Entertainment Industry

Researchers have suggested that brand equity is vital for professional sport teams by focusing on the examination of sport fans in general. The current study aims to examine the differences in team brand equity perceptions between fan club members and non-members, and the predictive role of brand equity dimensions on behavioral intentions. Data were collected from fans of a professional football league (n = 2287) with an adapted version of the spectator-based brand equity scale. The results gathered through a confirmatory factor analysis provide evidence of fair psychometric properties of the measurement scale. A multi-group CFA analysis showed factorial stability of the model in both groups, while the latent mean comparisons revealed significant differences in the dimensions of brand mark, social interaction, commitment, team history, organizational attributes, team success, head coach, management, stadium, and internalization. In addition, a multi-group SEM analysis revealed that the relationships between brand equity dimensions and behavioral intentions are not significantly different among the groups. Social interaction, team success and internalization were the significant positive predictors of behavioral intentions among the overall sample. These findings highlight the importance of studying different types of consumers and suggest managerial implications, such as the need for clubs to establish reciprocal relationships with fans in order to increase their levels of internalization and contribute to increased behavioral intentions.

Purpose:
To explain their deep resonance with consumers this paper unpacks the individual constituents of a celebrity’s polysemic appeal. While celebrities are traditionally theorised as unidimensional ‘semiotic receptacles of cultural meaning’, we conceptualise them here instead as human beings/performers with a multi-constitutional, polysemic consumer appeal.

Design/Methodology/Approach:
Supporting evidence is drawn from autoethnographic data collected over a total period of 25 months and structured through a hermeneutic analysis.

Findings:
In ‘rehumanising’ the celebrity, the study finds that each celebrity offers the individual consumer a unique and very personal parasocial appeal as a) the performer, b) the ‘private’ person behind the public performer, c) the tangible manifestation of either through products, and d) the social link to other consumers. The stronger these constituents, individually or symbiotically, appeal to the consumer’s personal desires the more s/he feels emotionally attached to this particular celebrity.

Research Limitations/Implications:
Although using autoethnography means that the breadth of collected data is limited, the depth of insight this approach garners sufficiently unpacks the polysemic appeal of celebrities to consumers.

Practical Implications:
The findings encourage talent agents, publicists and marketing managers to reconsider underlying assumptions in their talent management and/or celebrity endorsement practices.

Originality/Value:
While prior research on celebrity appeal has tended to enshrine celebrities in a “dehumanised” structuralist semiosis, which erases the very idea of individualised consumer meanings, this paper reveals the multi-constitutional polysemy of any particular celebrity’s personal appeal as a performer and human being to any particular consumer.

These three studies found support for a process termed hedonic contamination, whereby exposure to advertisements before a movie or television show activates persuasion knowledge, directs attention to the product placements, and reduces consumption enjoyment. Study 1 showed that exposure to in-theater commercials led to more negative attitudes toward product placements in the feature movie and reduced overall enjoyment of the movie. Study 2 implemented an eye-tracking experiment showing that advertising exposure increased eye fixations on product placements in a subsequent television episode. Study 3 identified the activation of persuasion knowledge as the underlying process driving hedonic contamination. The collective results suggest new research directions for understanding the interplay between advertising exposures and how consumers respond to subsequent entertainment content and marketing messages.

This article investigates how the standardisation of the 45 RPM single and 33 RPM album in 1951 forced the recording industry to rethink their marketing strategies. The industry’s focus on weak unit strategies and capitalisation on the emergent artistic aesthetic are evaluated. To establish correlations between strategies and the popularity of singles and albums between 1955 and 1979, OLS models were generated using large datasets on chart performance of albums and singles. This study concludes that the industry tended toward sub-optimal, risk-averse strategies, and that the LP likely succeeded despite record companies’ efforts to control their products and messaging.

This article reviews the evolution of the concept of culture industries, when neither industry nor culture themselves are today what they were at the time when the term was coined. It attempts to explain the dilution of the term into more nebulous terms (“leisure industries,” “entertainment industries” or “creative industries”) and suggests new challenges for the research on culture industries. What is at stake is no longer an application of a Fordist production to culture, a one-directional mass communication and a mediation by experts, but rather: (1) a cultural experience which is no longer clearly separated from other activities (leisure in general, consumption and even work); (2) the communicative explosion of all industrial production in a media environment, where industrialized symbolic products are mixed with culturalized industrial products; and (3) the empowerment of the recipient, which on one hand ignores the traditional experts and on the other leads to post-productive (recreational and even creative) cultural practices.

