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Books on the topic 'Live entertainment industry'
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1
Queensland. Crime and Misconduct Commission. Regulating adult entertainment: A review of the live adult entertainment industry in Queensland. Brisbane, Qld: Crime and Misconduct Commission, 2004.
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2
Johnson, Darren W. Going live: Insider secrets to corporate event production. Sonoita, AZ: Dudley Court Press, 2013.
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3
Junk food in the body of Christ: Influences of the entertainment industry. Baden, PA: Rainbow's End Co., 1995.
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4
Wolf, Michael J. The entertainment economy: How mega-media forces are transforming our lives. New York: Three Rivers Press, 1999.
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The entertainment economy: How mega-media forces are transforming our lives. New York: Times Books, 1999.
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6
Feldman, Edward S. Tell me how you love the picture: A Hollywood life. Beverly Hills: Creative Book Publishers International, 2007.
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Tom, Barton, ed. Tell me how you love the picture: A Hollywood life. New York: St. Martin's Press, 2005.
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8
Rashid, Hussein. Muslims in Film and Muslim Filmmaking in the United States. Edited by Jane I. Smith and Yvonne Yazbeck Haddad. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199862634.013.016.
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This article looks at the American film industry and its relationship to Muslims. It looks at the way films define Muslims, the ways in which Muslims use film to define themselves, the impact of Muslims in the film industry, and ultimately the way film is used to establish Muslims in the American national narrative. Because of the nature of the entertainment industry, reference is also made to television shows as bellwethers for filmic themes. Like all cultural production, film exists in a dialogic continuum, with meanings constantly in flux, so that for Muslims, belonging in America cannot be clearly defined. However, through participation, a narrative can be constructed that enables the integration of Muslims into the American story.
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Nowell-Smith, Geoffrey. The History of Cinema: A Very Short Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/actrade/9780198701774.001.0001.
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Cinema was the first, and arguably the greatest, of the industrialized art forms that dominated the cultural life of the 20th century. It continues to adapt and grow as new technologies and viewing platforms become available, and remains an integral cultural and aesthetic entertainment experience for people the world over. Cinema developed against the backdrop of the two world wars, and over the years has seen smaller wars, revolutions, and profound social changes, with its history reflecting this. The History of Cinema: A Very Short Introduction looks at the defining moments of the industry, from silent to sound, black and white to colour, and considers its genres from intellectual art house to mass-market entertainment.
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Heideman, Lee. Wagons West: Transportation, Entertainment & Industry, More on Sphinx Park, Buffalo, Pine Grove, Baily [Sic] & Beyond. Magic Wordweaver Press, 2005.
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11
Heim, Michael. Virtual Realism. Oxford University Press, 1998. http://dx.doi.org/10.1093/oso/9780195104264.001.0001.
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Virtual reality has introduced what is literally a new dimension of reality to daily life. But it is not without controversy. Indeed, some say that a collision is inevitable between those passionately involved in the computer industry and those increasingly alienated from (and often replaced by) its applications. Opinions range from the cyberpunk attitude of Wired magazine and Bill Gates's commercial optimism to the violent opposition of the Unabomber. Now, with Virtual Realism, readers have a thought-provoking guide to the "cyberspace backlash" debate and the implications of cyberspace for our culture. Michael Heim offers a comprehensive introduction to virtual reality and a provocative commentary on its present and future impact on our lives. Heim describes the fascinating and important industrial and military uses of virtual reality, as well as its artistic and entertainment applications. He argues that we must balance the idealist's enthusiasm for computerized life with the need to ground ourselves more deeply in primary reality. This "uneasy balance" he calls virtual realism.
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Hughes, Kit. Television at Work. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855789.001.0001.
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This book explores how work, television, and waged labor come to have meaning in our everyday lives. However, it is not an analysis of workplace sitcoms or quality dramas. Instead, it explores the forgotten history of how American private sector workplaces used television in the twentieth century. It traces how, at the hands of employers, television physically and psychically managed workers and attempted to make work meaningful under the sign of capitalism. It also shows how the so-called domestic medium helped businesses shape labor relations and information architectures foundational to the twinned rise of the technologically mediated corporation and a globalizing information economy. Among other things, business and industry built extensive private television networks to distribute live and taped programming, leased satellite time for global “meetings” and program distribution, created complex closed-circuit television (CCTV) data search and retrieval systems, encouraged the use of videotape for worker self-evaluation, used videocassettes for training distributed workforces, and wired cantinas for employee entertainment. Television at work describes the myriad ways the medium served business’ attempts to shape employees’ relationships to their labor and the workplace in order to secure industrial efficiency, support corporate expansion, and inculcate preferred ideological orientations. By uncovering industrial television as a prolific sphere of media practice—one that continually sought to reshape the technology’s cultural meanings, affordances, and uses—Television at Work positions the medium at the heart of Post-Fordist experiments into reconfiguring the American workplace and advancing understandings of labor that increasingly revolved around dehumanized technological systems and information flows.
