Georg von Krogh, Kazuo Ichijo, and Ikujiro Nonaka
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780195126167
- eISBN:
- 9780199848720
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195126167.001.0001
- Subject:
- Business and Management, Knowledge Management
This book shows how firms can generate and nurture ideas. Weaving together lessons from such international leaders as Siemens, Unilever, Skandia, and Sony, along with their own first-hand consulting ...
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This book shows how firms can generate and nurture ideas. Weaving together lessons from such international leaders as Siemens, Unilever, Skandia, and Sony, along with their own first-hand consulting experiences, the authors introduce knowledge enabling — the overall set of organizational activities that promote knowledge creation — and demonstrate its power to transform an organization's knowledge into value-creating actions. They describe the five key “knowledge enablers” and outline what it takes to instill a knowledge vision, manage conversations, mobilize knowledge activists, create the right context for knowledge creation, and globalize local knowledge. The authors stress that knowledge creation must be more than the exclusive purview of one individual — or designated “knowledge” officer. Indeed, it demands new roles and responsibilities for everyone in the organization — from the elite in the executive suite to the frontline workers on the shop floor. Whether an activist, a caring expert, or a corporate epistemologist who focuses on the theory of knowledge itself, everyone in an organization has a vital role to play in making “care” an integral part of the everyday experience; in supporting, nurturing, and encouraging microcommunities of innovation and fun; and in creating a shared space where knowledge is created, exchanged, and used for sustained, competitive advantage. This book puts practical tools into the hands of managers and executives who are struggling to unleash the power of knowledge in their organization.Less
This book shows how firms can generate and nurture ideas. Weaving together lessons from such international leaders as Siemens, Unilever, Skandia, and Sony, along with their own first-hand consulting experiences, the authors introduce knowledge enabling — the overall set of organizational activities that promote knowledge creation — and demonstrate its power to transform an organization's knowledge into value-creating actions. They describe the five key “knowledge enablers” and outline what it takes to instill a knowledge vision, manage conversations, mobilize knowledge activists, create the right context for knowledge creation, and globalize local knowledge. The authors stress that knowledge creation must be more than the exclusive purview of one individual — or designated “knowledge” officer. Indeed, it demands new roles and responsibilities for everyone in the organization — from the elite in the executive suite to the frontline workers on the shop floor. Whether an activist, a caring expert, or a corporate epistemologist who focuses on the theory of knowledge itself, everyone in an organization has a vital role to play in making “care” an integral part of the everyday experience; in supporting, nurturing, and encouraging microcommunities of innovation and fun; and in creating a shared space where knowledge is created, exchanged, and used for sustained, competitive advantage. This book puts practical tools into the hands of managers and executives who are struggling to unleash the power of knowledge in their organization.
Peter Grindley
- Published in print:
- 1995
- Published Online:
- October 2011
- ISBN:
- 9780198288077
- eISBN:
- 9780191684562
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198288077.003.0004
- Subject:
- Business and Management, Innovation, Strategy
This chapter focuses on the video cassette recorder (VCR), which serves as an excellent example of how product compatibility standards may be used to ensure the success of a new product. Sony Betamax ...
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This chapter focuses on the video cassette recorder (VCR), which serves as an excellent example of how product compatibility standards may be used to ensure the success of a new product. Sony Betamax was ultimately driven out of the market by the more advanced technology of the JVC's VHS system, and the key factor to its success was the standards strategy. This case study shows how the power of network externalities worked by means of the market for complementary goods. It follows the introduction of VCR and shows how standards strategy gradually came to dominate other efforts. It provides some lessons in how to recognize products influenced by compatibility standards. Conventional competition and product features will not have much effect once the installed base effect takes over. The main lesson from the case is how an open standards and market penetration strategy may win against propriety standards.Less
This chapter focuses on the video cassette recorder (VCR), which serves as an excellent example of how product compatibility standards may be used to ensure the success of a new product. Sony Betamax was ultimately driven out of the market by the more advanced technology of the JVC's VHS system, and the key factor to its success was the standards strategy. This case study shows how the power of network externalities worked by means of the market for complementary goods. It follows the introduction of VCR and shows how standards strategy gradually came to dominate other efforts. It provides some lessons in how to recognize products influenced by compatibility standards. Conventional competition and product features will not have much effect once the installed base effect takes over. The main lesson from the case is how an open standards and market penetration strategy may win against propriety standards.
Georg Von Krogh, Kazuo Ichijo, and Ikujiro Nonaka
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780195126167
- eISBN:
- 9780199848720
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195126167.003.0008
- Subject:
- Business and Management, Knowledge Management
While there are different types of knowledge within an organization — individual, social, and tacit — all of these must nonetheless be stimulated, developed, justified, and effectively disseminated ...