In the last two decades, the industry has deployed endlessly the rhetoric of the “digital threat” in order to demand harsher measures against digital piracy. Recently, the “digital threat” discourse called for enhanced liability of online intermediaries, especially those whose platforms may be used to infringe copyright. This short paper shows that the “digital threat” discourse is based on shaky grounds. Two related arguments might run against this approach. First, market conditions might incentivise piracy. Additionally, there are raising doubts over the argument that piracy is a threat to creativity, especially in the digital environment. Overall, it may be hard to find a factual justification for policy decisions based on the “digital threat” discourse. In fact, digital technology seems not to have negatively affected the creation of new works. In contrast, an observation of the literature and quantitative analysis on point may suggest that digital piracy can be an opportunity for the cultural market. Finally, piracy may function as an innovation policy by forcing market players to innovate in response to a consumer demand that widespread piracy highlights.

Entertainment is a key cultural category. Yet the definition of entertainment can differ depending upon whom one asks. This article maps out understandings of entertainment in three key areas. Within industrial discourses entertainment is defined by a commercial business model. Within evaluative discourses used by consumers and critics it is understood through an aesthetic system that privileges emotional engagement, story, speed and vulgarity. Within academia entertainment has not been a key organizing concept within the humanities, despite the fact it is one of the central categories used by producers and consumers of culture. It has been important within psychology, where entertainment is understood in a solipsistic sense as being anything that an individual finds entertaining.  Synthesizing these approaches the authors propose a cross-sectoral definition of entertainment as ‘audience-centred commercial culture’.

Variety and revue shows played a significant role in popular culture during the first half of the 20 th century. Serving as a typical genre of cosmopolitan urban entertainment, these productions consisted of international acts, where a 'foreign' act was mostly defined by music, visual appearances and performance style; thus, not exclusively by the actual origin of the performer. This paper aims to analyze the presence and influence of Hungarian (style) acts in Berlin in three different socio-political contexts: the Weimar Republic, the NS-Zeit, and the Nachkriegszeit until the Berlin Wall was erected. Three large venues, the Plaza, the Scala and the Wintergarten (ca. 3000 seats each) defined the urban live entertainment sphere from 1920 onwards. These venues held shows until 1944. After the Second World War, only one large hall was opened in the destroyed city, the Friedrichstadt-Palast (in the Soviet occupation zone), which became a representative venue for East-Berlin as well as the GDR. The fact that Hungarian (style) acts were present in Berlin shows without a break during the entire research period shows that it did not depend on governmental cultural policies. The Hungarian show constituted a complex phenomenon which generated interest in the audience, guaranteeing their regular appearance. This analysis is based on primary sources; namely, a photography and programs collection housed at the Stadtmuseum Berlin. Moreover, Hungarian and German professional journals were utilized in this research.

This dissertation is concerned with expanding the scope of transaction cost theory from its primary concern with governance alignment to also encompass transaction value. The aim
is to provide strategic management guidance, not only on how transactors best can structure their transactions, but also on how they can maximize the joint value created through these transactions.

While there may be a substantial potential for media and entertainment products in new electronic market channels, content producers and owners remain sceptical and are cautious to utilize these new market opportunities. Piracy and the fear of losing control over their property in the new channels constitute the basis for their scepticism. Applying a public good approach to the economic analysis of this problem reveals that there is no easy way of cir- cumventing the problem, but that it may be most successfully solved by increasing the degree of excludability for media and entertainment content also in these new channels. Excludability is a non- intrinsic economic product characteristic, which may be adjusted through a com- bination of property rights and technology. Further institutional and technological efforts towards establishing excludability will thus encourage e-commerce with media and entertainment products. While alternative solutions such as first release strategies and claiming payments from related markets may exist for certain con- tent categories, the excludability solution will enable the new electronic market channels to tap into vast libraries of recorded media and entertainment products and thus utilize the channels’ full potential.

The computer game industry has flourished to become the world’s largest entertainment, one of the problem students playing with electronic games for long time without thinking about negative affections especially on their GPA. In this paper to present impact of computer games on creativity and academic achievement of basic school students, we proposed a questionnaires form for 100 students at basic schools. The result of our research explained that the students playing between 1-3 hours per day with electronic games their GPA not decreased or very few which is -0.22% per hour, in same time students that playing more than 3 hours per day their GPA decreased more which is -2.41% per hour. The result help the students to play with electronic games carefully, because if they playing for few hour not return negative affection and sometimes helped them to opining their mind and study, but if playing for more than three hours most time return negative affection for their GPA.