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Lampert, Sara E. Starring Women. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043352.001.0001.
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Star actresses and dancers were among the most publicly visible, celebrated, and often polarizing female public figures in the early United States. This book examines the careers and celebrity of the women and girls from Europe and America whose fame drove the growth and transformation of theater between 1790 and 1850 from the Atlantic seaboard to the trans-Appalachian West. Starring women introduced new repertoire—melodramas, breeches roles, dance pantomime and ballet—that catalyzed debates about social ownership of American culture, regional and national identity, and women’s place in public life. This book transforms existing understandings of early U.S. theater and culture by examining a broad cohort of understudied figures and argues that women stars were vital to the development of transatlantic and U.S. entertainment, celebrity culture, and gender ideology. Most significantly, starring women lived and performed the tensions and contradictions of changing nineteenth-century gender roles. As this book demonstrates, even while they achieved unprecedented levels of wealth and prominence through the “starring system,” the patriarchal family structures that governed women’s lives and careers conditioned their participation in the industry. The celebrity culture that expanded from the 1820s demanded that starring women conform to new standards of sentimental domestic femininity, even as the structural realities of their lives defied such standards. Starring women were exceptional figures who mapped the margins of a narrowing white middle-class domestic ideal.
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Celebrity Culture and the Entertainment Industry in Asia: Use of Celebrity and Its Influence on Society, Culture and Communication. Intellect, Limited, 2017.
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Holmes, Sean P. Ain’t No Peace in the Family Now. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037481.003.0007.
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This chapter focuses on new technology and its impact on acting as an occupation. It begins by describing how the advent of film transformed patterns of employment in the commercial entertainment industry. Returning to the theme of cultural hierarchy, it goes on to argue that even as the legitimate theater drifted toward the periphery of the nation's cultural life, the old theatrical elite continued to claim the right, through the mechanism of the Actors' Equity Association (AEA), to speak for the entire acting community. After examining working conditions in the motion picture studios, it turns its attention to the Equity campaign to organize the film industry, asserting that its architects were less concerned with negotiating a standard contract than with imposing their authority upon the men and women of the silver screen. The chapter argues that an overwhelming majority of motion picture actors reacted with hostility to what they saw as the AEA's attempt to “Broadwayize” Hollywood, interpreting it as a threat to their collective autonomy and a denial of the specificity of their work. By refusing to obey the strike call in the summer of 1929, they were declaring their independence from the traditions of the legitimate stage.
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McLaughlin, Robert L., and Sally E. Parry. Broadway Goes to War. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813180946.001.0001.
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The American theater was not ignorant of the developments brought on by World War II, and actively addressed and debated timely, controversial topics for the duration of the war, including neutrality and isolationism, racism and genocide, and heroism and battle fatigue. Productions such as Watch on the Rhine (1941), The Moon is Down (1942), Tomorrow the World (1943), and A Bell for Adano (1944) encouraged public discussion of the war's impact on daily life and raised critical questions about the conflict well before other forms of popular media. American drama of the 1940s is frequently overlooked, but the plays performed during this eventful decade provide a picture of the rich and complex experience of living in the United States during the war years. McLaughlin and Parry's work fills a significant gap in the history of theater and popular culture, showing that American society was more divided and less idealistic than the received histories of the WWII home front and the entertainment industry recognize.
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McWilliam, Rohan. London's West End. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823414.001.0001.
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How did the West End of London become the world’s leading pleasure district? What is the source of its magnetic appeal? How did the centre of London become Theatreland? London’s West End is the first ever history of the area which has enthralled millions. From the Strand up to Oxford Street, the West End came to stand for sensation and vulgarity but also the promotion of high culture. The reader will explore the growth of theatres, opera houses, galleries, restaurants, department stores, casinos, exhibition centres, night clubs, street life, and the sex industry. The West End produced shows and fashions whose impact rippled outwards around the globe. During the nineteenth century, a neighbourhood that serviced the needs of the aristocracy was opened up to a wider public whilst retaining the imprint of luxury and prestige. The book tells the story of the great artists, actors, and entrepreneurs who made the West End: figures such as Gilbert and Sullivan, the playwright Dion Boucicault, the music hall artiste Jenny Hill, and the American retail genius Harry Gordon Selfridge who wanted to create the best shop in the world. We encounter the origins of the modern star system and celebrity culture. The book moves from the creation of Regent Street to the glory days of the Edwardian period when the West End was the heart of empire and the entertainment industry..
