Joshua A. Braun
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780300197501
- eISBN:
- 9780300216240
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300197501.003.0006
- Subject:
- Society and Culture, Media Studies
This chapter focuses on conceptual tools used for considering large contemporary media organizations like MSNBC. It examines a nonmonolithic framework for elucidating how MSNBC's digital distribution ...
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This chapter focuses on conceptual tools used for considering large contemporary media organizations like MSNBC. It examines a nonmonolithic framework for elucidating how MSNBC's digital distribution is influenced by organizational factors and shows how keeping pace with rapidly transforming production and distribution environments has altered the way that legacy media institutions are organized. It also discusses the emergence of heterarchy as a novel form of organizational structure that allows media conglomerates to cope with perpetual uncertainty. Finally, it analyzes the provincialism of Internet technologies in newsrooms by drawing on a number of theoretical frameworks from the sociology of technology. The chapter argues that large media organizations are not single actors with singular objectives, but complex and dynamic assemblages of individuals, groups, and technologies whose interrelations all influence the flow of content.Less
This chapter focuses on conceptual tools used for considering large contemporary media organizations like MSNBC. It examines a nonmonolithic framework for elucidating how MSNBC's digital distribution is influenced by organizational factors and shows how keeping pace with rapidly transforming production and distribution environments has altered the way that legacy media institutions are organized. It also discusses the emergence of heterarchy as a novel form of organizational structure that allows media conglomerates to cope with perpetual uncertainty. Finally, it analyzes the provincialism of Internet technologies in newsrooms by drawing on a number of theoretical frameworks from the sociology of technology. The chapter argues that large media organizations are not single actors with singular objectives, but complex and dynamic assemblages of individuals, groups, and technologies whose interrelations all influence the flow of content.
Eli M. Noam
- Published in print:
- 2009
- Published Online:
- October 2011
- ISBN:
- 9780195188523
- eISBN:
- 9780199852574
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195188523.003.0018
- Subject:
- Business and Management, Information Technology
This book deals with market concentration trends in the information sector as a whole. Its thesis is that similar dynamics take place across industries, including mass media, and that they lead to ...
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This book deals with market concentration trends in the information sector as a whole. Its thesis is that similar dynamics take place across industries, including mass media, and that they lead to further media concentration trends. It looks at the size of the major segments of the information sector: mass media, telecommunications, information technology, and the Internet. Combined, the United States information sector accounts for over one trillion dollars, not including its considerable exports to other countries. The chapter presents final averaging across all 100 information sector industries, and also across the twenty-seven mass media industries that have been investigated here. The chapter gives an interpretation of this. National concentration, horizontal concentration, and vertical concentration as well as media conglomerates and ownership are discussed.Less
This book deals with market concentration trends in the information sector as a whole. Its thesis is that similar dynamics take place across industries, including mass media, and that they lead to further media concentration trends. It looks at the size of the major segments of the information sector: mass media, telecommunications, information technology, and the Internet. Combined, the United States information sector accounts for over one trillion dollars, not including its considerable exports to other countries. The chapter presents final averaging across all 100 information sector industries, and also across the twenty-seven mass media industries that have been investigated here. The chapter gives an interpretation of this. National concentration, horizontal concentration, and vertical concentration as well as media conglomerates and ownership are discussed.
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/9780748638574.003.0013
- Subject:
- Film, Television and Radio, Film
The identification of the American commercial film industry with ‘Hollywood’ has always been a convenient shorthand masking a complex network of institutions, practices and conventions. That network ...
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The identification of the American commercial film industry with ‘Hollywood’ has always been a convenient shorthand masking a complex network of institutions, practices and conventions. That network has changed radically over the past seven decades. Commentators have been writing Hollywood's obituary, alongside that of the film industry, since the early 1950s. The rise of television, the shift towards independent and runaway production, the layoffs of contact personnel and shrinking of the old studio lots, the absorption of the movie studios themselves into larger conglomerates, have all provoked premature declarations of Tinseltown's demise. Yet Hollywood has not died, but evolved; as an industry, an image, and even as a physical location Hollywood remains a tangible reality, albeit a very different one from what it was sixty-five years ago. Today Hollywood is the location of the corporate offices of the filmed entertainment divisions of the giant media conglomerates, while the production process itself is widely dispersed across a huge range of territories and specialist service providers located not only in the United States but also worldwide.Less
The identification of the American commercial film industry with ‘Hollywood’ has always been a convenient shorthand masking a complex network of institutions, practices and conventions. That network has changed radically over the past seven decades. Commentators have been writing Hollywood's obituary, alongside that of the film industry, since the early 1950s. The rise of television, the shift towards independent and runaway production, the layoffs of contact personnel and shrinking of the old studio lots, the absorption of the movie studios themselves into larger conglomerates, have all provoked premature declarations of Tinseltown's demise. Yet Hollywood has not died, but evolved; as an industry, an image, and even as a physical location Hollywood remains a tangible reality, albeit a very different one from what it was sixty-five years ago. Today Hollywood is the location of the corporate offices of the filmed entertainment divisions of the giant media conglomerates, while the production process itself is widely dispersed across a huge range of territories and specialist service providers located not only in the United States but also worldwide.