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While there are different types of knowledge within an organization — individual, social, and tacit — all of these must nonetheless be stimulated, developed, justified, and effectively disseminated among the organization's members. Although tacit knowledge is perceived to be the fundamental source of innovation, this is often taken too lightly by a firm, and it is difficult to share such knowledge. In order for new knowledge to be fully utilized, it must be articulated and shared. Creating the right context in sharing knowledge entails veering away from traditional organizational structures and coming up with new structures within a company that would cultivate stable relationships among members that would further establish effective collaboration endeavors. This chapter discusses some of the possible alternatives that have already been tested out by various Japanese companies such as Sony, Maekawa, and Toshiba.Less
While there are different types of knowledge within an organization — individual, social, and tacit — all of these must nonetheless be stimulated, developed, justified, and effectively disseminated among the organization's members. Although tacit knowledge is perceived to be the fundamental source of innovation, this is often taken too lightly by a firm, and it is difficult to share such knowledge. In order for new knowledge to be fully utilized, it must be articulated and shared. Creating the right context in sharing knowledge entails veering away from traditional organizational structures and coming up with new structures within a company that would cultivate stable relationships among members that would further establish effective collaboration endeavors. This chapter discusses some of the possible alternatives that have already been tested out by various Japanese companies such as Sony, Maekawa, and Toshiba.
John D. Martin, J. William Petty, and James S. Wallace
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195340389
- eISBN:
- 9780199867257
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340389.003.0006
- Subject:
- Economics and Finance, Macro- and Monetary Economics, Financial Economics
This chapter presents many economic arguments in support of value(s)-based management, the idea that CSR fits in well within a VBM framework because CSR appears to make good business sense. Corporate ...
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This chapter presents many economic arguments in support of value(s)-based management, the idea that CSR fits in well within a VBM framework because CSR appears to make good business sense. Corporate social responsibility follows from the premise that it is important for a firm to operate in a socially responsible manner that considers the importance of all of its stakeholders and how they contribute to the company's long-term, sustainable creation of value. Economic arguments that support the business purpose of CSR include the fact that it can help recruit and retain employees, provide reputational risk management, assist in differentiating firm branding, and help avoid governmental scrutiny and interference. The existing academic evidence is consistent with the economic arguments supporting a firm's development of a CSR program.Less
This chapter presents many economic arguments in support of value(s)-based management, the idea that CSR fits in well within a VBM framework because CSR appears to make good business sense. Corporate social responsibility follows from the premise that it is important for a firm to operate in a socially responsible manner that considers the importance of all of its stakeholders and how they contribute to the company's long-term, sustainable creation of value. Economic arguments that support the business purpose of CSR include the fact that it can help recruit and retain employees, provide reputational risk management, assist in differentiating firm branding, and help avoid governmental scrutiny and interference. The existing academic evidence is consistent with the economic arguments supporting a firm's development of a CSR program.
James W. Cortada
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199921553
- eISBN:
- 9780199980406
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199921553.003.0007
- Subject:
- Economics and Finance, Development, Growth, and Environmental
This is a detailed history of the introduction, deployment and use of computing in Japan from the 1950s through 2010. It explores the role of the IT industry, that of consumers of IT over the half ...
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This is a detailed history of the introduction, deployment and use of computing in Japan from the 1950s through 2010. It explores the role of the IT industry, that of consumers of IT over the half century, role of government and its policies, and the effect IT had on the evolution of Japan’s economy and culture. Japan was the first industrial state in Asia to embrace computers, dominating the field in the region for nearly four decades. Details are provided on policies, programs, volumes of installations, results, and some company histories. It also discusses the effects Japanese experiences with computers had in the diffusion of this technology elsewhere in Asia.Less
This is a detailed history of the introduction, deployment and use of computing in Japan from the 1950s through 2010. It explores the role of the IT industry, that of consumers of IT over the half century, role of government and its policies, and the effect IT had on the evolution of Japan’s economy and culture. Japan was the first industrial state in Asia to embrace computers, dominating the field in the region for nearly four decades. Details are provided on policies, programs, volumes of installations, results, and some company histories. It also discusses the effects Japanese experiences with computers had in the diffusion of this technology elsewhere in Asia.
Simon Partner
- Published in print:
- 2000
- Published Online:
- March 2012
- ISBN:
- 9780520217928
- eISBN:
- 9780520923171
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520217928.001.0001
- Subject:
- Sociology, Occupations, Professions, and Work
This book investigates one of the great success stories of the twentieth century: the rise of the Japanese electronics industry. Contrary to mainstream interpretation, it discovers that behind the ...