The question of the relationship between culture and power continues to exercise researchers. In this paper I argue that it is useful to consider the differences between ‘art’ and ‘entertainment’ as systems of culture, each involving a distinct set of power relationships between producers and audiences. Art wants to change audiences; entertainment wants to be changed by audiences. From these different starting points a series of differences unfold in the power possessed by producers and audiences. Artists pride themselves in not involving the audience in the process of making art. By contrast, entertainment wants audiences to contribute to the making of texts. As to the question of who controls the range forms of culture that are available, it seems that entertainment consumers – unlike art consumers – are ill-disciplined. Historical evidence demonstrates that if legal corporate providers do not offer the kinds of entertainment they want, they will turn to illegal sources. The different ways in which ‘art’ and ‘entertainment’ function as cultural systems suggest that we must rethink our positions on ‘media power’.

This study has presented information in order to reveal the general condition of the activities of public aquariums in Turkey. Firstly, the location and number of public aquariums in Turkey are determined. Afterward, survey questions were prepared, which could show these business profiles. After the surveys have been prepared, some businesses were visited and the authorities were talked face to face. The business officials whom we could not visit were contacted by telephone and e-mail. In the survey, care has been taken not to ask for information that may transgress the public disclosure policy. The right to answer every question is left to the authorities’ preference. For these reasons, the information provided about the enterprises can only be sufficient to reveal the general profile of the enterprises. According to this survey, a total of 13 large public aquariums in Turkey have been identified in 2019 and there is a large tunnel aquarium under construction. While 5 of the public aquariums of Turkey are in İstanbul, and 3 of them are located in Ankara, there is one public aquarium in Antalya, Bursa, Diyarbakır, Eskişehir and İzmir provinces. The majority of these aquariums (8) are located in or near shopping centers, the others (5) were located in the parking areas. In aquariums, whereas sea creatures are allocated more space, the areas reserved for freshwater creatures are less. Most of the aquariums have educational activities as well as entertaining activities. Aquaculture engineers, aquaculture technicians, aquanauts, veterinarians, biologists, graduates of fisheries technology and underwater technologies are the occupational groups that are employed in public aquariums.

Se analiza qué valores de producción tienen mayor impacto en la percepción de calidad que la audiencia tiene respecto a los diferentes géneros de entretenimiento televisivos. Para ello se han seleccionado los siguientes valores de producción: contenido, presentador/a, decorado y calidad creativa y técnica. La principal fuente de información ha sido una encuesta telefónica propia dirigida a una muestra representativa de la población española. Los resultados confirman que, a pesar de los cambios radicales vividos por el sector y el boom de la televisión conectada (como resultado de la convergencia entre televisión e internet), la clave del negocio es la misma de siempre: la calidad del contenido.
The aim of this paper is to analyse which production values are more determinant regarding the audience’s quality perception with respect to different types of entertainment television genres. In order to develop this study, we have taken into account production values such as the creative and technical quality, the host, the set and the content. The main source of data for this empirical study is an original survey. The target population consisted of the Spanish population and the sample was designed to be representative. The results show that in spite of the emergence of the connected TV –resulting from the convergence of television and the internet–, which is profoundly changing the audiovisual market, the cornerstone of their business remains the same: content quality.

Report from 1991 on the position of Dutch pop- and rockmusic on the domestic and foreign market based on marketstatistics, airplay data and a survey among Dutch bands and artists. The projcet  was commissioned by the Dutch ministery of culture.

In the preface to a seminal exposé of the “intern nation,” Ross Perlin (2012) writes, “reality TV
truly embraces the intern” (xii). This article describes and analyzes how 20 reality TV intern job ads for 19
different reality TV studios represent the work of interns and internships in the capitalist reality TV
industry. By interrogating how the job postings depict the work that reality TV studios expect interns to do,
the skills that TV studios expect interns to possess as a prerequisite to considering them eligible for
mostly unpaid positions, the asymmetrical power relations between studios and interns, and the studios’
utilization of “hope” for a career-relevant experience to recruit interns, the article argues that the reality TV
intern is actually a misclassified worker. The study demonstrates that reality TV interns are workers
whose labour feeds reality TV production and that reality TV internships are a means of getting workers to
labour without pay. The conclusion establishes some grounds for a reality TV intern class action suit.

