complexity of the interactions between different types of expectations are demonstrated via a study of the superhero comics serials 52 and Civil War.
by Alexander Chance Austin.
S.M.
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Vollans, Edwin. "Cross media promotion : entertainment industries and the trailer." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/53382/.

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The turn of the millennium bore witness to a phenomenon: the use of promotion trailers for a variety of products. Both stage theatre and the publishing industries came under the media spotlight for using trailers to promote their wares throwing into sharp contrast the normativity of film trailers. Despite increased academic study of the film trailer, few have considered the trailer outside the industrial context of the film industry. Coupled with this trend in focus, is the tendency within the literature to suggest that the trailer exists as a unique form because they exist in the same medium as the product that promote. Added to this is the tendency to rely on an a priori definition that is not explored fully. By way of intervention with these key issues, this thesis considers the aesthetics and emergence of the trailer in entertainment industries other than film and serves as a counterpoint to the cinema centric imbalance within the study of the trailer. Using a corpus of audiovisual texts identified as trailers through UK press websites, this thesis draws from the popular understanding of the trailer in order to explore the historical and industrial trajectory of these other forms of trailer. Taking the form of case studies organised by the industry in which the trailer's product operates this thesis explores the historical context in which the trailer emerged and the aesthetic trends at work in the current trailer therein. In exploring both the history and the aesthetic representation of the trailer in the industry this thesis moves the study of trailers away from repetitive debates surrounding the film industry and opens up the possibility of trailers as a cultural phenomenon and simultaneous marketing trend. Through providing a grounded understanding of the trailer's use within contemporary entertainment industries, the thesis argues that the term 'trailer' has moved beyond advertising for films. It suggests the trailer has come to typify promotion for any product that is at its core, is an experience. In doing so thesis presents a much needed counterpoint and challenge to cinema-centric analysis of the trailer.
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Barbrook, R. "Entertainment as accumulation : A political economy of the mass media." Thesis, University of Kent, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380585.

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Rütt, Benjamin. "Location and size distribution of entertainment and arts establishments." Thesis, Jönköping University, JIBS, Economics, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-12016.

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This thesis analyzes the location and size distribution of arts and entertainment industries in Sweden as well as the size distribution of Swedish labor market regions. Several sectors of the arts and entertainment industry are investigated empirically by comparing their location and overall capacity to the size of their respective markets and testing their conformity with the rank-size rule. The analyzed establishments are opera houses, football stadiums, concert performances and movie theaters. The results are brought in context with transportation cost, market size, subsidies and optimal firm size. In conclusion, most arts and entertainment industries tend to locate close to urban agglomerations, their distributions in general follow the distribution of the population as determined by the labor market regions. Exceptions occur when the identified market differs significantly from the general population or when large amounts of subsidies distort the natural distribution

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Novozhylova, Olga. "Media entertainment and adolescent boys' attitudes about aggression, an exploratory study." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ62558.pdf.

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Fröjdh, Eira, and Saad Elhachimi. "Lush authenticity : The construction of authenticity in branded entertainment." Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-44282.

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This thesis examines how authenticity is articulated and communicated in contemporary forms of branded entertainment. In a digital media landscape, participatory culture and co-creation has become of primary importance, leading to ‘authentic’ and ‘amateurist’ characteristics being strategically implemented in advertisements and professional media content production. At the same time, research on brand communication and authenticity have overlooked the many ways in which brands extend and mediate authenticity, especially in relation to symbolism and visual semiotics. In this thesis, we explore the way symbolic meaning is constructed in We the Bathers, a documentary produced in 2019 by director Phoebe Arnstein in collaboration with Lush, a cosmetic brand known for their vegan-friendly and cruelty-free products. The study was conducted using visual analysis which allows us to approach the study object in a qualitative and exploratory way. We then apply the theoretical frameworks of cultural myths and digital storytelling to analyze the effects and strategies employed in We the Bathers to communicate authenticity through the filmic medium. By extending Bell & Leonard’s framework for evaluating organizational storytelling, which highlights the role of the communicative codes of affinity, authenticity andamateurism, we argue that the overall notion of authenticity in video content produced for digital environments can be determined through either of these lenses. By examining the intention of the sender in terms of genuineness (authenticity), relatability (affinity), and techniques which lends the story a sense of ‘realness’ (amateurism), our findings indicate that authenticity can be viewed as a tool for producing certain media effects as opposed to arising from the mediation of inherent personality traits.
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Magee, Sara C. "That's Television Entertainment: The History, Development, and Impact of the First Five Seasons of "Entertainment Tonight," 1981-86." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1217427973.