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This book investigates one of the great success stories of the twentieth century: the rise of the Japanese electronics industry. Contrary to mainstream interpretation, it discovers that behind the meteoric rise of Sony, Matsushita, Toshiba, and other electrical goods companies was neither the iron hand of Japan's Ministry of International Trade and Industry nor a government-sponsored export-led growth policy, but rather an explosion of domestic consumer demand that began in the 1950s. This powerful consumer boom differed fundamentally from the one under way at the same time in the United States in that it began from widespread poverty and comparatively miserable living conditions. Beginning with a discussion of the prewar origins of the consumer engine that was to take off under the American Occupation, the book quickly turns its sights to the business leaders, inventors, laborers, and ordinary citizens who participated in the broadly successful effort to create new markets for expensive, unfamiliar new products. It relates these pressure-cooker years in Japan to the key themes of twentieth-century experience worldwide: the role of technology in promoting social change, the rise of mass consumer societies, and the construction of gender in advanced industrial economies.Less
This book investigates one of the great success stories of the twentieth century: the rise of the Japanese electronics industry. Contrary to mainstream interpretation, it discovers that behind the meteoric rise of Sony, Matsushita, Toshiba, and other electrical goods companies was neither the iron hand of Japan's Ministry of International Trade and Industry nor a government-sponsored export-led growth policy, but rather an explosion of domestic consumer demand that began in the 1950s. This powerful consumer boom differed fundamentally from the one under way at the same time in the United States in that it began from widespread poverty and comparatively miserable living conditions. Beginning with a discussion of the prewar origins of the consumer engine that was to take off under the American Occupation, the book quickly turns its sights to the business leaders, inventors, laborers, and ordinary citizens who participated in the broadly successful effort to create new markets for expensive, unfamiliar new products. It relates these pressure-cooker years in Japan to the key themes of twentieth-century experience worldwide: the role of technology in promoting social change, the rise of mass consumer societies, and the construction of gender in advanced industrial economies.
Barry Langford
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748638574
- eISBN:
- 9780748671076
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748638574.001.0001
- Subject:
- Film, Television and Radio, Film
At the end of World War II, Hollywood basked in unprecedented prosperity. Since then, numerous challenges and crises have changed the American film industry in ways beyond imagination in 1945. ...
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At the end of World War II, Hollywood basked in unprecedented prosperity. Since then, numerous challenges and crises have changed the American film industry in ways beyond imagination in 1945. Nonetheless, at the start of a new century, Hollywood's worldwide dominance is intact — indeed, in today's global economy the products of the American entertainment industry (of which movies are now only one part) are more ubiquitous than ever. How does today's ‘Hollywood’ — absorbed into transnational media conglomerates such as NewsCorp., Sony and Viacom — differ from the legendary studios of Hollywood's Golden Age? What are the dominant frameworks and conventions, the historical contexts and the governing attitudes through which films are made, marketed and consumed today? How have these changed across the last seven decades? And how have these evolving contexts helped shape the form, the style and the content of Hollywood movies, from Singin' in the Rain to Pirates of the Caribbean? This book explains and interrogates the concept of ‘post-classical’ Hollywood cinema — its coherence, its historical justification and how it can help or hinder our understanding of Hollywood from the 1940s to the present. Integrating film history, discussion of movies' social and political dimensions and analysis of Hollywood's distinctive methods of storytelling, the book charts critical debates alongside the histories they interpret, while offering its own account of the ‘post-classical’.Less
At the end of World War II, Hollywood basked in unprecedented prosperity. Since then, numerous challenges and crises have changed the American film industry in ways beyond imagination in 1945. Nonetheless, at the start of a new century, Hollywood's worldwide dominance is intact — indeed, in today's global economy the products of the American entertainment industry (of which movies are now only one part) are more ubiquitous than ever. How does today's ‘Hollywood’ — absorbed into transnational media conglomerates such as NewsCorp., Sony and Viacom — differ from the legendary studios of Hollywood's Golden Age? What are the dominant frameworks and conventions, the historical contexts and the governing attitudes through which films are made, marketed and consumed today? How have these changed across the last seven decades? And how have these evolving contexts helped shape the form, the style and the content of Hollywood movies, from Singin' in the Rain to Pirates of the Caribbean? This book explains and interrogates the concept of ‘post-classical’ Hollywood cinema — its coherence, its historical justification and how it can help or hinder our understanding of Hollywood from the 1940s to the present. Integrating film history, discussion of movies' social and political dimensions and analysis of Hollywood's distinctive methods of storytelling, the book charts critical debates alongside the histories they interpret, while offering its own account of the ‘post-classical’.
Ravi Agrawal
- Published in print:
- 2019
- Published Online:
- November 2020
- ISBN:
- 9780190858650
- eISBN:
- 9780197559857
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190858650.003.0015
- Subject:
- Computer Science, History of Computer Science
The world changed on January 9, 2007. It was the Macworld trade show in San Francisco, an annual showcase for Apple products, and founder Steve Jobs was ...
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The world changed on January 9, 2007. It was the Macworld trade show in San Francisco, an annual showcase for Apple products, and founder Steve Jobs was about to introduce a new gadget. “Every once in a while, a revolutionary product comes along that changes everything,” announced Jobs. The Macworld audience had a Pavlovian expectation for something game-changing that day. In 1984 Apple introduced the Macintosh, which went on to transform computing and make the mouse a mainstream accessory. Then in 2001, the iPod arrived. “It didn’t just change the way we all listened to music. It changed the entire music industry,” Jobs reminded his audience. (This was no exaggeration. When Apple began offering individual songs for ninety-nine cents on its iTunes store, the era of record companies selling entire albums was shattered.) “Today, we’re introducing three revolutionary products. The first one is a wide-screen iPod with touch controls.” Jobs paused for dramatic effect. On cue, the audience broke into hearty applause. “The second,” continued Jobs, “is a revolutionary mobile phone.” This time, before he could pause, cheers rang out—with a louder, prolonged burst of clapping. Apple had never manufactured a phone before. “And the third,” he went on, as a big screen behind him mirrored his words, “is a breakthrough internet communications device.” A whoop, followed by a polite round of clapping; by now the audience was a bit confused at the deluge of new products. Jobs let his words hang in the air, teasing the crowd as it waited in anticipation. “So, three things,” he recapped, as the screen behind him showed three Apple icons representing an iPod, a phone, and the internet. “A wide-screen iPod with touch controls, a revolutionary mobile phone, and a breakthrough internet communications device.” Silence. “An iPod, a phone, and an internet communicator,” Jobs repeated, as the screen displayed each of those icons in the center, flipping to reveal the next one. The animations behind Jobs had been carefully choreographed to match his words.