This article argues that recent US litigation in BMG v Cox (2018), and Sony v UPC in Ireland (2016), may point to a new entertainment industry strategy pursuing private regulation for copyright enforcement online. Assuming this to be the case, it will weigh that strategy's prospects for success relative to internet subscriber rights under the EU legal framework.

En el año 2000, tras un periodo de auge de las series de ficción nacionales, los contenidos de entretenimiento volvieron a copar el prime time de las cadenas de televisión y los primeros puestos en el ranking de audiencias. La irrupción de un nuevo género híbrido, el reality game o docu show, tuvo importantes consecuencias para el mercado televisivo español tanto desde la perspectiva de la producción como de la programación. Debido al considerable componente de juego y competición que integra este contenido, el concurso fue el género de entretenimiento que en mayor medida sufrió la competencia del reality game en las parrillas de programación. Este artículo analiza la oferta de ambos contenidos en la televisión española durante los primeros cinco años de convivencia, así como las consecuencias derivadas del nacimiento de un nuevo género.

In 2000, after years of success of Spanish TV fiction series, entertainment contents went back to prime time and topped rating rankings. A new hybrid genre, the reality game or docu show, burst in and it had deep consequences for the television market from the production and the programming perspectives. Given that this content has a considerable component of game and competition, the quiz and the game show were the worst hit genres by the success of the docu show. This article analyzes the offering of these contents in the Spanish television since the premier of the first reality game, Big Brother, in 2000, and its consequences. KEY WORDS Television – Entertainment-Reality game-Docu show-Quiz show-Game show.

Nowadays, the entertainment industry relies on a massive visual development which employs all kinds of representation modalities and technologies. Especially as regards the design of imaginary worlds or fictional reconstructions of past eras, there is a huge need of prefiguration in order to visualize an idea before it can be transformed into the final 'on screen' product. The concept artist is now a key-figure in the industry, who has the complex and hyper creative task to condense the atmosphere, the mood, the feeling and the peculiar features of an environment in a single bi-dimensional image. Such kind of evocative artworks are not far from the scenographic designs in use in theatre ever since the Renaissance, which also exploit the possibilities offered by traditional representation techniques like perspective and value composition. These means are used in an imaginative and illusionistic way to serve the visual prefiguration need and to provide a 'vision' of the setting. The paper reflects on the centrality of representation techniques in the conceptualization process of environments for the entertainment industry (videogames, movies, TV shows etc.) and on the similarities between concept art and scenographic design, which are both powerful visual communication tools characterized by the strict, con-sequential relationship between the concept and the mise-en-scène.

Alcanzar la gloria –aspecto relacionado íntimamente con lo trascendental e incluso lo celestial– no es, ni resultó ser fácil en el pasado. Conseguir que se asociara un
nombre con una profesión implicó arduas negociaciones con, por ejemplo, medios de comunicación o estereotipos de género. No obstante, en muchas ocasiones, una
vez pasados los años, la gloria desaparece y aquellos célebres nombres caen en el olvido y no aparecen ni en los libros. Esto podría aplicarse a las artistas que se
subieron a los escenarios teatrales o se pusieron frente a una cámara en el pasado; nombres que en escasas ocasiones se dejan ver en las investigaciones académicas. Así se justifica el título de esta nota bibliográfica donde no se anuncia el estreno de
ninguna obra, sino que se plantea como un texto en el que presentar cuatro obras, editadas recientemente en el ámbito nacional e internacional. Con esto, se reúnen
en un mismo espacio libros que en su individualidad han podido tener calado en el terreno de la investigación, pero quizá no se habían valorado en su conjunto como
un “estreno” hacia una nueva bibliografía sobre historia de los espectáculos y los estudios sobre actrices.

The family, as the first and the main social institution, forms the value orientations of the growing personality. The organization of substantial family leisure is a significant problem and one of the main tasks of the state. Favorable conditions for the organization of cultural leisure and recreation as well as for the realization of the family’s creative potential and social activity can be created in modern theme parks. The authors substantiate the role of theme parks, their social and cultural potential, in the organization of rational leisure for a modern family. The territory of theme parks is designed for recreation and entertainment. The range of services is based on the concept and theme of the Park. After the analysis of the socio-cultural activities of theme parks in the Russian regions , the authors come to the conclusion that it is necessary to study, develop and promote the constructive experience of modern theme parks for the organization of socially justified and diverse family leisure, contributing to the spiritual enrichment and physical improvement, the horizons broadening, the realization of the creative potential of the individual, taking into account the opportunities and needs of each family member.