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Books on the topic "Entertainment and media law"

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Richard, Verow, and College of Law, eds. Media and entertainment law. Bristol: Jordan, 1999.

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Media and entertainment law. Milton Park, Abingdon, Oxon: Routledge, 2011.

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Peter, Carey. Media and entertainment law. Bristol: Jordans, 2001.

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Carey, Peter. Media and entertainment law. 2nd ed. Bristol: Jordans, 2002.

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Media and entertainment law. Clifton Park, NY: Delmar Cengage Learning, 2009.

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Smartt, Ursula, and Baroness Helena Kennedy. Media & Entertainment Law. 4th edition. | Milton Park, Abingdon, Oxon; New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351066549.

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Smartt, Ursula, and Keir Starmer. Media & Entertainment Law. Third edition. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315659626.

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Richard, Verow, ed. Media and entertainment: The law and business. Bristol: Jordans, 1998.

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Weiler, Paul C. Entertainment, media, and the law: Text, cases, problems. St. Paul, Minn: West, 1997.

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Talbott, James N. New media: Intellectual property, entertainment, and technology law. New York: Clark Boardman Callaghan, 1997.

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Book chapters on the topic "Entertainment and media law"

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Smartt, Ursula, and Baroness Helena Kennedy. "Entertainment law." In Media & Entertainment Law, 612–58. 4th edition. | Milton Park, Abingdon, Oxon; New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351066549-10.

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Smartt, Ursula, and Baroness Helena Kennedy. "Intellectual property law." In Media & Entertainment Law, 537–611. 4th edition. | Milton Park, Abingdon, Oxon; New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351066549-9.

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Noam, Eli M. "Entertainment Law and Media Regulation." In Managing Media and Digital Organizations, 297–340. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-71288-8_8.

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Smartt, Ursula, and Baroness Helena Kennedy. "Regulating the print media." In Media & Entertainment Law, 378–423. 4th edition. | Milton Park, Abingdon, Oxon; New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351066549-7.

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Smartt, Ursula, and Baroness Helena Kennedy. "Freedom of expression." In Media & Entertainment Law, 1–45. 4th edition. | Milton Park, Abingdon, Oxon; New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351066549-1.

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Smartt, Ursula, and Baroness Helena Kennedy. "Confidentiality and privacy." In Media & Entertainment Law, 46–152. 4th edition. | Milton Park, Abingdon, Oxon; New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351066549-2.

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Smartt, Ursula, and Baroness Helena Kennedy. "Defamation." In Media & Entertainment Law, 153–233. 4th edition. | Milton Park, Abingdon, Oxon; New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351066549-3.

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Smartt, Ursula, and Baroness Helena Kennedy. "Reporting legal proceedings." In Media & Entertainment Law, 234–86. 4th edition. | Milton Park, Abingdon, Oxon; New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351066549-4.

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Smartt, Ursula, and Baroness Helena Kennedy. "Contempt of court." In Media & Entertainment Law, 287–328. 4th edition. | Milton Park, Abingdon, Oxon; New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351066549-5.

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Smartt, Ursula, and Baroness Helena Kennedy. "Freedom of public information and data protection." In Media & Entertainment Law, 329–77. 4th edition. | Milton Park, Abingdon, Oxon; New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351066549-6.

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Conference papers on the topic "Entertainment and media law"

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Morelli, Tony, and Taylor Ripke. "Back-Pointer — Fitts' law analysis of natural mobile camera based interactions." In 2015 IEEE Games Entertainment Media Conference (GEM). IEEE, 2015. http://dx.doi.org/10.1109/gem.2015.7377208.