Less
The world changed on January 9, 2007. It was the Macworld trade show in San Francisco, an annual showcase for Apple products, and founder Steve Jobs was about to introduce a new gadget. “Every once in a while, a revolutionary product comes along that changes everything,” announced Jobs. The Macworld audience had a Pavlovian expectation for something game-changing that day. In 1984 Apple introduced the Macintosh, which went on to transform computing and make the mouse a mainstream accessory. Then in 2001, the iPod arrived. “It didn’t just change the way we all listened to music. It changed the entire music industry,” Jobs reminded his audience. (This was no exaggeration. When Apple began offering individual songs for ninety-nine cents on its iTunes store, the era of record companies selling entire albums was shattered.) “Today, we’re introducing three revolutionary products. The first one is a wide-screen iPod with touch controls.” Jobs paused for dramatic effect. On cue, the audience broke into hearty applause. “The second,” continued Jobs, “is a revolutionary mobile phone.” This time, before he could pause, cheers rang out—with a louder, prolonged burst of clapping. Apple had never manufactured a phone before. “And the third,” he went on, as a big screen behind him mirrored his words, “is a breakthrough internet communications device.” A whoop, followed by a polite round of clapping; by now the audience was a bit confused at the deluge of new products. Jobs let his words hang in the air, teasing the crowd as it waited in anticipation. “So, three things,” he recapped, as the screen behind him showed three Apple icons representing an iPod, a phone, and the internet. “A wide-screen iPod with touch controls, a revolutionary mobile phone, and a breakthrough internet communications device.” Silence. “An iPod, a phone, and an internet communicator,” Jobs repeated, as the screen displayed each of those icons in the center, flipping to reveal the next one. The animations behind Jobs had been carefully choreographed to match his words.
Yannis Tzioumakis
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748633685
- eISBN:
- 9780748671236
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748633685.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter discusses The Spanish Prisoner’s industrial and economic background, particularly by exploring its relationship to Sony Pictures Classics. Specifically, it examines its production ...
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This chapter discusses The Spanish Prisoner’s industrial and economic background, particularly by exploring its relationship to Sony Pictures Classics. Specifically, it examines its production history as an independent production financed by funds from European investors, before the film’s rights for distribution in the North American market were bought by Sony Pictures Classics. The chapter then provides a detailed examination of the company, which has been enjoying remarkable success in the indie film market, before moving to examine the manner in which Sony Pictures Classics marketed the film, the method of the film’s release, its participation in festivals and other relevant issues. The discussion demonstrates how classics divisions and independent companies resort to a different set of distribution strategies than the major studios to promote films.Less
This chapter discusses The Spanish Prisoner’s industrial and economic background, particularly by exploring its relationship to Sony Pictures Classics. Specifically, it examines its production history as an independent production financed by funds from European investors, before the film’s rights for distribution in the North American market were bought by Sony Pictures Classics. The chapter then provides a detailed examination of the company, which has been enjoying remarkable success in the indie film market, before moving to examine the manner in which Sony Pictures Classics marketed the film, the method of the film’s release, its participation in festivals and other relevant issues. The discussion demonstrates how classics divisions and independent companies resort to a different set of distribution strategies than the major studios to promote films.
Jonathon Keats
- Published in print:
- 2010
- Published Online:
- November 2020
- ISBN:
- 9780195398540
- eISBN:
- 9780197562826
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780195398540.003.0019
- Subject:
- Computer Science, Programming Languages
In the fall of 2006 a typical American couple named Jim and Laura drove an RV from Nevada to Georgia, blogging about their encounters with Wal-Mart ...
