Analyses the impact of digital content creation, distribution and use on value chains and business models of the film and video industry and explores the policy implications of these changes to identify how digital content may affect the function and position of participants in the industry.

Digital Media Worlds tracks the evolution of the media sector on its way toward a digital world. It focuses on core economic and management issues (cost structures, value network chain, business models) in industries such as book publishing, broadcasting, film, music, newspaper and video game.

Of all the job titles listed in the opening and closing screen credits, producer is certainly the most amorphous. There are businessmen (and women)-producers, writer-director- and movie-star-producers; producers who work for the studio; executive producers whose reputation and industry clout alone gets a project financed (though their day-to-day participation in the project may be negligible). The job title, regardless of the actual work involved, warrants a great deal of prestige in the film business; it is the credited producers, after all, who collect the Oscar for Best Picture. But what producers do and what they don’t or won’t do varies from project to project. Producing is the first book to provide a comprehensive overview of the roles that producers have played in Hollywood, from the dawn of the twentieth century to the present day. It introduces readers to the colorful figures who helped to define and reimagine the producer’s role, including inventors like Thomas Edison, moguls like Darryl F. Zanuck, entrepreneurs like Walt Disney, and mavericks like Roger Corman. Readers also get an inside look at the less glamorous jobs producers have often performed: shepherding projects through many years of development, securing financial backers, and supervising movie shoots. The latest book in the acclaimed Behind the Silver Screen series, Producing includes essays written by seven film scholars, each an expert in a different period of cinema history. Together, they give readers a full picture of how the art and business of producing films has changed over time—and how the producer’s myriad job duties continue to evolve in the digital era.

This volume examines how disruptive innovations are reshaping industry boundaries and challenging conventional business models and practices in the industries for film, video and photography.

Rapid technological advancements have the ability to positively or negatively impact corporate growth and success. Professional leaders and decision makers must consider such advancements when designing and implementing new policies in preparation for the sustainable future of the business environment. Developing Strategic Business Models and Competitive Advantage in the Digital Sector focuses on the application of preemptive planning in the media and entertainment industries to combat an increasingly uncertain future of innovation and competition. With research-based examples and analysis, this book is an essential reference source for academicians, researchers, and professionals interested in learning more about the impact of technology on industry success, including the changes and challenges created by the Internet and electronic media.

This book demonstrates how the creative industries are driving new sectoral and spatial dynamics in European cities, regions, and countries, and how these may be influenced by international and global dynamics. It takes a purposeful geographical approach to the study of the creative industries across various Western, Central and Eastern European contexts since the 2008-2009 recession. Despite the growing research looking at the development of the creative industries in the last 15 years, there are still gaps in the coverage of what is happening in Central and Eastern Europe compared to Western Europe. This book addresses these gaps in two parts focusing on particular geographical scales and creative processes: local interplay between sector and space and the role of the creative industries in regional and national economies after the crisis. The book presents original analyses of the post-crisis environment, and novel data on topics such as the role of institutions in the regulation of the fashion industry in global cities, the impact of clustering on film innovation, location patterns of art galleries, regional specialisations and paths of professional carriers in creative industries.

Because of the divergence in world views and methods between scientists and the creative sector, innovation systems and policies have focused for decades on science, engineering, technology, and medicine. The humanities, arts, and social sciences have had their contributions hidden from research agendas, policy and program initiatives, and the public mind. But structural changes to advanced economies and societies have brought service industries and the creative sector to greater prominence as key contributors to innovation. Hidden Innovation peels back the veil, tracing the way innovation occurs through new forms of screen production enabled by social media platforms as well as in public broadcasting. It shows that creative workers are contributing fresh ideas across the economy, and traces how policies are beginning to catch up with the changing social and economic realities, on a global level. Hidden Innovations argues that the innovation framework offers the best opportunity in decades to reassess the case for the public role of the humanities, particularly the media and cultural and communication studies.

The media s contribution to development occurs simultaneously along five closely intermingled influences: plurality and transparency, behavioral, infrastructure and platform, economic, and trade. The media are at the cutting edge of technological change, where the digitalization of content, Next Generation Networks, falling device and distribution costs, ever-increasing abundance and new business models are overturning the pre-existing order of markets and the media, though broadcasting, particularly radio, remain crucial in developing countries. This offers new development opportunities requiring new policy initiatives, and the realization of this by the development community. In many instances the media has yet to attain its appropriate status on the list of development priorities.

Examining pathways from creative education to work, and preparation for these pathways within higher education programs, in the light of long standing labour debates, this book explores the creative launch experiences, destinations, and contributions of graduates emerging into an enormously diverse and heterogeneous creative workforce. Coming from university degree programs that tend to focus on the development of specialist creative disciplinary skills, graduates emerge into the diverse workforce with fairly narrow career identities. With contributions ranging from quantitative analyses of large longitudinal data sets to in-depth qualitative cases, the book aims to provide a range of studies that speak to the complexity found in creative careers. This book was originally published as a special issue of the Journal of Education and Work.

The Routledge Companion to Cinema and Politics brings together forty essays by leading film scholars and filmmakers in order to discuss the complex relationship between cinema and politics. Organised into eight sections - Approaches to Film and Politics; Film, Activism and Opposition; Film, Propaganda, Ideology and the State; The Politics of Mobility; Political Hollywood; Alternative and Independent Film and Politics; The Politics of Cine-geographies and The Politics of Documentary - this collection covers a broad range of topics, including: third cinema, cinema after 9/11, eco-activism, human rights, independent Chinese documentary, film festivals, manifestoes, film policies, film as a response to the post-2008 financial crisis, Soviet propaganda, the impact of neoliberalism on cinema, and many others. It foregrounds the key debates, concepts, approaches and case studies that critique and explain the complex relationship between politics and cinema, discussing films from around the world and including examples from film history as well as contemporary cinema. It also explores the wider relationship between politics and entertainment, examines cinema’s response to political and social transformations and questions the extent to which filmmaking, itself, is a political act.