Ens trobem en el moment de la història en què no només es produeixen i
consumeixen  més  sèries  de  televisió  sinó  que  se’n  parla  més  d’elles.  Aquesta
conversa porta adherida una reclamació de legitimació que afirma que la ficció
televisiva del segle XXI és televisió de qualitat, molt millor que la què es feia amb
anterioritat, que és art, que és, en definitiva, alta cultura. Els agents principals del
món  de  les  sèries  de  televisió  (la  indústria,  la  crítica  especialitzada,  els
espectadors,  etc.)  branden  els  mateixos  arguments  que,  repetidament,  s’han
emprat per legitimar qualsevol expressió cultural. Ho fan, cadascun d’ells però,
amb uns motius propis, amb un interès que resulta en un equilibrat ecosistema de
conveniències en què tots els agents reforcen la idea de la legitimació de la ficció
televisiva. El present treball, doncs, cataloga els diferents tipus de legitimació i
posa  en  relleu  aquestes  motivacions  interessades  dels  agents,  exposant  la
construcció social que suposa l’anomenada 3.ª edat d’or de les sèries.

Nos  encontramos  en  el  momento  de  la  historia  en  el  que  no  sólo  se
producen y consumen más series de televisión sino que se habla más de ellas. Esta
conversación lleva adherida una reclamación de legitimación que afirma que la
ficción televisiva del siglo XXI es televisión de calidad, mucho mejor que la que
se  hacía  con  anterioridad,  que  es  arte,  que  es,  en  definitiva,  alta  cultura.  Los
agentes principales del mundo de las series de televisión (la industria, la crítica
especializada,  los  espectadores,  etc.)  blanden  los  mismos  argumentos  que,     
repetidamente, se han empleado para legitimar cualquier expresión cultural. Lo
hacen, cada uno de ellos, sin embargo, con unos motivos propios, con un interés
que resulta en un equilibrado ecosistema de conveniencias en el que todos los
agentes refuerzan la idea de la legitimación de la ficción televisiva. El presente
trabajo, pues, cataloga los diferentes tipos de legitimación y pone de relieve estas
motivaciones interesadas de los agentes, exponiendo la construcción social que
supone la llamada 3ª edad de oro de las series.

We are in the moment of history in which not only more television series
are produced and consumed, but also more discussed. This conversation includes
a claim  of legitimacy that  states that 21st  century  television fiction is  Quality
television, much better the one previously produced, art, or, in short, highbrow.
The main actors in the world of television series (the industry, the culture critics,
the audience, etc.) use the same arguments that, repeatedly, have been used to
legitimize any cultural expression. They do it, each one of them, however, with
their  own  motives,  with  an  agenda,  resulting  in  a  balanced  ecosystem  of
conveniences in which all the agents reinforce the idea of the legitimization of
television  fiction.  The  present  work,  thus,  catalogs  the  different  types  of
legitimacy  and  highlights  these  motivations  of  the  agents,  exposing  social
construction that the so called 3rd golden age of the series supposes.

NEW SPACES OF CHANGING SENSE OF ENTERTAINMENT: HORROR HOUSE / ESCAPE ROOM GAMES (TRABZON PROVINCE CASE)
Absract
Horror house/ escape room games are a type of entertainment played interactively. The main theme of the games played
with a team of minimum 2, maximum 5 people followed by cameras is to solve the puzzles and clues with the team within the given
time and open the locked doors and get out of the house. This game appeared in Japan in 2007, and later spread to Asia and Europe and
arrived in Turkey from 2013. The aim of this study is to reveal and try to understand the process of young people’s experiencing of the
escape rooms games/ horror houses seen as a new trends among the of the popular entertainment concept among the young people
and the emergence of these houses from the perspective of the space owners in Trabzon. The research was carried out in Trabzon by
using semi-structured interview technique within the qualitative research approach. The study included 12 university students who
had experience of escape from room/ horror house and two persons who were running the escape house / room escape game room in
Trabzon. The data were interpreted based on descriptive analysis. As a result of the research, the experiences of the people who running
these places and the experiences of escape from the horror house/room were revealed.
Keywords: Fear, Horror House, Escape Room Games.