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In the fall of 2006 a typical American couple named Jim and Laura drove an RV from Nevada to Georgia, blogging about their encounters with Wal-Mart employees and customers. Because Wal-Mart was one of their favorite stores, they found plenty to praise, including the morale of clerks and corporate health care benefits. Yet there was another reason their excursion reflected so well on the notoriously ruthless company: the trip was financed, and their blogging paid for, by Wal-Mart’s public relations agency. Less besotted by big box stores than were Laura and Jim, other bloggers soon began taunting them, publicly questioning whether WalmartingAcrossAmerica.com was a sham. The backlash threatened to go viral. The site was hastily dismantled, and the PR firm brusquely apologized. Yet the incident was immortalized on the strength of a word that perfectly embodied the flacks’ marketing folly. Walmarting Across America became the first big flog. Flog is not an unusual coinage for the web, where words are routinely mashed up to accommodate intersecting ideas and high-speed typing. Films combining porno and gore are sometimes dubbed gorno, and the proliferation of girdles for men has begotten the mirdle. Even flog has had several other incarnations, including abbreviations for family blog, food blog, photo blog, and For the love of God. What distinguishes the current example is the cunning play on words, the sly (if less than subtle) reference to flogging, old slang for selling goods of dubious merit, derived from cant for flagellation. Used in reference to flack blogs such as Walmarting Across America, flog sounds like what it is: a term for PR chicanery. Flog has much to recommend it linguistically, not least its appropriation of blog, one of the most successful neologisms in Internet history. Yet despite its mix of pedigree and wit, flog is well on its way to oblivion. Flog has foundered for many of the reasons that blog has flourished, and their apparent similarities reveal their real differences. Both words originated as contractions, yet blog was almost as arbitrary as flog was deliberate.
Less
In the fall of 2006 a typical American couple named Jim and Laura drove an RV from Nevada to Georgia, blogging about their encounters with Wal-Mart employees and customers. Because Wal-Mart was one of their favorite stores, they found plenty to praise, including the morale of clerks and corporate health care benefits. Yet there was another reason their excursion reflected so well on the notoriously ruthless company: the trip was financed, and their blogging paid for, by Wal-Mart’s public relations agency. Less besotted by big box stores than were Laura and Jim, other bloggers soon began taunting them, publicly questioning whether WalmartingAcrossAmerica.com was a sham. The backlash threatened to go viral. The site was hastily dismantled, and the PR firm brusquely apologized. Yet the incident was immortalized on the strength of a word that perfectly embodied the flacks’ marketing folly. Walmarting Across America became the first big flog. Flog is not an unusual coinage for the web, where words are routinely mashed up to accommodate intersecting ideas and high-speed typing. Films combining porno and gore are sometimes dubbed gorno, and the proliferation of girdles for men has begotten the mirdle. Even flog has had several other incarnations, including abbreviations for family blog, food blog, photo blog, and For the love of God. What distinguishes the current example is the cunning play on words, the sly (if less than subtle) reference to flogging, old slang for selling goods of dubious merit, derived from cant for flagellation. Used in reference to flack blogs such as Walmarting Across America, flog sounds like what it is: a term for PR chicanery. Flog has much to recommend it linguistically, not least its appropriation of blog, one of the most successful neologisms in Internet history. Yet despite its mix of pedigree and wit, flog is well on its way to oblivion. Flog has foundered for many of the reasons that blog has flourished, and their apparent similarities reveal their real differences. Both words originated as contractions, yet blog was almost as arbitrary as flog was deliberate.
Sunetra Sen Narayan
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780198092360
- eISBN:
- 9780199082711
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198092360.003.0007
- Subject:
- Political Science, Indian Politics
The advent of satellite delivery of television programming brought about a sea change in Indian broadcasting. The decade of the 1990s saw private television players establish themselves in India, ...
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The advent of satellite delivery of television programming brought about a sea change in Indian broadcasting. The decade of the 1990s saw private television players establish themselves in India, changing the contours of the industry. The provision of television was no longer the monopoly of the state; vibrant competition had grown from both transnational, as well as local media groups. STAR TV was the first to arrive and continues to be an important media player in India. Domestic private broadcasters also rose to challenge the supremacy of Doordarshan at home—Zee TV and regional players such as Sun TV. This chapter tries to map the universe of private broadcasting in India and the changes in television from 1990-2010. It takes into account genres such as news, music, entertainment, and also media groups such as NDTV and Media 18.Less
The advent of satellite delivery of television programming brought about a sea change in Indian broadcasting. The decade of the 1990s saw private television players establish themselves in India, changing the contours of the industry. The provision of television was no longer the monopoly of the state; vibrant competition had grown from both transnational, as well as local media groups. STAR TV was the first to arrive and continues to be an important media player in India. Domestic private broadcasters also rose to challenge the supremacy of Doordarshan at home—Zee TV and regional players such as Sun TV. This chapter tries to map the universe of private broadcasting in India and the changes in television from 1990-2010. It takes into account genres such as news, music, entertainment, and also media groups such as NDTV and Media 18.
Eric Klopfer
- Published in print:
- 2008
- Published Online:
- August 2013
- ISBN:
- 9780262113151
- eISBN:
- 9780262277297
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262113151.001.0001
- Subject:
- Computer Science, Game Studies
New technology has brought with it new tools for learning, and research has shown that the educational potential of video games resonates with scholars, teachers, and students alike. This book ...
