標題: Titlebook: Entertainment Values; How do we Assess Ent Stephen Harrington Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Video Games.Te [打印本頁] 作者: Corrugate 時間: 2025-3-21 16:38
書目名稱Entertainment Values影響因子(影響力)
書目名稱Entertainment Values影響因子(影響力)學科排名
書目名稱Entertainment Values網(wǎng)絡(luò)公開度
書目名稱Entertainment Values網(wǎng)絡(luò)公開度學科排名
書目名稱Entertainment Values被引頻次
書目名稱Entertainment Values被引頻次學科排名
書目名稱Entertainment Values年度引用
書目名稱Entertainment Values年度引用學科排名
書目名稱Entertainment Values讀者反饋
書目名稱Entertainment Values讀者反饋學科排名
作者: 向前變橢圓 時間: 2025-3-22 00:06
What Is Entertainment? The Value of Industry Definitions,nment industry, a definition of the term is required. Collis draws on her research with entertainment industry professionals to determine the industry definition of ‘entertainment’. From an entertainment industry perspective, entertainment is defined and characterised by its audience-centred, commer作者: FRONT 時間: 2025-3-22 03:23
From , to ,: The Cultural Value of Merchandising,y mapping their development through a specific case study, Disney/Pixar’s . trilogy. Merchandising is now regularly used to extend and enrich narratives, to personalise media properties, increase the cultural circulation (or shelf-life) of properties and occasionally even enable them to jump media p作者: agitate 時間: 2025-3-22 06:35 作者: 蛙鳴聲 時間: 2025-3-22 10:50 作者: alcohol-abuse 時間: 2025-3-22 16:39
Talking Miley: The Value of Celebrity Gossip,through the ways it is formally sanctioned and informally produced; speaks to gender identity and relations; and is interacted with, shared and transcoded by teenage women as they go about their daily lives. Social media was selected as a key resource for data collection and analysis because a numbe作者: alcohol-abuse 時間: 2025-3-22 20:37 作者: 大火 時間: 2025-3-22 21:39 作者: BLAND 時間: 2025-3-23 04:32 作者: 暴露他抗議 時間: 2025-3-23 05:50 作者: CUMB 時間: 2025-3-23 13:26 作者: 低位的人或事 時間: 2025-3-23 14:04
Spoof Videos: Entertainment and Alternative Memory in China,n as a repository of unofficial memory in the PRC, and are therefore politically dissident. The chapter starts with a review on the relationship between memory and power, and the changes that Internet as a mnemonic system has brought to their configuration before turning to memory policy in contempo作者: CHART 時間: 2025-3-23 20:01
,Decoding Memes: Barthes’ Punctum, Feminist Standpoint Theory, and the Political Significance of #Yed enliven Twitter hashtags. It argues that people encode themselves – their race, class, gender, sexuality, and ability – into the digitally mediated content they create, circulate, and transform. Even memetic engagement that is ‘merely’ entertaining must be understood in political terms; regardless作者: 睨視 時間: 2025-3-23 23:24 作者: 圣人 時間: 2025-3-24 05:26
Fluff, Frivolity, and the Fabulous Samantha Jones: Representations of Public Relations in Entertainyears. It functions primarily to manage information, image, and stakeholder relationships; however, PR is a discreet occupation that largely operates out of the public eye and is often considered most successful when it is ‘invisible’. In this chapter, using . as a case study, we argue fictional ent作者: fluoroscopy 時間: 2025-3-24 07:07 作者: Digitalis 時間: 2025-3-24 10:48
To Understand the Futures of Film-going, We Must Know Its Histories,r Hollywood entertainment by tracing multiple histories of exhibition and reception. The first history describes the ways that film exhibition has always existed in relation to other kinds of entertainment experiences, many of which offered some form of immersion. The second history explores the var作者: ETCH 時間: 2025-3-24 17:17
https://doi.org/10.1007/978-0-387-76397-2n franchises. I therefore argue that toyetic properties are important forerunners of convergent media and that what we are seeing now is actually better understood as . – where a text’s origins are erased altogether.作者: refine 時間: 2025-3-24 22:36 作者: Adj異類的 時間: 2025-3-25 02:14
From , to ,: The Cultural Value of Merchandising,n franchises. I therefore argue that toyetic properties are important forerunners of convergent media and that what we are seeing now is actually better understood as . – where a text’s origins are erased altogether.作者: 拉開這車床 時間: 2025-3-25 04:49 作者: 高腳酒杯 時間: 2025-3-25 09:46
How Can We Value Entertainment? And, Why Does It Matter?,is chapter sets out to explain how entertainment differs from other types of culture, why it is a useful term for defining domain of study, the limitations associated with medium-specific approaches, and why entertainment should be better understood.作者: 小臼 時間: 2025-3-25 15:02
