Anti-communism in America reached its apex in the 1950s. One element of this crusade focused on preventing suspected communists from working in their chosen profession, a practice called blacklisting. In attempting to assert their legal rights, the blacklisted found an imperfect justice system, cloaked in equality, yet hampered by the existing cultural setting that treated as immoral anything communist. This dissertation deconstructs the interplay between culture and law, between the desire to root out communists and the attempt to maintain a fair legal system. With an emphasis on the entertainment industry, broadly defined, I will trace blacklisting from anti-labor tool to for-profit instrument focusing on how the blacklisted employed the lawsuit to fight for their jobs. I argue that from the late 1940s through the mid-1960s, blacklisted plaintiffs continuously found themselves handicapped by their association -- either current or past, real or perceived -- with the Communist Party, and not until a plaintiff with no demonstrable ties to communism came along did the legal system prove a comprehensively effective tool in ending the practice. I show that various members of the blacklisted community, with the aid of a small number of lawyers, tried an assortment of legal theories in their attempt to remedy their pariah status with the results often promising -- the first three jury trials ended in victories for the plaintiffs -- but ultimately hollow as a recalcitrant appellate judiciary dashed these early hopes. Moreover, I show how plaintiff's lawyers, sensitive to a legal system that demanded a successful plaintiff be free of communist ties, adjusted their strategy to accommodate the relationship between cultural setting and legal success. / text

As media and entertainment products flood across porous national borders around Southeast Asia, wary local elites have been able to sustain their legitimacy, despite rumblings to the contrary. Global industry trends like conglomeration, commodification and celebrification, mean few real challenges to the existing political and economic status quo. Whilst modernization theory assumes that the globalizing communication media would spread liberal, open societies, as this thesis will show, this is not the case in Southeast Asia. Despite the fact that the Asian Financial Crisis undermined the developmental state championed by many of the Region’s illiberal governments, it did not give rise to a liberal alternative, but to something more hybrid and complex which this thesis will reveal. The development of the communication media has had important implications for the nature of politics and political process in the region. However, rather than inspiring democratic ideals in an informed and educated public, it is commercial concerns which have come to dominate its agenda since the Asian Financial Crisis. This results in a churn of generic, even pasteurized media offerings, as media owners seek to woo concerned governments, and further their own business interests. The local media is not immune to these general trends, and tends to be locked in its own battle of competing interests, only very occasionally reflecting the political aspirations of its audience and their somewhat muted call for political change, rarely laying the seed. As a result, although there are interesting local responses to the growth of the media and entertainment industry and the changes being wrought by the Internet and other new technologies, the mass media has developed an ambiguous relationship with the political process. More significantly, local elites have proved resilient in the face of the challenge of the globalized media and, acting against the background of the “war on terror”, have been able to accelerate illiberal media options, maintaining their control strategies albeit, at times, around newly formed coalitions of support. In fact, this thesis demonstrates that the traditional elites have regrouped since the Asian Financial Crisis of 1997, and are restoring their control over the media, where possible by ownership or legal means or, alternatively, where that has proved difficult, they have increasingly taken the sophisticated approach of using the techniques espoused by the perception industries and by public relations consultants to ensure they communicate effectively in an increasingly complex media environment.