DEĞİŞEN EĞLENCE ANLAYIŞININ YENİ MEKÂNLARI: KORKU EVİ/ODADAN KAÇIŞ OYUNLARI (TRABZON İLİ ÖRNEĞİ)
Öz
Korku evi /odadan kaçış oyunları, interaktif oynanan bir eğlence türüdür. Dört bir yanı kameralarla izlenen, minimum 2,
maksimum 5 kişilik ekiple oynanan oyunların ana teması, verilen süre içerisinde oyuncuların birlikte bulmaca ve ipuçlarını çözüp kilitli
kapıları açarak evden dışarı çıkabilmesidir. 2007’de Japonya’da ortaya çıkan bu oyunlar daha sonraları Asya ve Avrupa ülkelerine
yayılmış ve 2013 yılından itibaren Türkiye’ye gelmiştir. Bu çalışmanın amacı, giderek popüler hale gelen eğlence anlayışının yeni
trendleri arasında görülen korku evleri/odadan kaçış oyunlarının gençler tarafından deneyimlenme sürecini ortaya koymak,
Trabzon’da bu evlerin ortaya çıkış serüvenini mekân sahipleri perspektifinden anlamaya çalışmaktır. Araştırma, nitel araştırma
yaklaşımı içerisinde yarı yapılandırılmış mülakat tekniği kullanılarak Trabzon özelinde gerçekleştirilmiştir. Araştırmaya korku
evi/odadan kaçış oyunları deneyimine sahip 12 üniversite öğrencisi ile Trabzon’da korku evi/odadan kaçış oyun mekânı işleten iki kişi
dâhil edilmiştir. Elde edilen veriler betimsel analize dayanılarak yorumlanmıştır. Araştırma sonucunda, gençlerin korku evi/odadan
kaçış deneyimleri ile bu mekânları işleten kişilerin deneyimleri ortaya konmuştur.
Anahtar Kelimeler: Korku, Korku Evi, Odadan Kaçış Oyunları.

Teknolojik gelişmeler her geçen gün hızını artırarak büyük ilerleme kat etmektedir. Bu
doğrultuda yeni iletişim ortamları ortaya çıkmakta ve kitlesel boyutta etki gücüne sahip faaliyetler
giderek dijitalleşmektedir. Yeni medya olarak tanımlayacağımız bu değişim sürecinde iletişim
kanalları ile beraber kişilerin rasyonel ve duygusal anlayışları da değişim göstermiştir. En belirgin
değişim süreci ise eğlence anlayışı çerçevesinde gerçekleşmiştir. Teknolojik gelişmeler neticesinde
eğlence araçlarında meydana gelen farklılıklar, eğlence kültürünün bileşenlerine de yansımaktadır.
Bu bağlamda eğlence kültürünün yerine getirildiği ve paylaşımların sağlandığı alanlar dijitalleşerek,
sosyal medya kanalları üzerinden yürütülmeye başlamıştır. İnstagram platformu, değişen eğlence
anlayışının ve paylaşım alanlarının dijitalleşme süreçlerine yönelik en belirgin sosyal medya kanalı
olarak ön plana çıkmaktadır. Söz konusu bu durum, İnstagram üzerinden eğlence kültürünün
incelenmesini oldukça önemli kılmaktadır. Çalışma kapsamında ele alınan ve İnstagram platformu
üzerinden elde edilen bulgular doğrultusunda, değişen eğlence anlayışıyla şekillenen eğlence kültürünün
İnstagram üzerinden nasıl cereyan ettiğine yönelik saptamaların yapılması çalışmanın amacını
oluşturmaktadır. Bu doğrultuda kullanıcıların eğlenceli videolarda arkadaşlarını etiketlemeleri ve
bu etiketlerin gerçekleştirilme gerekçeleri saptanmaya çalışılmıştır. Seçilen içeriklerin içerik analizi
yöntemiyle çözümlemesinin ardından etkileşim öğesinin önemi sonuç olarak ortaya çıkmıştır.