What Is Entertainment? The Value of Industry Definitions, definition of ‘entertainment’. From an entertainment industry perspective, entertainment is defined and characterised by its audience-centred, commercial nature, rather than by its content, its genre, its audience, or the kind of emotional response it may or may not elicit from its consumers.作者: heterogeneous 時間: 2025-3-25 16:27 作者: Sarcoma 時間: 2025-3-25 22:44 作者: 逃避責任 時間: 2025-3-26 01:36
Background to Transatlantic Relations,a genre that I dub semi-fictional entertainment, which: contains narrative elements traditionally associated with fiction; relies on real-world events and issues and allows audiences to fold these together as part of everyday sense-making and social orientation.作者: 懶洋洋 時間: 2025-3-26 05:57 作者: 破布 時間: 2025-3-26 09:40
Crossing Over: The Spiritualist Atlantic, of specific content, these participatory behaviours point towards broader cultural and ideological flows. The chapter focuses specifically on the #YesAllWomen and ‘not all men’ memes popularised in 2013, which illustrate memes’ ability to spur meaningful conversation, as well as the inescapably political standpoint of participants.作者: Prologue 時間: 2025-3-26 13:02
https://doi.org/10.1007/978-3-322-83323-5nse, despair and elation. It has an ending that is both happy and satisfying. And it is fun – particularly in its performances. It is important to take Hitchcock seriously as an entertainer – this chapter demonstrates how to value his films for that reason.作者: Intellectual 時間: 2025-3-26 19:23
https://doi.org/10.1007/978-3-322-80721-2ertainment provides critical insight into public relations as a profession and as a practice. We explore how such representations reflect and refract audience understandings about PR, and how this in turn impacts the role and reputation of PR in our society.作者: Conquest 時間: 2025-3-26 21:00
Ebola and Other Haemorrhagic Feversious ways that fans and other film audiences have sought to participate more fully in the entertainment process. And the third suggests that contemporary talk of transmedia storytelling builds upon decades of attempts to link film with other media.作者: 清澈 時間: 2025-3-27 05:06 作者: Ferritin 時間: 2025-3-27 05:24 作者: 沒有準備 時間: 2025-3-27 11:55
https://doi.org/10.1057/9780230228450nalysis of two videos two models are proposed on how dissidence works in this online form. The chapter concludes that these playful models of political participation may lead to networked forms of collective identity and social action.作者: Bronchial-Tubes 時間: 2025-3-27 16:16
Screaming on a Ride to Nowhere: What Roller Coasters Teach Us About Being Human, these sensational constructions stems from more than the predictable forces of adrenaline or profit. In ways that are too often overlooked, these highly constructed experiences – and the seemingly disposable thrills they deliver – also deliver profound lessons about who we are.作者: Painstaking 時間: 2025-3-27 18:05
Talking Miley: The Value of Celebrity Gossip, it have productive outcomes and if so, what gendered themes emerge in the way teenagers talk about Miley? and (3) What cultural ‘value’ emerges from or out of the way gossip is produced and consumed?作者: FLIRT 時間: 2025-3-28 00:42 作者: 陶器 時間: 2025-3-28 04:44 作者: chemical-peel 時間: 2025-3-28 06:56
2947-6461 es as a proto-field further forward.Offers a wealth of opiniThis collection brings together the work of a range of scholars from around the world with different perspectives on one simple question: How can we assess the value of various entertainment products and forms?.Entertainment is everywhere. 作者: Gullible 時間: 2025-3-28 12:07
Schlussbemerkung und kritischer Ausblick,is chapter sets out to explain how entertainment differs from other types of culture, why it is a useful term for defining domain of study, the limitations associated with medium-specific approaches, and why entertainment should be better understood.作者: IRS 時間: 2025-3-28 15:43 作者: 萬花筒 時間: 2025-3-28 22:16
https://doi.org/10.1007/978-3-031-65232-5 and recognition. King’s analysis of the history of Indigenous popular music shows how individual performers and performances are a useful means for mainstream audiences to engage with Indigenous reconciliation in Australia.作者: mortuary 時間: 2025-3-28 23:21 作者: 故意 時間: 2025-3-29 03:17
,Entering ,: The Sociocultural Value of ‘Semi-Fictional’ Entertainment and Popular Communication,a genre that I dub semi-fictional entertainment, which: contains narrative elements traditionally associated with fiction; relies on real-world events and issues and allows audiences to fold these together as part of everyday sense-making and social orientation.作者: 動作謎 時間: 2025-3-29 08:10