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New technology has brought with it new tools for learning, and research has shown that the educational potential of video games resonates with scholars, teachers, and students alike. This book describes the largely untapped potential of mobile learning games—games played on such handheld devices as cell phones, Game Boys, and Sony PSPs—to make a substantial impact on learning. Examining mobile games from both educational and gaming perspectives, it argues that the strengths of the mobile platform—its portability, context sensitivity, connectivity, and ubiquity—make it ideal for learning games in elementary, secondary, university, and lifelong education. The book begins by exploring the past and present of education, educational technology, “edutainment,” and mobile games. It then offers a series of case studies of mobile educational games that have been developed and implemented in recent years. These games—either participatory (which require interaction with other players) or augmented reality (which augment the real world with virtual information)—can be produced at lower cost than PC or full-size console games. They use social dynamics and real-world context to enhance game play, can be integrated into the natural flow of instruction more easily than their big-screen counterparts, and can create compelling educational and engaging environments for learners. They are especially well suited for helping learners at every level develop twenty-first century skills, including the ability to tackle complex problems and acquire information in “just-in-time” fashion.Less
New technology has brought with it new tools for learning, and research has shown that the educational potential of video games resonates with scholars, teachers, and students alike. This book describes the largely untapped potential of mobile learning games—games played on such handheld devices as cell phones, Game Boys, and Sony PSPs—to make a substantial impact on learning. Examining mobile games from both educational and gaming perspectives, it argues that the strengths of the mobile platform—its portability, context sensitivity, connectivity, and ubiquity—make it ideal for learning games in elementary, secondary, university, and lifelong education. The book begins by exploring the past and present of education, educational technology, “edutainment,” and mobile games. It then offers a series of case studies of mobile educational games that have been developed and implemented in recent years. These games—either participatory (which require interaction with other players) or augmented reality (which augment the real world with virtual information)—can be produced at lower cost than PC or full-size console games. They use social dynamics and real-world context to enhance game play, can be integrated into the natural flow of instruction more easily than their big-screen counterparts, and can create compelling educational and engaging environments for learners. They are especially well suited for helping learners at every level develop twenty-first century skills, including the ability to tackle complex problems and acquire information in “just-in-time” fashion.
Ray Zone
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780813136110
- eISBN:
- 9780813141183
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813136110.003.0034
- Subject:
- Film, Television and Radio, Film
A survey of the eight 3D productions he supervised (up to 2009) is given with an extensive interview with Rob Engle, Stereoscopic Supervisor at Sony Imageworks.
A survey of the eight 3D productions he supervised (up to 2009) is given with an extensive interview with Rob Engle, Stereoscopic Supervisor at Sony Imageworks.
Magalí Armillas-Tiseyra
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780823277872
- eISBN:
- 9780823280490
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823277872.003.0010
- Subject:
- Literature, World Literature
This essay shows how the idea of the South Atlantic as a space
of dictatorships and banana republics was contested on the ground by literary experimentation and transoceanic influence. Armillas- ...
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This essay shows how the idea of the South Atlantic as a space
of dictatorships and banana republics was contested on the ground by literary experimentation and transoceanic influence. Armillas- Tiseyra uses Sony Labou Tansi’s La vie et demie (Life and a Half 1979) as an example of a dictator novel, a genre that spans the Global South. Armillas-Tiseyra argues for the term “constellation” to be used in place of “magical realism” to classify the genre. “Constellation” here serves as a figure both for the relationship of
individual texts or textual features to each other (a loose configuration or grouping) and for a mode of comparison that proceeds by juxtaposition and collage rather than more rigid hierarchical systematization. The allows Armillas-Tiseyra to approach and grapple with the difficult relationship between critique and narrative form.Less
This essay shows how the idea of the South Atlantic as a space
of dictatorships and banana republics was contested on the ground by literary experimentation and transoceanic influence. Armillas- Tiseyra uses Sony Labou Tansi’s La vie et demie (Life and a Half 1979) as an example of a dictator novel, a genre that spans the Global South. Armillas-Tiseyra argues for the term “constellation” to be used in place of “magical realism” to classify the genre. “Constellation” here serves as a figure both for the relationship of
individual texts or textual features to each other (a loose configuration or grouping) and for a mode of comparison that proceeds by juxtaposition and collage rather than more rigid hierarchical systematization. The allows Armillas-Tiseyra to approach and grapple with the difficult relationship between critique and narrative form.
Maryann Erigha
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9781479886647
- eISBN:
- 9781479816644
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479886647.003.0003
- Subject:
- Sociology, Culture
The Hollywood Jim Crow marks Black and racial minority movies culturally and economically inferior using the unbankable label—a presumption that they will not perform sufficiently well at the box ...