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Erenli, Kai. "Gaming & law — Its part of the game, so what should I know." In 2015 IEEE Games Entertainment Media Conference (GEM). IEEE, 2015. http://dx.doi.org/10.1109/gem.2015.7377250.

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Sankaranarayanan, Karthik, Pejman Mirza-Babaei, and Frederico Da Rocha Tome Filho. "Video games to the rescue: Can game design make software based lab experiments engaging?" In 2015 IEEE Games Entertainment Media Conference (GEM). IEEE, 2015. http://dx.doi.org/10.1109/gem.2015.7377240.

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McMahon, Michael, and Michael Schukat. "A low-Cost, Open-Source, BCI- VR Game Control Development Environment Prototype for Game Based Neurorehabilitation." In 2018 IEEE Games, Entertainment, Media Conference (GEM). IEEE, 2018. http://dx.doi.org/10.1109/gem.2018.8516468.

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Barkhuus, Louise, Jennifer Rode, and Genevieve Bell. "Entertainment media at home." In CHI '06 extended abstracts. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1125451.1125754.

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Tripathi, Shruti. "Blockchain application in Media and Entertainment." In SMPTE 2018 Annual Technical Conference & Exhibition. IEEE, 2018. http://dx.doi.org/10.5594/m001857.

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Brandenburg, Karlheinz. "Digital Entertainment: Media Technologies for the Future." In 2006 Second International Conference on Automated Production of Cross Media Content for Multi-Channel Distribution (AXMEDIS'06). IEEE, 2006. http://dx.doi.org/10.1109/axmedis.2006.23.

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Pavlovski, Christopher J., and Quentin Staes-Polet. "Digital media and entertainment service delivery platform." In the first ACM international workshop. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1099423.1099433.

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Chen, Monchu. "Session details: Locative media." In ACE '14: 11th ADVANCES IN COMPUTER ENTERTAINMENT TECHNOLOGY CONFERENCE. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/3251043.

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Nóbrega, Rui. "Modeling places for interactive media and entertainment applications." In the 2011 annual conference extended abstracts. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1979742.1979692.

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Reports on the topic "Entertainment and media law"

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Gallegos Krause, E., and J. Otazo Hermosilla. Travel logs and the formation of modern media around the categories of information and entertainment. Revista Latina de Comunicación Social, May 2019. http://dx.doi.org/10.4185/rlcs-2019-1360en.

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Frankel, Ari. Convergence of the Beer-Lambert-Bouguer Law in Discrete Particulate Media. Office of Scientific and Technical Information (OSTI), August 2015. http://dx.doi.org/10.2172/1212631.

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Wilson, D. K. Weak Scattering of Sound Waves in Random Media That Have Arbitrary Power-Law Spectra. Fort Belvoir, VA: Defense Technical Information Center, April 1999. http://dx.doi.org/10.21236/ada363637.

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Welsh, Thomas J. Fair and Balanced: Should the Media Now be Considered a Legitimate Military Target Under the Law of Armed Conflict. Fort Belvoir, VA: Defense Technical Information Center, February 2005. http://dx.doi.org/10.21236/ada464343.

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RAMSEY AA and THORSON MR. TECHNICAL COMPARISON OF CANDIDATE ION EXCHANGE MEDIA FOR SMALL COLUMN ION EXCHANGE (SCIX) APPLICATIONS IN SUPPORT OF SUPPLEMENTAL LAW PRETREATMENT. Office of Scientific and Technical Information (OSTI), December 2010. http://dx.doi.org/10.2172/1004084.

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Pavlyuk, Ihor. MEDIACULTURE AS A NECESSARY FACTOR OF THE CONSERVATION, DEVELOPMENT AND TRANSFORMATION OF ETHNIC AND NATIONAL IDENTITY. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11071.

