In this newly revised book, Harold L. Vogel examines the business economics of the major entertainment enterprises: movies, music, television programming, broadcasting, cable, casino gambling and wagering, publishing, performing arts, sports, theme parks, and toys and games. The seventh edition has been further revised and broadened and differs from its predecessors by restructuring and repositioning the previous Internet chapter, including new material on the economics of networks and advertising, adding a new section on policy implications, and further expanding the section on recent theoretical work pertaining to box-office behaviour. The result is a comprehensive up-to-date reference guide on the economics, financing, production, and marketing of entertainment in the United States and overseas. Investors, business executives, accountants, lawyers, arts administrators, and general readers will find that the book offers an invaluable guide to how entertainment industries operate.

Fully updated, this edition offers a unique, integrated approach to the economics and financing of entertainment and media sectors.

Movies expected to perform well can flop, whilst independent movies with low budgets can be wildly successful. In this text, De Vany casts his eye over all aspects of the business to present some intriguing conclusions.

The entertainment industry has long been dominated by legendary screenwriter William Goldman’s “Nobody-Knows-Anything” mantra, which argues that success is the result of managerial intuition and instinct. This book builds the case that combining such intuition with data analytics and rigorous scholarly knowledge provides a source of sustainable competitive advantage – the same recipe for success that is behind the rise of firms such as Netflix and Spotify, but has also fueled Disney’s recent success. Unlocking a large repertoire of scientific studies by business scholars and entertainment economists, the authors identify essential factors, mechanisms, and methods that help a new entertainment product succeed. The book thus offers a timely alternative to “Nobody-Knows” decision-making in the digital era: while coupling a good idea with smart data analytics and entertainment theory cannot guarantee a hit, it systematically and substantially increases the probability of success in the entertainment industry. Entertainment Science is poised to inspire fresh new thinking among managers, students of entertainment, and scholars alike. Thorsten Hennig-Thurau and Mark B. Houston – two of our finest scholars in the area of entertainment marketing – have produced a definitive research-based compendium that cuts across various branches of the arts to explain the phenomena that provide consumption experiences to capture the hearts and minds of audiences. Morris B. Holbrook, W. T. Dillard Professor Emeritus of Marketing, Columbia University Entertainment Science is a must-read for everyone working in the entertainment industry today, where the impact of digital and the use of big data can’t be ignored anymore. Hennig-Thurau and Houston are the scientific frontrunners of knowledge that the industry urgently needs. Michael Kölmel, media entrepreneur and Honorary Professor of Media Economics at University of Leipzig Entertainment Science’s winning combination of creativity, theory, and data analytics offers managers in the creative industries and beyond a novel, compelling, and comprehensive approach to support their decision-making. This ground-breaking book marks the dawn of a new Golden Age of fruitful conversation between entertainment scholars, managers, and artists. Allègre Hadida, Associate Professor in Strategy, University of Cambridge

This is the first non-specialist introduction to the economics of the contemporary film and television business. This global industry is significant both financially and culturally, and the political economy of its trade is an extremely sensitive issue. Are cultural goods merely entertainmentgoods? And why does the US dominate this territory? The present volume offers a systematic, structured explanation of how the global markets for TV and film operate while also discussing the implications for public policy and business strategy. By listing in detail the economic and culturalcharacteristics related to such trade, the authors provide the tools necessary for the evaluation of international communications issues. They also stress the uniqueness of cultural products and put forth the argument that the economic and cultural development approaches to cultural issues can belargely reconciled.