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Smith, Daniel R. Comedy and Critique. Policy Press, 2018. http://dx.doi.org/10.1332/policypress/9781529200157.001.0001.
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Comedy & Critique is a sociological inquiry which seeks to engage with the art-world of the stand-up comedian as well as providing an interpretation of comedic works. It demonstrates a correspondence between what is happening within stand-up comedy and what is going on in the society from which the comic material arises. The book demonstrates that stand-up comedians are engaged in a proto-sociological enterprise, a method of ‘doing’ sociology. Comedian’s material may be viewed as a comedic acting out of forms of sociological knowledge, an act which is self-driven and intra-personal. Stand-up comedians came to their proto-sociology as stand-up in Britain moved from the fringes of entertainment in working man’s clubs to Fringe theatre. Through this transition stand-up became a space where a ‘New Left’ politics of anti-racism, feminism and a queering of self and society was both lived and artfully positioned. By exploring the ‘art of stand-up’, as a modernist art-form and professionalised industry, the book argues that stand-up is the art of building and improvising social relations.
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Yin Li, Eva Cheuk. Desiring Queer, Negotiating Normal. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390809.003.0008.
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This chapter explores the entanglement between queer desires and struggles with normativities in fandoms through the case study of Denise Ho (a.k.a. HOCC) in Hong Kong. HOCC is one of the few celebrities in the Chinese-language entertainment industry to have come out as a lesbian. Data is drawn from participant observation and semi-structured interviews with 29 fans between 2009 and 2014. By analyzing the interplay between Hong Kong sexual cultures, fans’ everyday lives, and fans’ interactions with global media, it is found that fans struggled with negotiating HOCC’s gender and sexuality and their own before HOCC’s coming-out, leading to the paradoxical celebration and self-policing of queer reading at the same time. HOCC’s coming out in 2012 has significantly reshaped her queer fandom. It is observed that fans have turned their attention to the negotiation of HOCC’s “proper” lesbian embodiment as the “correct” representation of the LGBT/tongzhi movement. By revealing the complex relations between heteronormativity and homonormativity, this chapter concludes that HOCC fans in Hong Kong, who are situated within macrostructural and micropolitical forces, desire to be queer by transgressing normal and paradoxically desire to be normal by tactically negotiating the limits of queer.
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Elkins, Evan. Locked Out. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479830572.001.0001.
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“This content is not available in your country.” Media consumers around the world regularly run into this reminder of geography’s imprint on digital culture. Despite utopian hopes of a borderless digital society in an era of globalization, DVDs, video games, and streaming platforms include digital rights management mechanisms like region codes and IP address detection systems that block media access within certain territories. Although propped up by national and transnational intellectual property regulation, these technologies of “regional lockout” are designed primarily to keep the entertainment industries’ global markets distinct. Beyond this, they frustrate consumers around the world and place certain territories on a hierarchy of global media access. Drawing on extensive research of media-industry strategies, consumer and retailer practices, and media regulation, Locked Out explores regional lockout in DVDs, console video games, and streaming video and music platforms. The book argues that regional lockout has shaped global media culture over the past few decades in three interrelated ways: as technological regulation, media distribution, and geocultural discrimination. As a form of digital rights management, regional lockout builds in limitations on the affordances of digital software and hardware. As distribution, it seeks to ensure that digital technologies accommodate media industries’ traditional segmentation of markets. Finally, as a cultural system, regional lockout shapes and reflects long-standing global hierarchies of power and discrimination.
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Room 1219: The life of Fatty Arbuckle, the mysterious death of Virginia Rappe, and the scandal that changed Hollywood. 2013.
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Tell Me How You Love the Picture: A Hollywood Producer's Hilarious Take on Life Among the Stars. Creative Book Publishing International, 2007.
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Richardson, John, Claudia Gorbman, and Carol Vernallis, eds. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.
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This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes. Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema, and television migrated across media. However, the traversal, or “remediation,” from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of “cyberspace,” audiovisual expression has changed dramatically. The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and nonacademic writers (both mainstream and independent)-open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today’s sound and image. All consider the aural dimension, and what Michel Chion calls “audio-vision:” the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.