No description available.

Online streaming has revolutionized the way that people consume films and television. This study will examine how Netflix and Hulu have disrupted the North American distribution oligopoly and asses whether their low subscription prices are adversely affecting major cable companies who dominate the distribution sphere. A review of existing literature on the topic will explore the influence of the Internet on the entertainment distribution oligopoly as well as consumer trends and behavior favoring Netflix and Hulu. Additionally, data from 2007 to 2014 will be used to analyze variables that indicate a correlation between Netflix’s and Hulu’s growth and Time Warner Cable’s decreasing revenue.

Submitted by LÍLIAN RÚBIA DA COSTA ROCHA null (lilianrubia@gmail.com) on 2017-10-18T23:07:00Z No. of bitstreams: 1 O TEATRO DE VARIEDADES E AS DIVERSÕES SANTISTAS DO FINAL DO SÉCULO XIX E INÍCIO DO XX.pdf: 4007798 bytes, checksum: a195097fb1fc9783316ad9b16242b356 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-10-23T18:21:37Z (GMT) No. of bitstreams: 1 rocha_lrc_me_ia.pdf: 4007798 bytes, checksum: a195097fb1fc9783316ad9b16242b356 (MD5) / Made available in DSpace on 2017-10-23T18:21:37Z (GMT). No. of bitstreams: 1 rocha_lrc_me_ia.pdf: 4007798 bytes, checksum: a195097fb1fc9783316ad9b16242b356 (MD5) Previous issue date: 2017-08-11 / Busquei com este trabalho refletir sobre as diversões populares do final do século XIX e início do XX. Com o surgimento da cidade moderna, as atrações públicas compostas por diversas expressões artísticas que, em sua maioria, ocorriam nas vias das cidades foram incorporadas pelas casas de espetáculos. Assim como outros estabelecimentos, o teatro de variedades se consagrou como um desses espaços, reunindo diversos elementos culturais que formaram o circuito de entretenimento da época. A cidade de Santos forneceu à pesquisa um rico panorama artístico, onde observei a difusão da teatralidade popular. Os espetáculos do teatro de variedades tiveram influências de gêneros e linguagens distintas; Entre elas: circo, teatro de revista, zarzuela, etc. Essa relação possibilitou um ambiente propício à interlocução e trocas artísticas, transformando-se em uma referência importante para a formação das cenas teatrais no Brasil. Reuni neste trabalho diversos aspectos do teatro de variedades, no intuito de compreender os inúmeros elementos que compõem o gênero. / I sought with this work to reflect on the popular amusements of the late nineteenth and early twentieth centuries. With the emergence of the modern city, the public attractions composed of diverse artistic expressions that, in the majority, occurred in the ways of the cities were incorporated by the houses of spectacles. Like other establishments, the vaudeville was consecrated as one of these spaces, bringing together diverse cultural elements that formed the circuit of entertainment of the time. The city of Santos provided the research with a rich artistic panorama, where I observed the diffusion of popular theatricality. The vaudeville shows had influences of different genres and languages; Among them: circus, theater of magazine, zarzuela, etc. This relationship allowed an environment conducive to dialogue and artistic exchanges, becoming an important reference for the formation of theatrical scenes in Brazil. I gathered in this work several aspects of the vaudeville, in order to understand the numerous elements that make up the genre.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / O estudo faz uma anÃlise geogrÃfica comparativa da efervescÃncia inovadora da religiosidade contemporÃnea, a partir da perspectiva de territorialidades religiosas na escala da metrÃpole de Fortaleza. A pesquisa considera as estratÃgias e dinÃmicas do SantuÃrio de Nossa Senhora da AssunÃÃo e do MinistÃrio Canaà da AssemblÃia de Deus, no Brasil. Ambos se apresentam em constante mudanÃa e adequaÃÃo Ãs prÃticas sÃcio-espaciais modernas. Fato que tem provocado inÃmeras reaÃÃes na formaÃÃo do campo religioso atual de Fortaleza, expressando o adensamento de espaÃos simbÃlicos; cada vez mais percebidos pelo grande nÃmero de templos religiosos na metrÃpole e o crescente nÃmero de festas religiosas em seu espaÃo pÃblico. A fundamentaÃÃo teÃrica da Geografia Cultural e da Geografia da ReligiÃo contribuiu com o conceito de espaÃo sagrado e ajudou na demarcaÃÃo de territÃrios simbÃlicos. E a investigaÃÃo mostrou como seu entorno profano sacraliza-se durante momentos passageiros, produzindo uma religiosidade mÃvel, caracterÃstica da mudanÃa do perfil religioso da populaÃÃo de Fortaleza. Segundo anÃlises comparativas dos Censos demogrÃficos do IBGE de 1991 e 2000 e interpretaÃÃes de dados da Pesquisa de OrÃamentos Familiares â POF. AlÃm da verificaÃÃo de dados de pesquisas especÃficas realizadas por instituiÃÃes religiosas do Brasil e do exterior, bem como de universidades brasileiras. Elucidando o processo de ressignificaÃÃo dos dois grupos religiosos, que com suas estratÃgias espetaculares, festivas e promocionais, formam um espaÃo mediador de prÃticas sacro-profanas, capazes de influenciar diretamente o planejamento cultural e religioso de Ãreas metropolitanas como Fortaleza / The study makes a geographical comparative analysis of the groundbreaking excitement of contemporary religiosity from the religious perspective of territoriality in the scale of Fortaleza city. The research considers the strategies and dynamics of the Shrine of Our Queen of Assumption and the Assembly of God Canaan Ministry, Brazil. Both are presented in constant change and adaptation to modern socio-spatial practices. Fact that has provoked many reactions in the formation of the religious field current to Fortaleza, expressing the density of symbolic spaces, increasingly perceived by many religious temples in the metropolis and the growing number of religious festivals in their public space. The theoretical framework of Cultural Geography and Geography of Religion has contributed to the concept of sacred space and helped in the demarcation of territories symbolic. And research shows how its surrounding profane sacralizes during fleeting moments, producing a mobile religiosity, the characteristic change of religious profile of the population of Fortaleza. According to comparative analysis of demographic ―IBGE‖ Census 1991 and 2000 and interpretation of data from the Consumer Family Expenditure Survey - POF. In addition to verification of data for specific research conducted by religious institutions in Brazil and abroad, as well as Brazilian universities. This well bring new meaning elucidating the process of the two religious groups, with strategies that spectacular, festive and promotional form a mediating practices sacred-profane, able to directly influence the religious and cultural planning in metropolitan areas like Fortaleza