Dan Schiller
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038761
- eISBN:
- 9780252096716
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038761.003.0007
- Subject:
- Society and Culture, Technology and Society
This chapter describes the impact of giant multimedia conglomerates on internet services and applications. It first considers the media conglomerates that had dominated the political economy of ...
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This chapter describes the impact of giant multimedia conglomerates on internet services and applications. It first considers the media conglomerates that had dominated the political economy of communications and that now continued to help structure its capital logic. In particular, it looks at the competition presented not only by broadband and mobile internet operators but also by well-financed outsiders and upstarts such as Google and Facebook. It then examines three possible forms of revenue generation for communications and media beyond financing by venture capital and the sale of stock: direct payments, advertising, and noncommercial support, either through governmental or philanthropic finance or voluntary donations. The chapter concludes with a discussion of changes in specific media industries such as the book publishing industry, e-book industry, television industry, music industry, and film industry.Less
This chapter describes the impact of giant multimedia conglomerates on internet services and applications. It first considers the media conglomerates that had dominated the political economy of communications and that now continued to help structure its capital logic. In particular, it looks at the competition presented not only by broadband and mobile internet operators but also by well-financed outsiders and upstarts such as Google and Facebook. It then examines three possible forms of revenue generation for communications and media beyond financing by venture capital and the sale of stock: direct payments, advertising, and noncommercial support, either through governmental or philanthropic finance or voluntary donations. The chapter concludes with a discussion of changes in specific media industries such as the book publishing industry, e-book industry, television industry, music industry, and film industry.
Bilge Yesil
- Published in print:
- 2016
- Published Online:
- April 2017
- ISBN:
- 9780252040177
- eISBN:
- 9780252098376
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040177.001.0001
- Subject:
- Society and Culture, Media Studies
Investment and expansion have made Turkish media a transnational powerhouse in the Middle East and Central Asia. Yet tensions continue to grow between media outlets and the Islamist AKP party that ...
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Investment and expansion have made Turkish media a transnational powerhouse in the Middle East and Central Asia. Yet tensions continue to grow between media outlets and the Islamist AKP party that has governed the country for over a decade. This book unlocks the complexities surrounding and penetrating today's Turkish media. The book focuses on a convergence of global and domestic forces that range from the 1980 military coup to globalization's inroads and the recent resurgence of political Islam. The book's analysis foregrounds how these and other forces become intertwined, and it uses Turkey's media to unpack the ever-more-complex relationships. The book confronts essential questions regarding the role of the state and military in building the structures that shaped Turkey's media system; media adaptations to ever-shifting contours of political and economic power; how the far-flung economic interests of media conglomerates leave them vulnerable to state pressure; and the ways Turkey's politicized judiciary criminalizes certain speech. Drawing on local knowledge and a wealth of Turkish sources, the book provides an engrossing look at the fault lines carved by authoritarianism, tradition, neoliberal reform, and globalization within Turkey's increasingly far-reaching media.Less
Investment and expansion have made Turkish media a transnational powerhouse in the Middle East and Central Asia. Yet tensions continue to grow between media outlets and the Islamist AKP party that has governed the country for over a decade. This book unlocks the complexities surrounding and penetrating today's Turkish media. The book focuses on a convergence of global and domestic forces that range from the 1980 military coup to globalization's inroads and the recent resurgence of political Islam. The book's analysis foregrounds how these and other forces become intertwined, and it uses Turkey's media to unpack the ever-more-complex relationships. The book confronts essential questions regarding the role of the state and military in building the structures that shaped Turkey's media system; media adaptations to ever-shifting contours of political and economic power; how the far-flung economic interests of media conglomerates leave them vulnerable to state pressure; and the ways Turkey's politicized judiciary criminalizes certain speech. Drawing on local knowledge and a wealth of Turkish sources, the book provides an engrossing look at the fault lines carved by authoritarianism, tradition, neoliberal reform, and globalization within Turkey's increasingly far-reaching media.