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The Hollywood Jim Crow marks Black and racial minority movies culturally and economically inferior using the unbankable label—a presumption that they will not perform sufficiently well at the box office, especially in foreign markets. This chapter highlights how the unbankable label is present in Sony emails between Hollywood insiders. Unbankable becomes a new way to discriminate and explicitly use race to make decisions about moviemaking. Hollywood insiders suggest that Black cast movies will make less money and attract smaller audiences compared to white cast movies. Subsequently Black directors work on films with smaller budgets and targeted advertising and promotion to niche audiences. Hollywood decision makers overlook successful Black films as exceptions and still apply the unbankable label to Black cinema as a whole, limiting opportunities for Black and racial minority directors.Less
The Hollywood Jim Crow marks Black and racial minority movies culturally and economically inferior using the unbankable label—a presumption that they will not perform sufficiently well at the box office, especially in foreign markets. This chapter highlights how the unbankable label is present in Sony emails between Hollywood insiders. Unbankable becomes a new way to discriminate and explicitly use race to make decisions about moviemaking. Hollywood insiders suggest that Black cast movies will make less money and attract smaller audiences compared to white cast movies. Subsequently Black directors work on films with smaller budgets and targeted advertising and promotion to niche audiences. Hollywood decision makers overlook successful Black films as exceptions and still apply the unbankable label to Black cinema as a whole, limiting opportunities for Black and racial minority directors.
William Robin
- Published in print:
- 2021
- Published Online:
- February 2021
- ISBN:
- 9780190068653
- eISBN:
- 9780190068684
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190068653.003.0008
- Subject:
- Music, History, American
In the 1990s, Bang on a Can jumped from releasing albums on the academic label Composers Recordings, Inc. to signing a contract with the major label Sony Classical. Their path emblematized an unusual ...
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In the 1990s, Bang on a Can jumped from releasing albums on the academic label Composers Recordings, Inc. to signing a contract with the major label Sony Classical. Their path emblematized an unusual moment in recording contemporary music: after Nonesuch’s 1992 recording of Henryk Górecki’s Symphony No. 3 became extraordinarily popular, major labels looked to contemporary music as a means to reach new listeners. Whereas new music had previously been the provenance of noncommercial labels like CRI, major labels began investing in new composers and new institutions like Bang on a Can in the hopes of turning new profits. From Sony, Bang on a Can jumped to Philips’s Point Music and released their rendition of Brian Eno’s Music for Airports, an album designed to reach new rock audience; and from there, amidst the industry tumult of the late 1990s, they struck out on their own with the independent label Cantaloupe Music.Less
In the 1990s, Bang on a Can jumped from releasing albums on the academic label Composers Recordings, Inc. to signing a contract with the major label Sony Classical. Their path emblematized an unusual moment in recording contemporary music: after Nonesuch’s 1992 recording of Henryk Górecki’s Symphony No. 3 became extraordinarily popular, major labels looked to contemporary music as a means to reach new listeners. Whereas new music had previously been the provenance of noncommercial labels like CRI, major labels began investing in new composers and new institutions like Bang on a Can in the hopes of turning new profits. From Sony, Bang on a Can jumped to Philips’s Point Music and released their rendition of Brian Eno’s Music for Airports, an album designed to reach new rock audience; and from there, amidst the industry tumult of the late 1990s, they struck out on their own with the independent label Cantaloupe Music.
Joseph Darda
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780226632896
- eISBN:
- 9780226633084
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226633084.003.0007
- Subject:
- History, American History: 20th Century
The epilogue follows Barack Obama’s transformation from antiwar presidential candidate to war president. While he drew down the state’s ground wars in Iraq and Afghanistan, President Obama further ...
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The epilogue follows Barack Obama’s transformation from antiwar presidential candidate to war president. While he drew down the state’s ground wars in Iraq and Afghanistan, President Obama further militarized what defense officials call “the fifth domain” through drone and cyber technologies, seeing remote attacks as more humane, less violent, and not war at all. But remote war cannot and should not be distinguished from conventional war. It should instead be recognized as the latest iteration of a racial regime of defense that has encouraged and obscured permanent war across the twentieth and twenty-first centuries by separating the people, places, and beliefs to be defended from those to be integrated or abolished. The Obama administration’s turn to remote technologies in the war on terror did not result in less violence and fewer lives lost. Instead, emergent technologies have augmented the execution of state violence and, by removing American bodies from the battlefield, eased its continuation. The ongoing debate as to whether drone and cyber attacks constitute war—like the backlash to the proposed and then scrapped Distinguished Warfare Medal to honor drone pilots and cyber operators—restages the troubled cultural politics of unending war.Less
The epilogue follows Barack Obama’s transformation from antiwar presidential candidate to war president. While he drew down the state’s ground wars in Iraq and Afghanistan, President Obama further militarized what defense officials call “the fifth domain” through drone and cyber technologies, seeing remote attacks as more humane, less violent, and not war at all. But remote war cannot and should not be distinguished from conventional war. It should instead be recognized as the latest iteration of a racial regime of defense that has encouraged and obscured permanent war across the twentieth and twenty-first centuries by separating the people, places, and beliefs to be defended from those to be integrated or abolished. The Obama administration’s turn to remote technologies in the war on terror did not result in less violence and fewer lives lost. Instead, emergent technologies have augmented the execution of state violence and, by removing American bodies from the battlefield, eased its continuation. The ongoing debate as to whether drone and cyber attacks constitute war—like the backlash to the proposed and then scrapped Distinguished Warfare Medal to honor drone pilots and cyber operators—restages the troubled cultural politics of unending war.
