David Craig

Stuart Cunningham

How the transformation of social media platforms and user-experience have redefined the entertainment industry In a little over a decade, competing social media platforms, including YouTube, Facebook, Twitter, Instagram, and Snapchat, have given rise to a new creative industry: social media entertainment. Operating at the intersection of the entertainment and interactivity, communication and content industries, social media entertainment creators have harnessed these platforms to generate new kinds of content separate from the century-long model of intellectual property control in the traditional entertainment industry. Social media entertainment has expanded rapidly and the traditional entertainment industry has been forced to cede significant power and influence to content creators, their fans, and subscribers. Digital platforms have created a natural market for embedded advertising, changing the worlds of marketing and communication in their wake. Combined, these factors have produced new, radically shifting demands on the entertainment industry, posing new challenges for screen regimes, media scholars, industry professionals, content creators, and audiences alike. Stuart Cunningham and David Craig chronicle the rise of social media entertainment and its impact on media consumption and production. A massive, industry-defining study with insight from over 100 industry insiders, Social Media Entertainment explores the latest transformations in the entertainment industry in this time of digital disruption.

The New Intersection of Hollywood and Silicon Valley

Social Media Entertainment

Jason Potts

Terry Flew

John Hartley

John Banks

Michael Keane

"This guide to the emerging language of creative industries field is a valuable resource for researchers and students alike. Concise, extensively referenced, and accessible, this this is an exceptionally useful reference work." - Gauti Sigthorsson, Greenwich University "There could be no better guides to the conceptual map of the creative industries than John Hartley and his colleagues, pioneers in the field. This book is a clear, comprehensive and accessible tool-kit of ideas, concepts, questions and discussions which will be invaluable to students and practitioners alike. Key Concepts in Creative Industries is set to become the corner stone of an expanding and exciting field of study" - Chris Barker, University of Wollongong Creativity is an attribute of individual people, but also a feature of organizations like firms, cultural institutions and social networks. In the knowledge economy of today, creativity is of increasing value, for developing, emergent and advanced countries, and for competing cities. This book is the first to present an organized study of the key concepts that underlie and motivate the field of creative industries. Written by a world-leading team of experts, it presents readers with compact accounts of the history of terms, the debates and tensions associated with their usage, and examples of how they apply to the creative industries around the world. Crisp and relevant, this is an invaluable text for students of the creative industries across a range of disciplines, especially media, communication, economics, sociology, creative and performing arts and regional studies.

Key Concepts in Creative Industries

Graeme Turner

A completely revised and updated edition of the leading Australian introduction to the media.

The Media and Communications in Australia

John Sinclair

Floating Lives is a unique examination of media and communication within diasporic ethnic communities, using in-depth studies of some of Australia's main Asian diasporic groups: the Chinese, Indian, Vietnamese, and Thai communities. Going beyond conventional cross-cultural studies of mainstream media consumption, this book explores the ethnic community as a determining force in negotiating new hybrid identities and cultures—and demonstrates experiences common to diasporic communities worldwide.

The Media and Asian Diasporas

Floating Lives

How is contemporary culture “framed”—understood, promoted, dissected and defended— in the new approaches being employed in university education today? How do these approaches compare with those seen in the public policy process? What are the implications of these differences for future directions in theory, education, activism and policy? Framing Culture looks at cultural and media studies, which are rapidly growing fields through which students are introduced to contemporary cultural industries such as television, film and video. It compares these approaches with those used to frame public policy and finds a striking lack of correspondence between them. Issues such as Australian content on commercial television and in advertising, new technologies and new media, and violence in the media all highlight the gap between contemporary cultural theories and the way culture and communications are debated in public policy. The reasons for this gap must be investigated before closer relations can be established. Framing Culture brings together cultural studies and policy studies in a lively and innovative way. It suggests avenues for cultural activism that have been neglected in cultural theory and practice, and it will provoke debates which are long overdue.

Criticism and Policy in Australia

Framing Culture

The second edition of Australia's leading media studies textbook, fully updated and revised..

