Entertainment Values: How do we Assess Entertainment and Why does it Matter?Stephen Harrington Springer, 14 ago 2017 - 304 páginas This collection brings together the work of a range of scholars from around the world with different perspectives on one simple question: How can we assess the value of various entertainment products and forms? Entertainment is everywhere. The industries that produce it earn billions of dollars each year and employ hundreds of thousands of people. Its pervasiveness means almost everyone has something to say about entertainment, too, whether it be our opinion on the latest Hollywood blockbuster, a new celebrity couple, or our concerns over its place in the world of politics. And yet, in spite of its significance, entertainment has too-often been dismissed with surprising ease within the academy as a ‘mindless’, ‘lowbrow’ – even ‘dangerous’ – form of culture, and therefore unworthy of serious appraisal (let alone praise). Entertainment Values, challenges this assumption, offering a better understanding of what entertainment is, why we should take it seriously, as well as helping us to appreciate the significant and complex impact it has on our culture. |
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Página 23
... action figure (I wish I still had that, he came in a plastic egg)' (Brand 2014). This memory of Williams on television in Mork & Mindy (ABC 1978–1982) while simultaneously playing with a toy of Williams-as-Mork speaks to both the value ...
... action figure (I wish I still had that, he came in a plastic egg)' (Brand 2014). This memory of Williams on television in Mork & Mindy (ABC 1978–1982) while simultaneously playing with a toy of Williams-as-Mork speaks to both the value ...
Página 24
... Toy Story trilogy. I argue that in aggregate, the Toy Story trilogy (Toy Story released November 22, 1995, John Lasseter ... action figure and the screen text Mork & Mindy. As Gerard Genette describes it 'a text is rarely presented in an ...
... Toy Story trilogy. I argue that in aggregate, the Toy Story trilogy (Toy Story released November 22, 1995, John Lasseter ... action figure and the screen text Mork & Mindy. As Gerard Genette describes it 'a text is rarely presented in an ...
Página 25
... figure can be redeployed, rewritten and reimagined; Mork is an action figure precisely because he carries within him the possibility for new stories and situations through imaginative play. In this way play itself becomes a space for ...
... figure can be redeployed, rewritten and reimagined; Mork is an action figure precisely because he carries within him the possibility for new stories and situations through imaginative play. In this way play itself becomes a space for ...
Página 27
... toy box' (May 2009: 6). More broadly, as markers of childhood, toys 'also serve a larger purpose as they exemplify ... action figure Buzz Lightyear (Tim Allen) (Paik 2007; Price 2008). The supporting cast was expanded with a number of ...
... toy box' (May 2009: 6). More broadly, as markers of childhood, toys 'also serve a larger purpose as they exemplify ... action figure Buzz Lightyear (Tim Allen) (Paik 2007; Price 2008). The supporting cast was expanded with a number of ...
Página 28
... action figure, whereas Woody talks via a pull-string, Buzz is an electronic toy with pop-out wings, a red 'laser ... action figures (Paik 2007: 103) with a space theme; indeed, the second G.I. Joe vehicle ever made for the line was a ...
... action figure, whereas Woody talks via a pull-string, Buzz is an electronic toy with pop-out wings, a red 'laser ... action figures (Paik 2007: 103) with a space theme; indeed, the second G.I. Joe vehicle ever made for the line was a ...
Índice
1 | |
11 | |
23 | |
What Roller Coasters Teach Us About Being Human | 41 |
Entertainment for the Mind Body and Spirit | 59 |
The Value of Celebrity Gossip | 70 |
Educating and Empowering Through Entertainment | 91 |
The Educational Value of Entertainment | 109 |
Entertainment and the Demediatization of Politics | 165 |
Entertainment and Alternative Memory in China | 179 |
Barthes Punctum Feminist Standpoint Theory and the Political Significance of YesAllWomen | 195 |
Valuing Films as Entertainment | 212 |
Representations of Public Relations in Entertainment | 229 |
The Pornographication of Cinematic Entertainment | 250 |
To Understand the Futures of Filmgoing We Must Know Its Histories | 269 |
Index | 278 |
Indigenous Australia Popular Music and Reconciliation | 130 |
The Sociocultural Value of SemiFictional Entertainment and Popular Communication | 149 |
Otras ediciones - Ver todo
Entertainment Values: How Do We Assess Entertainment and Why Does it Matter? Stephen Harrington No hay ninguna vista previa disponible - 2017 |
Entertainment Values: How do we Assess Entertainment and Why does it Matter? Stephen Harrington No hay ninguna vista previa disponible - 2017 |
Entertainment Values: How Do We Assess Entertainment and Why Does it Matter? Stephen Harrington No hay ninguna vista previa disponible - 2017 |
Términos y frases comunes
Aboriginal action figure argue audiences Australia avatar Barthes become blog Buzz Calombaris celebrity gossip chapter characters China Christine Anu cinema commercial Communication consumers contestants cooking discourse emotional engagement episode everyday example experience Facebook film G.I. Joe gender genre grass-mud horse Harrington hashtag health edu-tainment Hitchcock identity Indigenous music journalism journalists lives mainstream MasterChef Mattel McKee memes memetic memory ment Miley Cyrus Miley’s narrative networks Newsroom one’s Palgrave Entertainment Industries paratexts participants people’s performance perspective play political popular culture porn porno chic pornography programming promotion Public Relations punctum Queensland Queensland University rabbit reality representations retweets ride role roller coaster Routledge Samantha Jones SATC sexual social society Star Wars television tion Tomasa Toy Story toyesis toyetic tweets Twitter University of Technology video games viewers Warumpi Band YesAllWomen York Yothu Yindi YouTube