Among them, audiovisual narratives (like movies, series or videos), normative arrangements (like games) and musical aesthetics show to have a prevalent place. Accordingly, the very differentiation of entertainment content in the mobile environment necessarily refers to legacy media genres: standardized formats that enable specific, socially inherited entertainment rituals. As a part of this enjoyment oriented consumer culture, mobile media are not an exception and entertainment lies at the core of the mobile phone mediatisation process. In this text we approach a definition of entertainment as related to the enjoyment or delight of users with (or through) media content. Despite being a common place in media and cultural studies, the term does not delimit a clear field of cultural content or media genres. The positive value of ‘forward’ is critically examined with feminist theory and the failed music lis-tening moments are discussed in terms of emotion and space.Įntertainment has been traditionally a central driver in the evolution of cultural industries. The article is based on autoethnographic material of mobile music streaming in public and concludes that a forward movement shaped by happiness is one desired result of mobile music streaming. More specifi-cally it discusses what can happen when mobile media technology is used to listen to music in public space and it investigates the interconnectedness of bodies, mu-sic, technology and space. Music listening while moving through public space has previously been studied as a way of creat-ing a private auditory bubble for the individual (Bull 2000 Cahir & Werner 2013) and in this article feminist theory on emotion (Ahmed 2010) and space (Massey 2005) is employed in order to understand mobile music streaming. And within feminist theory materiality, affect and emotions have been de-scribed as central for experienced subjectivity (Ahmed 2012). The importance of understanding gender, space and mobility as co-constructed in public space has been emphasized by feminist researchers (Massey 2005 Hanson 2010). The study is based on a review and synthesis of the available literature and reports and on official (Eurostat) and unofficial (trade organisations and consultancies) data on the music publishing industry. Finally, Chapter 6 weighs the strengths and weaknesses of the European music publishing industry against the opportunities and threats posed by digitization and the internet. Chapter 5 identifies the main regulatory issues affecting the economic position of the EU music publishing industry. Chapter 3 analyses the value network of the music industry, identifying the transformations taking place in the value network and business model as a result of the on‐going digitization process. Following the introduction in Chapter 1, Chapter 2 introduces the sector and its main economic and technological features. The analysis integrates data from this project’s statistical report and includes a database of the major music publishing companies plus two company case studies (EMI and Spotify). It also looks at the organisation of live performances and the exploitation of music copyright, though data on how these activities contribute to revenues in the sector are less systematically available. It looks at music companies, and covers the production and distribution of recorded music, including online distribution, and the competition which these companies face from other online music providers. Degrees for surgeons: Abbr.This report offers an in‐depth analysis of the major economic developments in the music industry.Daily Themed Mini Crossword FebruAnswers.
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