Индустрия интерактивных развлечений – относительно новый сложный рынок. Однако, согласно оценке ряда экспертов в области информационных технологий во втором десятилетии 21 века она добилась необходимого уровня, для того, чтобы числиться полноценным сектором всемирной экономики. В данной диссертации рассмотрены основные аспекты целесообразности развития данной отросли в мировой экономике. Виртуальные компьютерные игры - сравнительно новая зона исследований и практики в Российской федерации. Начиная с 80-х годов двадцатого столетия были предприняты первоначальные усилия осмысления виртуальных компьютерных игр. Не взирая на большую скорость распространения, это явление было изучено недостаточно глубоко. Из-за недоступности в Российской федерации настолько развитой индустрии медиа-развлечений, как на Западе, изучение компьютерных игр по масштабам проведённой работы сейчас не столь велико, как странах западного мира. Большая часть трудов, сделанных на тему компьютерных игр в Российской федерации, анализирует их с точки зрения производственных либо гуманитарных нюансов, а никак не с экономических и тем более маркетинговых. / The interactive entertainment industry is a relatively new and complex market. However, according to a number of experts in information technology in the second decade of the 21st century, it has achieved the necessary level, in order to be considered a full-fledged sector of the global economy. In this dissertation, the main aspects of the expediency of development of this branch in the world economy. Virtual computer games are a relatively new area of research and practice in the Russian Federation. Since the 80s of the twentieth century, initial efforts have been made to comprehend virtual computer games. Despite the high rate of propagation, this phenomenon has not been studied in depth. Due to the inaccessibility in the Russian Federation of a well-developed media entertainment industry, as in the West, the study of computer games in terms of the scope of the work carried out is not so great as the countries of the Western world. Most of the work done on the topic of computer games in the Russian Federation, analyzes them from the point of view of production or humanitarian nuances, and in no way from economic or even more marketing ones.

The following thesis acts as a critical cultural progression report surrounding the current technological disruption in the entertainment industry and its impact on consumers. This begins with a study of the history starting in 1910 and covers the urbanization of America during the Industrial Revolution, the developing fan experience, a history of consumer demands in relation to oligopolistic principles and the blockbuster method, the invention and influence of the television, and the current effect of technological advancement in the entertainment industry. Following this historical overview, four chapters will study different methods of analysis covering the intricacies of the current technological disruption using four theories: population ecology, media systems dependency, the mainstream cult, and convergence and participatory culture. The culmination of this work will consist of drawing together the history, the theories, and the contemporary examples into a conclusion about the fate of the media oligopoly in which this researcher points to the importance of seamless integration between the media industry and the consumer by way of three possible outcomes.

Made available in DSpace on 2016-04-25T20:22:46Z (GMT). No. of bitstreams: 1 Cledson Luciano Miranda dos Santos.pdf: 873054 bytes, checksum: f3c15c1d1d8e2b43c10f26a4a3f49abe (MD5) Previous issue date: 2009-05-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aimed to reflect on the broader dynamics and importance that the cinema was to sociability in Itororó city, Bahia, in the 60 s and 70 s of the Twentieth Century. It s more specific focus fell on the Cine-teatro Irapuã that, among the many movies-goers in the city, stood out in the imagination and memory of those who attended, or worked in the cinema. The reports and interviews with former residents of the Itororó society, opened itself to the importance of recovery of memory on film and cultural practices, particularly focusing on sociability and identity of its residents. Based, mainly in studies of the reception and critical analysis on the cultural industry, the thesis addresses questions about the relationship between cinema, art, culture and the entertainment industry. It also draws a discussion on the public relations mimetic down from the images conveyed in the film. The history of Brazilian cinema, from its inception until the 70's, served as backdrop to the debate on the peak and the disappearance of movie theater in Itororó, opening up for some considerations on a possible resumption through new experiences in the reflexive potential of cinema / Esta dissertação teve como objetivo mais amplo refletir sobre a dinâmica e importância que o cinema teve na sociabilidade da cidade de Itororó, Bahia, nas décadas de 60 e 70 do século XX. Seu foco mais específico recaiu sobre o Cine-teatro Irapuã que, dentre as várias salas de cinema existentes na cidade, destacou-se no imaginário e memória daqueles que freqüentavam, ou trabalhavam no cinema. Os relatos e entrevistas com moradores antigos da sociedade itororoense, abriram-se para a importância do resgate da memória sobre o cinema e as práticas socioculturais, incidindo sobremaneira na sociabilidade e identidade de seus moradores. Pautada, principalmente, nos estudos da recepção e nas análises críticas sobre a indústria cultural, a dissertação aborda questões a respeito das relações entre cinema, arte, indústria do entretenimento e cultura. Traça também uma discussão sobre as relações miméticas que o público estabelece a partir das imagens veiculadas no cinema. O histórico do cinema nacional, desde o seu início até a década de 70, serviu como pano de fundo para a reflexão sobre o apogeu e o desaparecimento do cinema em Itororó, abrindo-se para algumas considerações sobre uma possível retomada através de novas experiências sob o potencial reflexivo do cinema