,What If ‘Journalism’ Is the ,?: Entertainment and the ‘De-mediatization’ of Politics,and dependency on ‘a(chǎn)ccess’ to political actors, have left it highly vulnerable to exploitation by political strategists. Factual entertainment which breaks from the journalistic mould can, therefore, do a much better job of scrutinizing political power than it is typically given credit for.作者: WITH 時間: 2025-3-29 11:43 作者: 生銹 時間: 2025-3-29 18:34
,Why I Wasn’t Interested in Hitchcock Until I Turned 40: Valuing Films as Entertainment,nse, despair and elation. It has an ending that is both happy and satisfying. And it is fun – particularly in its performances. It is important to take Hitchcock seriously as an entertainer – this chapter demonstrates how to value his films for that reason.作者: 緯度 時間: 2025-3-29 20:18
Fluff, Frivolity, and the Fabulous Samantha Jones: Representations of Public Relations in Entertainertainment provides critical insight into public relations as a profession and as a practice. We explore how such representations reflect and refract audience understandings about PR, and how this in turn impacts the role and reputation of PR in our society.作者: badinage 時間: 2025-3-30 00:54 作者: AER 時間: 2025-3-30 06:39
Stephen HarringtonBrings together numerous original essays examining what precisely entertainment is and why it matters.Moves the state of entertainment studies as a proto-field further forward.Offers a wealth of opini作者: 過份 時間: 2025-3-30 08:44
Palgrave Entertainment Industrieshttp://image.papertrans.cn/e/image/311622.jpg作者: Spirometry 時間: 2025-3-30 13:07
Schlussbemerkung und kritischer Ausblick,usands of people. Yet entertainment has too often been dismissed with surprising ease within the academy, and seen as unworthy of serious analysis. This chapter sets out to explain how entertainment differs from other types of culture, why it is a useful term for defining domain of study, the limita作者: 鋪子 時間: 2025-3-30 16:36
https://doi.org/10.1007/978-3-322-81676-4nment industry, a definition of the term is required. Collis draws on her research with entertainment industry professionals to determine the industry definition of ‘entertainment’. From an entertainment industry perspective, entertainment is defined and characterised by its audience-centred, commer作者: prodrome 時間: 2025-3-31 00:27
https://doi.org/10.1007/978-0-387-76397-2y mapping their development through a specific case study, Disney/Pixar’s . trilogy. Merchandising is now regularly used to extend and enrich narratives, to personalise media properties, increase the cultural circulation (or shelf-life) of properties and occasionally even enable them to jump media p作者: champaign 時間: 2025-3-31 02:21
Sergio W. Larach,Beatriz Martín-Péreze in the popularity of the coaster. Research has attempted to account for this explosive international growth in many ways, but relatively little has been considered about the deeper experiential appeal of these seemingly mindless devices. Anderson and Burt address this deficit by examining how the 作者: cajole 時間: 2025-3-31 08:06
Diagnosis of Hemorrhoids and ODS, its citizens healthier, especially, regarding preventable diseases. Yet, people do not take advantage of them, nor has society figured out the magic formula to effectively communicate health messages to its citizens. This chapter examines the impact of ‘health edu-tainment,’ which is programming an作者: 通知 時間: 2025-3-31 12:38
Transarterial Chemoembolization (TACE)through the ways it is formally sanctioned and informally produced; speaks to gender identity and relations; and is interacted with, shared and transcoded by teenage women as they go about their daily lives. Social media was selected as a key resource for data collection and analysis because a numbe作者: Accomplish 時間: 2025-3-31 14:59 作者: REIGN 時間: 2025-3-31 18:21
https://doi.org/10.1057/9780230113589mes and other digital tools mediate their practices. The research focuses on the interaction between the private and public lives of a group of teenagers, 12 girls and 6 boys aged 16 to 18, in the process of building their identities when they use social media and play commercial videogames. Partici作者: pulmonary 時間: 2025-3-31 21:48
https://doi.org/10.1007/978-3-031-65232-5promote Indigenous performers. It focuses on mainstream music in Australia, and the extent to which Indigenous pop stars have gained global popularity and recognition. King’s analysis of the history of Indigenous popular music shows how individual performers and performances are a useful means for m作者: Anthology 時間: 2025-4-1 05:14
Background to Transatlantic Relations,lar communication per se, but in the audience response to the show. I assert . helps cultivate valuable discussion on journalism and, moreover, prompts political talk on many contemporary issues beyond. People watching Fox News, MSNBC, or HBO’s ., this chapter argues, can all be seen to engage with
