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. |
Dentro del libro
Resultados 1-5 de 28
Página 3
... performance, and a third category of 'experiential' entertainment. As Dana Anderson and Malcolm Burt discuss in Chapter 4, going to a theme park and riding a roller coaster is a physically and emotionally entertaining experience, and it ...
... performance, and a third category of 'experiential' entertainment. As Dana Anderson and Malcolm Burt discuss in Chapter 4, going to a theme park and riding a roller coaster is a physically and emotionally entertaining experience, and it ...
Página 4
... performance poet, but that does not mean that their creative process, the expectations of their audiences or their business models are directly comparable. From an academic perspective, employing the term entertainment allows us to get ...
... performance poet, but that does not mean that their creative process, the expectations of their audiences or their business models are directly comparable. From an academic perspective, employing the term entertainment allows us to get ...
Página 7
... performances are a useful means for mainstream audiences to engage with Indigenous reconciliation in Australia. Chris Peters, in Chapter 10, looks at how HBO's The 7 HOW CAN WE VALUE ENTERTAINMENT? AND, WHY DOES IT MATTER?
... performances are a useful means for mainstream audiences to engage with Indigenous reconciliation in Australia. Chris Peters, in Chapter 10, looks at how HBO's The 7 HOW CAN WE VALUE ENTERTAINMENT? AND, WHY DOES IT MATTER?
Página 15
... radio, popular music, film and television, theme park entertainment, and live performance. -C ENTERTAINMENT AS AUDIENCEENTRED CULTURE One of the primary industry-based 15 WHAT IS ENTERTAINMENT? THE VALUE OF INDUSTRY DEFINITIONS.
... radio, popular music, film and television, theme park entertainment, and live performance. -C ENTERTAINMENT AS AUDIENCEENTRED CULTURE One of the primary industry-based 15 WHAT IS ENTERTAINMENT? THE VALUE OF INDUSTRY DEFINITIONS.
Página 17
... performance, and showing them how arts audiences typically behave: where the coat check is, for example, but also when it is appropriate to clap during a performance (2006: 57). 'Audience education' comprises developing potential ...
... performance, and showing them how arts audiences typically behave: where the coat check is, for example, but also when it is appropriate to clap during a performance (2006: 57). 'Audience education' comprises developing potential ...
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