This collection of essays covers all essential aspects of media entertainment, written in a non-technical style for appeal to scholars in communication and psychology as well as to students at mid to advanced levels of study.

Winner, 2020 Outstanding Book Award, given by the International Communication Association Honorable Mention, 2020 Nancy Baym Book Award, given by the Association of Internet Researchers 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.

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.

This revised edition of Understanding the Business of Media Entertainment is an indispensable guide to the business aspects of the entertainment industry, providing the information you need to break in and to succeed. Written in a clear and engaging tone, the second edition of this book covers the essential topics in a thorough but reader-friendly manner and includes plenty of real-world examples that bring business and legal concepts to life, such as the growing clout of digital companies and the rise of streaming providers like Netflix and Amazon, the transformation of independent film development and distribution, and changes to the media ownership landscape. Award-winning screenwriter and entertainment attorney Gregory Bernstein gives an insider's look at the filmmaking business, from copyright law and government media regulation to development, distribution, revenue, the role of agents, managers, and unions, entertainment contracts, and more. Other topics covered include: Hollywood's growth and the current conglomerates that own most of the traditional media. How specific entertainment companies operate, including facts about particular studios and employee tasks. How studios develop projects and engage in marketing and distribution. The kinds of revenues studios earn and how they account for these revenues.

Although not considered a formal area of study, scholarship on the uses, content, and effects of entertaining media has been central to communication studies and related fields for more than a century. The serious study of entertainment seems paradoxical, as we presume entertainment to be the “lighter side” of our daily lives. Yet as revealed in this volume, entertainment media serve as cultural artifacts that shape our understandings of various peoples and publics in ways that invite deeper, immersive, and increasingly interactive engagement. On this backdrop, Entertainment Media and Communication serves as a reference guide for canonical and foundational research into media entertainment and a collection of emerging and updated theories and models core to the study of media entertainment in the 21st century. Across more than forty chapters and with a diverse and inclusive list of authors, this volume provides a broad-yet-nuanced view into entertainment media and communication scholarship. The contributors explore its foundations, define and extend key concepts and theories through myriad lenses, discuss unique considerations of digital media, and divine future paths for scholarly inquiry.

The study of media effects is one of the most central to the discipline of communication and encompasses a vast array of theoretical perspectives, methodological tools, and application to important social contexts. In light of this importance - as well as the rapid changes in the media environment that have occurred during the past 20 years - this Handbook of media effects theorizing and research explores where media effects research has been over the past several decades, and, equally important, where it would be most fruitful to go in the years ahead. In addition to providing a comprehensive framework for those interested in media effects, the Handbook also emphasizes the changing nature of the media landscape. Thus, new technologies not only provide new venues for research, but they also represent challenges to many existing media effects theories (that were formulated prior to the widespread adoption of the Internet). The contemporary diversity of the field and its research is seen in chapters addressing sociological, cultural, and organizational approaches and in chapters on specific approaches, domains, and context-related effects. Throughout the Handbook and within each chapter, authors address the following issues: (1) historical context on theory development/area of study; (2) theory explication and theoretical developments through to the present; (3) typical method of study/research approach/moderators; (4) conceptualization of the audience; (5) the impact of new media environments; (6) criticismsntroversies; and (7) directions for future research. Section I: Begins with an overview of the field, conceptualization of media effects, and the editors' goals for the volume and then focuses on the range of methodologies (both quantitative and qualitative methods) used in the study of media effects. Section II: Focuses on dominant theoretical approaches in the media effects area from a more societal perspective. Included here are some of the most dominant theoretical perspectives in the media effects realm (i.e., cultivation, agenda setting, framing) that relate to broad-reaching effects of both entertainment and news programming. The section then focuses on related theories that, though less developed, have received significant attention in the literature. To expand the horizon of this Handbook, a chapter on Cultural Studies in included to engage more qualitative views of media's societal effects. Section III: Focuses on issues of message selection and processing that are central to the mass media literature. These chapters cut across application contexts. For examples, the emotion chapter touches on entertainment, persuasion, and children's media; the Social Influence/Environmental Aspects chapter includes issues of co-viewing in families, among peers, etc. Section IV: Refelcts a dominant trend in media effects literature - that related to persuasion and learning - and traces its theoretical perspectives (including major theories of persuasion and especially social cognitive theory) through the various contexts in which media have such effects, such as health, advertising, media literacy, and the like. Section V: Explores the contexts and audiences that have been traditional foci of media effects research - violence, children, body image, video games, sports, etc. In each chapter authors address the theories most applicable to those contexts, further expaning the theoretical offerings of this Handbook. The focus on how this sort of research is typically conducted methodologically and how it will need to change in light of new technologies and media advances make these chapters unique. Section VI: Expands on existing work by focusing on a concern central and unique to the communication discipline - message medium - and how it influences effects ranging from what messages are attended to (e.g., formal features), how we spend our time (e.g., displacement effects), and even how we think (e.g., medium theory).

Global Entertainment Media offers a unique perspective on entertainment media worldwide. As one of the first comprehensive books to address entertainment mass media worldwide, it addresses students as TV watchers and takes them to new places, both geographically and intellectually. Editor Anne Cooper-Chen has gathered an international group of scholars to explore such concepts as psychology, gratifications, and effects of media entertainment and its relation to national cultures, as well as to discuss the business of international TV trade by transnational media corporations. In this volume, experts discuss the content, audiences, and cultural and legal aspects of their respective countries, all of which are major TV markets. The country-specific chapters draw on the individual insights, expertise, and currency of 10 resident authors. Contributions represent every hemisphere of the globe, offering detailed examinations of media entertainment in United Kingdom, Germany, Egypt, Nigeria, South Africa, India, Japan, China, Brazil, and Mexico. The two concluding chapters provide cross-national case studies that look at familiar TV experiences--The Olympics and the "Who Wants to Be a Millionaire" show--in global and novel ways. Global Entertainment Media is intended for students in international media, comparative media, cross-cultural communication, and television studies, and it also has much to offer scholars and researchers in entertainment media.

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Converging Media reflects the fundamental changes that digital technologies have made in the way people get their news and entertainment and conduct media commerce. The book does not contend that every media product, such as newspapers, magazines or books, are or ever will become digital. Rather, Converging Media proposes that the majority of the process of mass communication is or is becoming digital. --Publisher description.