Près de 14 000 retraités des spectacles perçoivent aujourd’hui une pension de retraite au terme d’un parcours professionnel marqué par l’intermittence. Depuis 1989, le nombre de retraités des spectacles a fortement progressé, suivant en cela l’évolution des effectifs intermittents au cours des trente dernières années. Les intermittents des spectacles dépendent du régime général pour leur retraite de base et disposent d’une retraite complémentaire, servie par Audiens.
Les retraités des spectacles prennent en moyenne leur retraite à 62 ans, et l’immense majorité d’entre eux (93 %) bénéficient d’une pension de retraite générale à taux plein. En 2009, le montant annuel moyen de la pension totale versée aux anciens salariés intermittents des spectacles est de 18 180 euros, soit 1 520 euros mensuels.
Le montant moyen des pensions totales diminue, du fait de l’érosion des retraites de base et complémentaires dont le montant baisse à mesure que les flux d’entrée en jouissance de la retraite se succèdent. Un nouveau retraité de 2009 touche ainsi une pension inférieure de 10 % à celle d’un nouveau retraité de 1999. La baisse de la pension de base s’explique essentiellement par la diminution du salaire annuel de référence servant de base au calcul de son montant.
Les retraites complémentaires, gérées par des institutions différentes selon la catégorie professionnelle (Agirc pour les cadres, Arcco pour les artistes et non cadres) évoluent de façon plus contrastée. Si elles diminuent globalement, elles s’améliorent pour certaines catégories comme les artistes, jouant ainsi un effet compensateur de la baisse de la pension de base.
Enfin, l’évolution des retraites sur vingt ans révèle de profondes inégalités non seulement intergénérationnelles mais aussi interprofessionnelles et de genre : les retraites totales des artistes et des non-cadres ayant pris leur retraite en 2009 sont inférieures de près de 13 000 euros annuels à celles des cadres. En outre, les femmes intermittentes des spectacles partent généralement à la retraite un peu plus tard que les hommes et touchent des pensions d’un montant inférieur, ce qui reflète des différences de carrières salariales défavorables aux femmes. On relève toutefois une réduction des inégalités de genre à la retraite, liées davantage à une dégradation des pensions des hommes qu’à une amélioration de celles des femmes.

Sistematización de la experiencia internacional de la revista Weekly Shōnen Jump, con el objeto de difundir, en Chile y América Latina, su política editorial y modelo de negocios, así como también extraer lecciones para la industria editorial de comics y narrativa adolescente/juvenil local.

Film sequels are a pervasive part of film consumption practices and have become an important part of the decision making process for Hollywood studios and producers. This thesis indicates that sequels are not homogenous groups of films, as they are often considered, but offer a variety of story construction and utilize a variety of production methods. Three types of blockbuster sequel sets are identified and discussed in this thesis. The Traditional Blockbuster Sequel Set, as exemplified by Back to the Future (1985, 1989, 1990) films, is the most conventional type of sequel set and capitalizes on the winning formula of the first film in the franchise. The Multi-Media Sequel Set, such as The Matrix (1999Matrix ( ,2003 trilogy, allows the user/viewer to experience and consume the story as well as the world of the film through many different media. The Lord a/the Rings (2001Rings ( , 2002Rings ( , 2003 set of films is an illustration of The Saga Sequel Set where plot lines are continuous over the entire franchise thus allowing the viewer to see the entire set as a unified work. The thesis also demonstrates how the blockbuster sequel sets, such as the Pirates a/the Caribbean (2003Caribbean ( , 2006Caribbean ( , 2007 franchise, restructure the production process of the Hollywood film industry. 15 18 31 38 47 54 66 85 89 94

This senior-level seminar looks at emerging issues in International Political Economy of Communication (IPEC) through both the lens of a predicted ‘Global Power Shift’ from West to East and through application to the global entertainment industries.

Students will follow one of these two tracks through the semester. Over the course of the semester we will be looking for connections between specific areas of focus of international political economy (IPE), with the rise of Asia and the global entertainment industries. An overarching question for the course is: how is the global shift in power back to Asia from the West reflected in, and is likely to affect, the global entertainment industries? We will also explore the proposition that: just as Hollywood provided the US with the soft power to become an imperial power, so too will the entertainment
industry be important to China as a rising global power [see Nye (2008)].

Different approaches will be taken in the course to thinking about the relationship between communication structures, entertainment and the changing structures of power globally. Analytical frameworks considered will include liberal, historical materialist, and socio-spatial approaches to IPEC, along with cultural imperialism. Among the broader topics explored will be the historical context for the re-emergence of China as a dominant power, the impact of the ongoing global financial crisis and changing international financial
structures, as well as the role and structure of the entertainment industries globally, along with the impact that power structures have had on the global entertainment industries.