Industries, Texts, Audiences

The Media in Australia

Yudhishthir Raj Isar

Annie Paul

Helmut K Anheier

This second volume, The Cultural Economy, analyzes the dynamic relationship in which culture is part of the process of economic change that in turn changes the conditions of culture. It brings together perspectives from different disciplines to examine such critical issues as: The production of cultural goods and services and the patterns of economic globalization The relationship between the commodification of the cultural economy and the aesthetic realm Current and emerging organizational forms for the investment, production, distribution and consumption of cultural goods and services The complex relations between creators, producers, distributors and consumers of culture The policy implications of a globalizing cultural economy

The Cultural Economy

Cultures and Globalization

Elizabeth Jacka

Professor in the Faculties of Humanities and Social Sciences Elizabeth Jacka

Associate Professor in the School of Media and Journalism Stuart Cunningham

Focusing upon the development of television industries in countries throughout the world, this text challenges the view that "cultural imperialism" from powerful metropolitan centres dictates the supply of television programmes and services

Peripheral Vision

New Patterns in Global Television

Assorted Poems

Largesse

This book addresses current debates about globalization and culture by tracing the emergence of Australia as a significant exporter of television to the world market. The authors investigate why Australian programs have found international popularity. The book describes the Australian industry and the international television marketplace. It also examines the impact of Australian programs on the television cultures of the importing countries. The authors outline policy implications and speculate on future directions of Australian television.

Australian Television and International Mediascapes

Explores new perspectives on social media entertainment There is a new class of cultural producers—YouTube vloggers, Twitch gameplayers, Instagram influencers, TikTokers, Chinese wanghong, and others—who are part of a rapidly emerging and highly disruptive industry of monetized “user-generated” content. As this new wave of native social media entrepreneurs emerge, so do new formations of culture and the ways they are studied. In this volume, contributors draw on scholarship in media and communication studies, science and technology studies, and social media, Internet, and platform studies, in order to define this new field of study and the emergence of creator culture. Creator Culture introduces readers to new paradigms of social media entertainment from critical perspectives, demonstrating both relations to and differentiations from the well-established media forms and institutions traditionally within the scope of media studies. This volume does not seek to impose a uniform perspective; rather, the goal is to stimulate in-depth, globally-focused engagement with this burgeoning industry and establish a dynamic research agenda for scholars, teachers, and students, as well as creators and professionals across the media, communication, creative, and social media industries. Contributors include: Jean Burgess, Zoë Glatt, Sarah Banet-Weiser, Brent Luvaas, Carlos A. Scolari, Damián Fraticelli, José M. Tomasena, Junyi Lv, Hector Postigo, Brooke Erin Duffy, Megan Sawey, Jarrod Walzcer, Sangeet Kumar, Sriram Mohan, Aswin Punathambekar, Mohamed El Marzouki, Elaine Jing Zhao, Arturo Arriagada, Jeremy Shtern, Stephanie Hill

An Introduction to Global Social Media Entertainment

Creator Culture

Jian Lin

In Chinese, the term wanghong refers to creators, social media entrepreneurs alternatively known as KOLs (key opinion leaders) and zhubo (showroom hosts), influencers and micro-celebrities. Wanghong also refers to an emerging media ecology in which these creators cultivate online communities for cultural and commercial value by harnessing Chinese social media platforms, like Weibo, WeChat, Douyu, Huya, Bilibili, Douyin, and Kuaishuo. Framed by the concepts of cultural, creative, and social industries, the book maps the development of wanghong policies and platforms, labor and management, content and culture, as they operate in contrast to its non-Chinese counterpart, social media entertainment, driven by platforms like YouTube, Facebook, Instagram, and Twitch. As evidenced by the backlash to TikTok, the threat of competition from global wanghong signals advancing platform nationalism.

Wanghong as Social Media Entertainment in China

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.

Policy, Industry and the Creative Sector

Hidden Innovation

Television is the most pervasive mass medium of the industrialised world. It is blamed for creating alienation and violence in society, yet at the same time regarded as trivial and unworthy of serious attention. It is the main purveyor of global popular culture, yet also intensely local. The Australian TV Book paints the big picture of the small screen in Australia. It examines industry dynamics in a rapidly changing environment, the impact of new technology, recent changes in programming, and the ways in which the television industry targets its audiences. The authors highlight what is distinctive about television in Australia, and how it is affected by international developments. This book is essential reading for anyone who wants to understand Australian television today. Stuart Cunningham is Professor of Media and Journalism at Queensland University of Technology. Graeme Turner is director of the Centre for Critical and Cultural Studies at the University of Queensland. They are editors of the leading textbook The Media in Australia and authors of many other works on the media.

The Australian TV Book

Interdisciplinary, internationally focused, policy-informed, and strategic, this book sets out agendas for advancing research into creative industries as a productive and innovative intervention in public policy. With contributions from leading scholars, policy and industry specialists, this Research Agenda will be a vital resource for students and academics working in the fields of communication, culture, film and media, geography, business and policy studies, and Internet and social media studies.

Stuart Cunningham

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