Eli M. Noam and The International Media Concentration Collaboration
- Published in print:
- 2016
- Published Online:
- January 2016
- ISBN:
- 9780199987238
- eISBN:
- 9780190210182
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199987238.001.0001
- Subject:
- Sociology, Social Research and Statistics, Economic Sociology
Media concentration has been an issue around the world. To some observers the power of large corporations has never been higher. To others, the Internet has brought openness and diversity. What ...
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Media concentration has been an issue around the world. To some observers the power of large corporations has never been higher. To others, the Internet has brought openness and diversity. What perspective is correct? The answer has significant implications for politics, business, culture, regulation, and innovation. It addresses a highly contentious subject of public debate in many countries around the world. In this discussion, one side fears the emergence of media empires that can sway public opinion and endanger democracy. The other side believes the Internet has opened media to unprecedented diversity and worries about excessive regulation by government. Strong opinions and policy advocates abound on each side, yet a lack of quantitative research across time, media industries, and countries undermines these positions. This book moves beyond the rhetoric of free media and free markets to provide a dispassionate and data-driven analysis of global media ownership trends and their drivers. The book covers thirteen media industries, including television, newspapers, book publishing, film, search engines, ISPs, wireless telecommunication, and others across a 10- to 25-year period in thirty countries. After examining these countries, this book offers comparisons and analysis across industries, regions, companies, and development levels. It calculates overall national concentration trends beyond specific media industries, the market share of individual companies in the overall national media sector, and the size and trends of transnational companies in overall global media.Less
Media concentration has been an issue around the world. To some observers the power of large corporations has never been higher. To others, the Internet has brought openness and diversity. What perspective is correct? The answer has significant implications for politics, business, culture, regulation, and innovation. It addresses a highly contentious subject of public debate in many countries around the world. In this discussion, one side fears the emergence of media empires that can sway public opinion and endanger democracy. The other side believes the Internet has opened media to unprecedented diversity and worries about excessive regulation by government. Strong opinions and policy advocates abound on each side, yet a lack of quantitative research across time, media industries, and countries undermines these positions. This book moves beyond the rhetoric of free media and free markets to provide a dispassionate and data-driven analysis of global media ownership trends and their drivers. The book covers thirteen media industries, including television, newspapers, book publishing, film, search engines, ISPs, wireless telecommunication, and others across a 10- to 25-year period in thirty countries. After examining these countries, this book offers comparisons and analysis across industries, regions, companies, and development levels. It calculates overall national concentration trends beyond specific media industries, the market share of individual companies in the overall national media sector, and the size and trends of transnational companies in overall global media.
Howard Cox and Simon Mowatt
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199601639
- eISBN:
- 9780191756306
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199601639.003.0008
- Subject:
- Business and Management, Business History
This chapter reviews key developments in Britain’s magazine publishing industry from the 1990s to around 2010. The growth in monthly titles was a significant trend for much of the period, emphasized ...
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This chapter reviews key developments in Britain’s magazine publishing industry from the 1990s to around 2010. The growth in monthly titles was a significant trend for much of the period, emphasized most starkly by the rise of lads’ mags such as Loaded and FHM. BBC Worldwide also adroitly exploited the monthly sector by launching a raft of programme-themed magazines. On a global level, magazines provided a pool of content for multi-media conglomerates; IPC Magazines was purchased by AOL Time Warner for US$1.6 billion. A period of rapid corporate growth during the 1990s was disrupted when magazine publishers emerged as among the primary victims of the dot.com bust in 2001. Survivors of the crash, however, such as Dennis and Future were able to recover, along with others, by using the Web and international licensing to reach more readers. By 2010, however, the iPad was poised to spark a revolution towards virtual magazines.Less
This chapter reviews key developments in Britain’s magazine publishing industry from the 1990s to around 2010. The growth in monthly titles was a significant trend for much of the period, emphasized most starkly by the rise of lads’ mags such as Loaded and FHM. BBC Worldwide also adroitly exploited the monthly sector by launching a raft of programme-themed magazines. On a global level, magazines provided a pool of content for multi-media conglomerates; IPC Magazines was purchased by AOL Time Warner for US$1.6 billion. A period of rapid corporate growth during the 1990s was disrupted when magazine publishers emerged as among the primary victims of the dot.com bust in 2001. Survivors of the crash, however, such as Dennis and Future were able to recover, along with others, by using the Web and international licensing to reach more readers. By 2010, however, the iPad was poised to spark a revolution towards virtual magazines.