When Napster was first launched on the Internet in August of 1999 by young programmer, Shawn Fanning, the intension was that the platform would easily link Internet users with the free MP3 downloads they sought out on the web. By the time an injunction against the platform was granted and upheld by a state then federal court, Napster had made a far bigger impact than simply linking music listeners with free downloads. The proceedings of A & M Records, Inc. v. Napster, Inc. through the District Court Northern District of California then the United States Court of Appeals for the Ninth Circuit acted to test the applicability of copyright protections that had been legislatively heightened throughout the 1990’s and built the framework for specifications for copyright protection on the Internet. Even after fifteen years of being offline, the peer-to-peer platform still remains a household name due to the influence Napster had on shaping music consumers’ expectations of access to digital music as well as distributors’ practices. Through a review of A & M Records, Inc. v. Napster, Inc. in the district and appellate courts I will explore the workings of the Napster platform and the legal issues surrounding it - with an emphasis on vicarious copyright infringement, contributory copyright infringement, the application of the DMCA, and the application of the substantial non-infringing use doctrine to software technologies, as established by Sony Corporation of America v. Universal City Studios, Inc. I conclude that Napster has had a resounding legal, psychological, and technical impact on both the distribution and consumption of music in the digital space.

Historians writing on the subject of race have largely focused on the period after the Second World War: the arrival of the SS Empire Windrush in 1948 has become a defining symbol of Britain’s immigration history. Studies that examine the earlier decades of the twentieth century privilege either imperial or scientific discourses on race. This focus neglects the variety of social and cultural discourses through which the idea of racial difference was disseminated to the British public. This thesis focuses on the idea of race in the 1920s and 1930s and explores how other peoples and places were constructed in the British imagination through three separate but interconnected themes: religion, entertainment and childhood experiences. The thesis has three central arguments: firstly it argues that racial discourses were varied; secondly, that while Britain’s cities offered opportunities for interracial contact, most British people’s experiences of the racial other were limited to the realm of the imagination, nourished by a variety of constructions emanating from churches, schools, entertainment venues and the home; thirdly, that the racial other was constructed in the British imagination as a source of both fear and desire. Religion was one of the dominant forces disseminating ideas about racial difference to the British public in the interwar years. Religious leaders were able to construct an image of other peoples and places through their connection to important annual events such as Empire Day and in their commentaries on current events; their response to the 1919 race riots illustrates how religion, empire and politics intersected on matters of race and national identity. Missionary groups also played an important role in constructing ideas about race, especially to children, through missionary exhibitions. The role of religion in society in the interwar years has been underplayed and yet religious discourses on race that were familiar in the nineteenth century continued well into the twentieth. In the realm of popular entertainment, both blackface and orientalist productions excelled in the art of racial disguise. These productions underline the contradiction at the heart of race discourse between fear and desire; fear of a difference that undermined the notion of white supremacy and thus the strength of Britain’s Empire, and a simultaneous desire to ‘know’ the ‘other’, be that through cultural interactions or physical intimacy. The act of dressing-up as the racial ‘other’ was a crucial means of exploring fantasies of the ‘other’ without transgressing contemporary racial boundaries. Newspaper reviews of popular entertainments constructed a narrative on race that used both positive and negative stereotypes. The history of licensing and censorship in the files of the Lord Chamberlain’s Archive reveals contemporary anxieties about race focusing particularly on miscegenation. People were encouraged to imagine racial difference in a variety of ways and from a young age. The stereotyped images presented to children are open to less nuanced interpretation than those aimed at adults and more than any other were composed of binary oppositions between black and white, civilised and savage, ancient and modern. Evidence from newspapers and the Mass-Observation Archive highlights how children were encouraged to imagine racial difference and the variety and complexity of childhood experiences that defined people’s ideas about race. This thesis builds on an established body of work on the subject of race and uses a variety of sources in order to advance the discussion beyond a narrow focus on empire or scientific debates towards a more comprehensive analysis of the circulation of the idea of race in interwar Britain. It focuses on an era that has received less scholarly attention than the years after 1945 and highlights the variety of discourses on race that permeated the social and cultural life of interwar Britain.