Made available in DSpace on 2016-04-26T14:57:38Z (GMT). No. of bitstreams: 1 Cledson Luciano Miranda dos Santos.pdf: 873054 bytes, checksum: f3c15c1d1d8e2b43c10f26a4a3f49abe (MD5) Previous issue date: 2009-05-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aimed to reflect on the broader dynamics and importance that the cinema was to sociability in Itororó city, Bahia, in the 60 s and 70 s of the Twentieth Century. It s more specific focus fell on the Cine-teatro Irapuã that, among the many movies-goers in the city, stood out in the imagination and memory of those who attended, or worked in the cinema. The reports and interviews with former residents of the Itororó society, opened itself to the importance of recovery of memory on film and cultural practices, particularly focusing on sociability and identity of its residents. Based, mainly in studies of the reception and critical analysis on the cultural industry, the thesis addresses questions about the relationship between cinema, art, culture and the entertainment industry. It also draws a discussion on the public relations mimetic down from the images conveyed in the film. The history of Brazilian cinema, from its inception until the 70's, served as backdrop to the debate on the peak and the disappearance of movie theater in Itororó, opening up for some considerations on a possible resumption through new experiences in the reflexive potential of cinema / Esta dissertação teve como objetivo mais amplo refletir sobre a dinâmica e importância que o cinema teve na sociabilidade da cidade de Itororó, Bahia, nas décadas de 60 e 70 do século XX. Seu foco mais específico recaiu sobre o Cine-teatro Irapuã que, dentre as várias salas de cinema existentes na cidade, destacou-se no imaginário e memória daqueles que freqüentavam, ou trabalhavam no cinema. Os relatos e entrevistas com moradores antigos da sociedade itororoense, abriram-se para a importância do resgate da memória sobre o cinema e as práticas socioculturais, incidindo sobremaneira na sociabilidade e identidade de seus moradores. Pautada, principalmente, nos estudos da recepção e nas análises críticas sobre a indústria cultural, a dissertação aborda questões a respeito das relações entre cinema, arte, indústria do entretenimento e cultura. Traça também uma discussão sobre as relações miméticas que o público estabelece a partir das imagens veiculadas no cinema. O histórico do cinema nacional, desde o seu início até a década de 70, serviu como pano de fundo para a reflexão sobre o apogeu e o desaparecimento do cinema em Itororó, abrindo-se para algumas considerações sobre uma possível retomada através de novas experiências sob o potencial reflexivo do cinema