Every so often an author explains our culture in such a new and original way that from that day on we see the world around us in a new light. From Understanding Media by Marshall McLuhan through Nicholas Negroponte's Being Digital. the books that have shown us the clearest vision of the future have been those that recognize the central role of mass media. In The Entertainment Economy, Michael J. Wolf, the industry's most in-demand strategist, demonstrates that media and entertainment have moved beyond culture to become the driving wheel of the global economy. From New York to New Delhi, from London to Lagos, from Singapore to Seattle, every business is locked in the same battle for consumer attention that movie producers and television programmers deal with on a daily basis. Consumer businesses just like entertainment businesses have to turn to content for the competitive edge. As adviser to companies like MTV, Paramount, Hearst, NBC, Universal, News Corporation, Bertelsmann and the NBA, Wolf is known by industry insiders as the moguls' secret weapon. In clear, brash prose, full of real-life examples, Wolf shows how tomorrow's successful business person will have to act like a mogul in a global economy defined by hits and blockbusters. From MTV to Ford Motor Company, from Tommy Hilfiger to Martha Stewart, from Citibank to Amazon.com, from Stephen Spielberg to Richard Branson, Wolf shares the insights gained through his unique perspective as the founder of the world's largest media consulting practice, leaving no doubt that the watchwords for all consumer businesses in the 21st century are truly, "There's no business without show business." Written with equal degrees of business and pop culture savvy, The Entertainment Economy is a book for everyone.

Following on from The Entertainment Industry: An Introduction, Entertainment Management takes the next step in the development of entertainment as a practice and as an academic subject. Aimed at higher level undergraduates, the book discusses best practices in the entertainment industry, profiling a different discipline per chapter, each one a branch of entertainment that offers employment opportunities within the sector. Fields include marketing, P.R., the media, live events, artist management, arts and culture, consultancy and visitor attractions. The book aims to reflect the knowledge students will need for real world of entertainment management such as technical standards, business management, people management, economic aspects and legal issues. Each chapter discusses the background of the discipline, best practice management principles, issues in the wider environment, case studies of real organisations and future trends.

"In this book Harold L. Vogel comprehensively and holistically examines the business economics and investment aspects of major components of the travel industry, including airlines, hotels, casinos, amusement and theme parks, cruise lines, and tourism. The book is designed as an economics-grounded text that uniquely integrates reviews of each sector's history with economics, accounting, and financial aspects and analysis. As such, it provides a concise, up-to-date reference guide for financial analysts, economists, industry executives, legislators and regulators, advertisers, and journalists interested in the economics, financing, and marketing of travel and tourism-related goods and services. The fourth edition of this well-established text updates, refreshes, and significantly broadens the coverage of tourism economics. It includes new sections on travel law and applications of big data and artificial intelligence technologies as well as additional material on demographic spending patterns, the online travel agency business, the pandemic's effects and affects on industry finances, expanded coverage of the cruise line industry, and information on the damage to tourist destinations caused by excessive pollution and traffic."--

Absorbing, scholarly study of the portrayal in nearly 200 movies and TV episodes of the least visible disabled group in American society. Includes the first filmography (annotated) of films designed for general audiences that deal with deafness or include a deaf character in a mator or pivotal role. For all film study collections. Annotation copyrighted by Book News, Inc., Portland, OR

How big data is transforming the creative industries, and how those industries can use lessons from Netflix, Amazon, and Apple to fight back. “[The authors explain] gently yet firmly exactly how the internet threatens established ways and what can and cannot be done about it. Their book should be required for anyone who wishes to believe that nothing much has changed.” —The Wall Street Journal “Packed with examples, from the nimble-footed who reacted quickly to adapt their businesses, to laggards who lost empires.” —Financial Times Traditional network television programming has always followed the same script: executives approve a pilot, order a trial number of episodes, and broadcast them, expecting viewers to watch a given show on their television sets at the same time every week. But then came Netflix's House of Cards. Netflix gauged the show's potential from data it had gathered about subscribers' preferences, ordered two seasons without seeing a pilot, and uploaded the first thirteen episodes all at once for viewers to watch whenever they wanted on the devices of their choice. In this book, Michael Smith and Rahul Telang, experts on entertainment analytics, show how the success of House of Cards upended the film and TV industries—and how companies like Amazon and Apple are changing the rules in other entertainment industries, notably publishing and music. We're living through a period of unprecedented technological disruption in the entertainment industries. Just about everything is affected: pricing, production, distribution, piracy. Smith and Telang discuss niche products and the long tail, product differentiation, price discrimination, and incentives for users not to steal content. To survive and succeed, businesses have to adapt rapidly and creatively. Smith and Telang explain how. How can companies discover who their customers are, what they want, and how much they are willing to pay for it? Data. The entertainment industries, must learn to play a little “moneyball.” The bottom line: follow the data.