abstract: Alongside New York City, Los Angeles, and Atlanta, Minneapolis, Minnesota has become a cradle of hip-hop, breeding a distinct style that has grown swiftly from the 1980s to the present day. While Minneapolis is more commonly associated with the upbeat funk rhythms and prominent synthesizers of its favorite son, Prince (1958 – 2016), Minnesota hip-hop provides a strikingly contrasting listening experience characterized by dark, self-deprecating, and introspective traits. Minnesota and other regional hip-hop scenes have been overshadowed by academic studies that focus principally on New York City or Los Angeles. In this thesis, I advocate for a shift away from the Billboard charts and the East and West Coast, into the world of underground hip-hop of the Upper Midwest. This thesis explores and documents the development of hip-hop in Minnesota, specifically the Twin Cities and independent label Rhymesayers Entertainment, who have established Minneapolis as one of the largest hip-hop hubs in the country. A location that thrives on the “Minneapolis sound” of artists such as Prince and Morris Day (b. 1956), Minnesota hip-hop offered an alternative and more calloused genre for artistic expression. Following the arrival of hip-hop in Minnesota in the early 1980s, a group of like-minded youths gathered together to practice the art of hip-hop, which led to the creation of the Headshots Crew. Despite not having much of a local scene, the Headshots Crew created opportunities and performance spaces to showcase their talents, which eventually led to the creation of their own label, Rhymesayers Entertainment. Unlike many other independent labels Rhymesayers has found a way to sustain their success for over 25 years while maintaining their independence. Their most famous artist act is rap duo Atmosphere. By incorporating primarily biographical and historical methodologies this study means to create a cohesive understanding and foundation of Minnesota hip-hop. / Dissertation/Thesis / Masters Thesis Music 2020

Branded content as an advertising tactic is a growing phenomenon that is not widely researched and is generally ambiguous in nature. This study uses qualitative methods to explain how branded content is defined, how it functions, and how it can influence a brand. Case studies of IKEA and Chevrolet were compared alongside four interviews with branded content professionals. the data collected suggests that branded content in structure and substance is varied, however it comprises engagement, the brand, and financial transaction. the data collected also suggested that brands take a variety of stances when controlling content to support their brand, and that branded content generally supports the intangible aspects of a brand, as opposed to product features.

This paper examines how the video game Life Is Strange balances the aims of an entertainment game with themes that are more typically found in serious games. Drawing from scholars like Belman, Flanagan and Bogost, the paper explores the capability for entertainment games to foster empathy within players. Finally, the paper attempts to reinforce frameworks for analyzing entertainment games.

Motivations for entertainment consumption are complex, involving moods, wants, anticipations, and several other factors. Typically, attempts at a theoretical understanding of motivations for media selection have centered on enjoyment, or hedonic, pleasure-seeking motivations. Recently eudaimonic, or truth-seeking, motivations have also been given much attention. Most investigations into hedonic and eudaimonic motivations for media consumption have conceptualized these motivations as traits, rather than as states. Recent research has used survey methods to determine that those with hedonic motivations tend to seek out entertainment that is hedonic in nature and feel more fun affect while watching, while those with eudaimonic motivations for consuming entertainment tend to seek out media that is eudaimonic and nature and experience more meaningful affect during viewing. This experiment successfully manipulated hedonic and eudaimonic states using clips with either hedonic or eudemonic tone from three different television shows, with hedonic or eudaimonic tone in clips significantly affecting participants\' reports of hedonic and eudaimonic states as well as meaningful and fun affect. The effects of clips with hedonic or eudaimonic tone on these responses were not moderated by typical hedonic and eudaimonic trait preferences. The experiment also examined the effect that clips with hedonic or eudaimonic tone might have on subsequent program selection by allowing participants to rank hedonic or eudaimonic clips for subsequent viewing. The hedonic or eudaimonic tone of the clips only predicted participants\' subsequent  preference for eudaimonic or hedonic clips in the case of one of the three shows in the study; this effect on subsequent clip preference was found with the show that generally elicted the strongest responses from viewers in other study measures. Implications for our understanding of television consumption motivations are discussed. / Master of Arts