Holly Kruse
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780262034418
- eISBN:
- 9780262332392
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034418.003.0005
- Subject:
- Information Science, Information Science
This chapter examines the growth of networked in-home interactive media by focusing on its use in the spaces of horse racing. Economic, technological, and legal issues are of particular importance in ...
More
This chapter examines the growth of networked in-home interactive media by focusing on its use in the spaces of horse racing. Economic, technological, and legal issues are of particular importance in understanding the emergence of contemporary horse racing sites and technologies. The chapter investigates in detail how interactive media have changed the racing industry, and it looks at the media conglomerates that have invested in in-home and mobile interactive gambling services. Special attention is paid to the growing involvement of media, leisure, and gambling companies in racing. A goal of racing institutions has been to make money by controlling more of the simulcast content in the marketplace: packaging various tracks’ signals, selling them to receiving tracks and off-track facilities, making deals for coverage of their tracks with interactive television and online services, and thus reaping the benefits of greater revenue gained through networked technology across disparate geographic spaces.Less
This chapter examines the growth of networked in-home interactive media by focusing on its use in the spaces of horse racing. Economic, technological, and legal issues are of particular importance in understanding the emergence of contemporary horse racing sites and technologies. The chapter investigates in detail how interactive media have changed the racing industry, and it looks at the media conglomerates that have invested in in-home and mobile interactive gambling services. Special attention is paid to the growing involvement of media, leisure, and gambling companies in racing. A goal of racing institutions has been to make money by controlling more of the simulcast content in the marketplace: packaging various tracks’ signals, selling them to receiving tracks and off-track facilities, making deals for coverage of their tracks with interactive television and online services, and thus reaping the benefits of greater revenue gained through networked technology across disparate geographic spaces.
Barry Langford
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748638574
- eISBN:
- 9780748671076
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748638574.003.0005
- Subject:
- Film, Television and Radio, Film
By the second half of the 1960s, as measured from movies shown in downtown Columbus, Ohio, decline was harder and harder to disguise. The old downtown theatre district had started to fall into decay; ...
More
By the second half of the 1960s, as measured from movies shown in downtown Columbus, Ohio, decline was harder and harder to disguise. The old downtown theatre district had started to fall into decay; while on Labour Day, 1965, the modish comedy What's New Pussycat? and the Cinerama Western The Hallelujah Trail, both United Artists releases, continued long runs at the Ohio and Grand, respectively, the closure of the Broad in March 1961 had reduced the old picture palaces to just three. In early 1969 both the Ohio and the Grand would fall dark, leaving only the Palace open for business for the holiday weekend in 1970. The Palace's programme at the start of September 1970 also testified to changes in the social and demographic constituency of movies and of downtown Columbus alike. The ‘art theatres’ of the mid-1950s had bifurcated into recognisable art house screens on the one hand, and the new phenomenon of ‘adults only’ theatres on the other. Columbus was the chosen location of Warner Communications's first experiment in interactive television.Less
By the second half of the 1960s, as measured from movies shown in downtown Columbus, Ohio, decline was harder and harder to disguise. The old downtown theatre district had started to fall into decay; while on Labour Day, 1965, the modish comedy What's New Pussycat? and the Cinerama Western The Hallelujah Trail, both United Artists releases, continued long runs at the Ohio and Grand, respectively, the closure of the Broad in March 1961 had reduced the old picture palaces to just three. In early 1969 both the Ohio and the Grand would fall dark, leaving only the Palace open for business for the holiday weekend in 1970. The Palace's programme at the start of September 1970 also testified to changes in the social and demographic constituency of movies and of downtown Columbus alike. The ‘art theatres’ of the mid-1950s had bifurcated into recognisable art house screens on the one hand, and the new phenomenon of ‘adults only’ theatres on the other. Columbus was the chosen location of Warner Communications's first experiment in interactive television.