- Published in print:
- 2007
- Published Online:
- June 2013
- ISBN:
- 9781846310560
- eISBN:
- 9781846312922
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846312922.007
- Subject:
- Literature, Criticism/Theory
This chapter reflects on the meaning of Achille Mbembe's claim that his project is an attempt to ‘write Africa’. It presents a reading of the early autobiographical essay, ‘Écrire l'Afrique à partir ...
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This chapter reflects on the meaning of Achille Mbembe's claim that his project is an attempt to ‘write Africa’. It presents a reading of the early autobiographical essay, ‘Écrire l'Afrique à partir d'une faille’ in relation to the work of the late Congolese writer Sony Labou Tansi, who is a major literary point of reference for Mbembe.Less
This chapter reflects on the meaning of Achille Mbembe's claim that his project is an attempt to ‘write Africa’. It presents a reading of the early autobiographical essay, ‘Écrire l'Afrique à partir d'une faille’ in relation to the work of the late Congolese writer Sony Labou Tansi, who is a major literary point of reference for Mbembe.
Ian Bogost
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816676460
- eISBN:
- 9781452947617
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816676460.003.0004
- Subject:
- Society and Culture, Media Studies
This chapter analyzes the issue that arose between the Church of England and Sony Computer Entertainment Europe in 2007 over the depiction of the Manchester Cathedral in the videogame Resistance: ...
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This chapter analyzes the issue that arose between the Church of England and Sony Computer Entertainment Europe in 2007 over the depiction of the Manchester Cathedral in the videogame Resistance: Fall of Man. The Church complained about the game’s inclusion of the cathedral, citing the dishonorable juxtaposition of the sanctity of worship against the profanity of violence. But looking deeper into the game, Resistance adds a fictional homage to the catherdral’s resolve, noting the attacks it had survived, in an alternate history, from an enemy that neither understands nor cares for human practices like religion. Resistance depicts the cathedral’s role as a reprieve for the weary and steadfastness in the face of devastation.Less
This chapter analyzes the issue that arose between the Church of England and Sony Computer Entertainment Europe in 2007 over the depiction of the Manchester Cathedral in the videogame Resistance: Fall of Man. The Church complained about the game’s inclusion of the cathedral, citing the dishonorable juxtaposition of the sanctity of worship against the profanity of violence. But looking deeper into the game, Resistance adds a fictional homage to the catherdral’s resolve, noting the attacks it had survived, in an alternate history, from an enemy that neither understands nor cares for human practices like religion. Resistance depicts the cathedral’s role as a reprieve for the weary and steadfastness in the face of devastation.
Kiyoshi Nakamura, Teruaki Asari, Yoshiharu Ichikawa, Koichiro Hayashi, Hajime Yamada, and Sho Yamaguchi
- Published in print:
- 2016
- Published Online:
- January 2016
- ISBN:
- 9780199987238
- eISBN:
- 9780190210182
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199987238.003.0026
- Subject:
- Sociology, Social Research and Statistics, Economic Sociology
This chapter is about media ownership and concentration in Japan. After an overview of the Japanese media industry, the chapter focuses on print media (newspapers, book publishing, magazine ...
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This chapter is about media ownership and concentration in Japan. After an overview of the Japanese media industry, the chapter focuses on print media (newspapers, book publishing, magazine publishing), audiovisual media (radio, broadcast television, multichannel TV platforms, video channels, film), telecommunications media (wireline and wireless telecom), and Internet media (Internet Service Providers, search engines, online news market). Media concentration and ownership in Japan has not changed drastically for many years. The major five broadcasting firms, some of whom also own major newspapers, dominate mass media. broadcasting licenses and spectrum allocation. The main content firms are the public NHK, Fujisankei, Asahi Shimbun, NTV, TBS, Yomiuri Shimbun, Toho, Mainichi Shimbun, and Nikkei. Dentsu, the main advertising agency, functions as an informal coordinator. Japan tends to prefer evolution to revolution, making the incremental approach preferable, even in telecom and Internet services. Here, the dominant firm is NTT-part owned by the government-as well as KDDI and a disruptive newcomer, Softbank. Other tech-media firms are Rakuten and Sony.Less
This chapter is about media ownership and concentration in Japan. After an overview of the Japanese media industry, the chapter focuses on print media (newspapers, book publishing, magazine publishing), audiovisual media (radio, broadcast television, multichannel TV platforms, video channels, film), telecommunications media (wireline and wireless telecom), and Internet media (Internet Service Providers, search engines, online news market). Media concentration and ownership in Japan has not changed drastically for many years. The major five broadcasting firms, some of whom also own major newspapers, dominate mass media. broadcasting licenses and spectrum allocation. The main content firms are the public NHK, Fujisankei, Asahi Shimbun, NTV, TBS, Yomiuri Shimbun, Toho, Mainichi Shimbun, and Nikkei. Dentsu, the main advertising agency, functions as an informal coordinator. Japan tends to prefer evolution to revolution, making the incremental approach preferable, even in telecom and Internet services. Here, the dominant firm is NTT-part owned by the government-as well as KDDI and a disruptive newcomer, Softbank. Other tech-media firms are Rakuten and Sony.