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The article deals with the mental-existential relationship between ethnoculture, national identity and media culture as a necessary factor for their preservation, transformation, on the example of national original algorithms, matrix models, taking into account global tendencies and Ukrainian archetypal-specific features in Ukraine. the media actively serve the domestic oligarchs in their information-virtual and real wars among themselves and the same expansive alien humanitarian acts by curtailing ethno-cultural programs-projects on national radio, on television, in the press, or offering the recipient instead of a pop pointer, without even communicating to the audience the information stipulated in the media laws − information support-protection-development of ethno-culture national product in the domestic and foreign/diaspora mass media, the support of ethnoculture by NGOs and the state institutions themselves. In the context of the study of the cultural national socio-humanitarian space, the article diagnoses and predicts the model of creating and preserving in it the dynamic equilibrium of the ethno-cultural space, in which the nation must remember the struggle for access to information and its primary sources both as an individual and the state as a whole, culture the transfer of information, which in the process of globalization is becoming a paramount commodity, an egregore, and in the post-traumatic, interrupted-compensatory cultural-information space close rehabilitation mechanisms for national identity to become a real factor in strengthening the state − and vice versa in the context of adequate laws («Law about press and other mass media», Law «About printed media (press) in Ukraine», Law «About Information», «Law about Languages», etc.) and their actual effect in creating motivational mechanisms for preserving/protecting the Ukrainian language, as one of the main identifiers of national identity, information support for its expansion as labels cultural and geostrategic areas.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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Idris, Iffat. LGBT Rights and Inclusion in Small Island Developing States (SIDS). Institute of Development Studies (IDS), February 2021. http://dx.doi.org/10.19088/k4d.2021.067.

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This review looks at the extent to which LGBT rights are provided for under law in a range of Small Island Developing States (SIDS), and the record on implementation/enforcement, as well as approaches to promote LGBT rights and inclusion. SIDS covered are those in the Caribbean, Pacific, and Atlantic-Indian Ocean-South China Sea (AIS) regions. The review draws on a mixture of grey literature (largely from international development agencies/NGOs), academic literature, and media reports. While the information on the legal situation of LGBT people in SIDS was readily available, there was far less evidence on approaches/programmes to promote LGBT rights/inclusion in these countries. However, the review did find a number of reports with recommendations for international development cooperation generally on LGBT issues. Denial of LGBT rights and discrimination against LGBT people is found to varying extents in all parts of the world. It is important that LGBT people have protection in law, in particular the right to have same-sex sexual relations; protection from discrimination on the grounds of sexual orientation; and the right to gender identity/expression. Such rights are also provided for under international human rights conventions such as the Universal Declaration of Human Rights, while the Sustainable Development Goals are based on the principle of ‘leave no one behind'.
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Lylo, Taras. THE IDEOLOGEME «DICTATORSHIP OF RELATIVISM» IN THE ROBERTO DE MATTEI’S ESSAYS: POSTMODERN AND POST-COMMUNIST CONTEXTS. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11100.

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The article considers relativism as a philosophical principle and the moral standpoint of a journalist. In particular, the main argumentation of Roberto de Mattei’s work «Dictatorship of Relativism» is analyzed. Like Ratzinger, the Italian publicist describes modern life as ruled by a dictatorship of relativism which does not recognize anything as definitive and whose ultimate goal consists solely of satisfying «the desires of one’s own ego». In his view, the boundaries of the main conflict of modernity lie between two visions of the world: one that believes in the existence of immutable, absolute values, and one that argues that there is nothing stable, that everything is conditional, time-dependent and can be discussed in the media. The markers of this conflict are our attitude to the famous statement of Protagoras about «man as a measure of all things: of the things that are, that they are, of the things that are not, that they are not», as well as to the non-debatable values, the status of natural and positive law, the worldview neutrality, the dehierarchization and multiplicity of truths, the equalization of all worldviews and axiological standpoint in foreign and Ukrainian media. A special attention in the article is paid to the ideological program of media-relativism, as well as to the postmodern and post-communist contexts of the issue of the penetration of relativism into the journalistic values.
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