Dolores Tierney
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780748645732
- eISBN:
- 9781474445238
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748645732.003.0009
- Subject:
- Film, Television and Radio, Film
This introductory section and its account of the significant changes in Argentine filmmaking in the last twenty five years acts as a platform to the director-centred analyses of Juan José ...
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This introductory section and its account of the significant changes in Argentine filmmaking in the last twenty five years acts as a platform to the director-centred analyses of Juan José Campanella’s films in Chapter 6. It situates Campanella and his filmmaking practice as typical of one vector of Argentina’s changed filmmaking landscape (the ‘industry auteurs’ produced through the neoliberal reforms to the industry in the 1990s and fostered by transnational media conglomerates) but also addresses the vibrant independent filmmaking movement (the New Argentine Cinema) also a by- product of the 1990s reforms and fostered by the government and transnational funding bodies.Less
This introductory section and its account of the significant changes in Argentine filmmaking in the last twenty five years acts as a platform to the director-centred analyses of Juan José Campanella’s films in Chapter 6. It situates Campanella and his filmmaking practice as typical of one vector of Argentina’s changed filmmaking landscape (the ‘industry auteurs’ produced through the neoliberal reforms to the industry in the 1990s and fostered by transnational media conglomerates) but also addresses the vibrant independent filmmaking movement (the New Argentine Cinema) also a by- product of the 1990s reforms and fostered by the government and transnational funding bodies.
J. D. Connor
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780804790772
- eISBN:
- 9780804794749
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804790772.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
The Studios after the Studios retells the recent history of the Hollywood film industry with the studios, and their movies, at the center. Individual movies are at the heart of this story—not ...
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The Studios after the Studios retells the recent history of the Hollywood film industry with the studios, and their movies, at the center. Individual movies are at the heart of this story—not structures, not personalities, and not “tastes.” Someone is supposed to be paying attention to every aspect of a Hollywood film. The Studios takes that seriously, looking in the dark corners of the frame to tell the secret history of Hollywood domination. In Part I, the studios bring directors and agents to heel. They manage that by emphasizing design over storytelling, replacing seventies grittiness with “high-concept” sheen. The Conversation gives way to Top Gun. Still, the movies were only a small part of the new media conglomerates. In Part II, the studios exert outsized influence on their owners by refashioning themselves as the headquarters of corporate strategy, spinning wild tales of media synergy and conglomeration. It is the era of Jurassic Park. In Part III, there are no more worlds left to conquer. The center of the conglomerates migrates toward television; Vivendi Universal implodes; AOL TimeWarner takes the largest write-down in the history of capitalism; and the idea that the studios should tell their own stories seems less and less compelling. “Synergy is bullshit,” TimeWarner chief Jeff Bewkes declares. The glory days of Gladiator give way to the epic failure of Alexander.Less
The Studios after the Studios retells the recent history of the Hollywood film industry with the studios, and their movies, at the center. Individual movies are at the heart of this story—not structures, not personalities, and not “tastes.” Someone is supposed to be paying attention to every aspect of a Hollywood film. The Studios takes that seriously, looking in the dark corners of the frame to tell the secret history of Hollywood domination. In Part I, the studios bring directors and agents to heel. They manage that by emphasizing design over storytelling, replacing seventies grittiness with “high-concept” sheen. The Conversation gives way to Top Gun. Still, the movies were only a small part of the new media conglomerates. In Part II, the studios exert outsized influence on their owners by refashioning themselves as the headquarters of corporate strategy, spinning wild tales of media synergy and conglomeration. It is the era of Jurassic Park. In Part III, there are no more worlds left to conquer. The center of the conglomerates migrates toward television; Vivendi Universal implodes; AOL TimeWarner takes the largest write-down in the history of capitalism; and the idea that the studios should tell their own stories seems less and less compelling. “Synergy is bullshit,” TimeWarner chief Jeff Bewkes declares. The glory days of Gladiator give way to the epic failure of Alexander.
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’.