El presente trabajo de investigación está basado en la coyuntura actual de la pandemia por el covid-19 y su impacto en los resultados financieros de las empresas de entretenimiento, específicamente las cadenas de cine, que han sido las más afectadas por las regulaciones gubernamentales de cierre temporal y la desconfianza de sus habituales consumidores por el riesgo de contagio. El impacto de la crisis sanitaria ha provocado que muchas empresas deslocalicen sus operaciones en el país donde operaban o cierren definitivamente por la inviabilidad económica de su negocio; por tal sentido, muchos profesionales de la materia se cuestionan la continuidad de muchas empresas que han tenido un longevo periodo de cese de operaciones; por ende, se ve afectado significativamente el principio de negocio en marcha. El principio de negocio en marcha que, junto con el devengado, son los principios fundamentales en la preparación de los estados financieros como indica la primera Norma Internacional de Contabilidad (NIC 1). La preparación de los estados financieros mediante las normas internacionales de información financiera (NIIF’s) dependen del principio de negocio en marcha para aplicarlas en la contabilidad de la empresa; sin embargo, debido a la incertidumbre provocada por el covid-19 en las operaciones de las empresas de cine tanto en el periodo de ‘hibernación’ económica establecida por el gobierno y los riesgos económicos y operativos asociados al reinicio de sus actividades, se genera mayor incertidumbre relativa si la crisis de la pandemia ha afectado el rendimiento financiero y, por ende, se puede ver afectado materialmente el principio de negocio en marcha. El presente trabajo tendrá cinco capítulos en los que abordaremos el problema de la pandemia por el covid-19 en las cadenas de cine. El capítulo I corresponde al Marco Teórico, en el cual se explicará el contexto general de la pandemia del covid-19 en el Perú, sus efectos en la economía nacional, el rendimiento de las empresas y los principios contables sobre los que se fundamenta la elaboración financiera de sus informes, así como la industria del cine. El capítulo II corresponde al Plan de Investigación en el cual se definirán los problemas, objetivos e hipótesis generales y específicos que se abordarán en la tesis para verificar la relación causal de los resultados financieros en el principio de negocio en marcha en un contexto de covid-19. En el capítulo III Metodología, se explicará el proceso científico que se realizará para demostrar nuestra hipótesis, definiremos nuestras variables, nuestros objetivos e hipótesis. En el capítulo IV Desarrollo de la Investigación, se utilizará las herramientas de las encuestas de opinión y las entrevistas a profundidad. Finalmente, en el capítulo V Interpretación de resultados, explicaremos los resultados obtenidos de nuestro proceso de investigación desarrollado en el plan de tesis y daremos a conocer las conclusiones y nuestras recomendaciones. / This research work is based on the current situation of the COVID-19 pandemic and its impact on the financial results of entertainment companies, specifically cinema chains, which have been the most affected by government regulations of temporary closure and the distrust of its habitual consumers due to the risk of contagion. The impact of the health crisis has caused many companies to relocate their operations in the country where they operated or to close permanently due to the economic unfeasibility of their business; Therefore, many professionals in the field question the continuity of many companies that have had a long period of cessation of operations; therefore, the going concern principle is significantly affected. The going concern principle which, as well as accruals, are the fundamental principles in the preparation of financial statements as indicated in the first International Accounting Standard (IAS 1). The preparation of financial statements through international financial reporting standards (IFRSs) depend on the going concern principle to apply them to the company's accounting; However, due to the uncertainty caused by covid-19 in the operations of cinema companies both in the period of economic 'hibernation' established by the government and the economic and operational risks associated with the restart of their activities, greater Relative uncertainty whether the pandemic crisis has affected financial performance and, therefore, the going concern principle may be materially affected. This work will have five chapters in which we will address the problem of the covid-19 pandemic in cinema chains. Chapter I corresponds to the Theoretical Framework, in which the general context of the covid-19 pandemic in Peru, its effects on the national economy, the performance of companies and the accounting principles on which the elaboration is based will be explained. financial reporting, as well as the film industry. Chapter II corresponds to the Research Plan in which the problems, objectives and general and specific hypotheses that will be addressed in the thesis will be defined to verify the causal relationship of the financial results in the beginning of business in progress in a context of covid- 19. In Chapter III Methodology, the scientific process that will be carried out to demonstrate our hypothesis will be explained, we will define our variables, our objectives and hypotheses. In Chapter IV Research Development, the tools of opinion polls and in-depth interviews will be used. Finally, in chapter V Interpretation of results, we will explain the results obtained from our research process developed in the thesis plan and we wil share the conclusions and our recomendations. / Tesis

Магистерская диссертация состоит из введения, четырех глав, заключения, библиографического списка и приложений. Проанализирован российский и зарубежный опыт редевелопмента нерационально используемых территорий, изучены тенденции развития торгово-развлекательной недвижимости в сложившихся условиях после периода пандемии и принятых карантинных мер, разработано финансово-экономическое обоснование проекта редевелопмента торговой недвижимости в культурно-развлекательную недвижимость на примере торгового центра (далее – ТЦ) «Дирижабль» в г. Екатеринбург. В заключении сформулированы основные выводы и обобщены результаты исследования. / The master's thesis consists of an introduction, four chapters, a conclusion, a bibliography and annexes. The Russian and foreign experience of redevelopment of irrationally used territories has been analyzed, trends in the development of retail and entertainment real estate in the prevailing conditions after the period of the pandemic and the quarantine measures taken have been studied, a financial and economic justification has been developed for the project of redevelopment of retail real estate into cultural and entertainment real estate using the example of a shopping center (hereinafter - the shopping center ) "Airship" in Yekaterinburg city. In the conclusion, the main conclusions are formulated and the results of the study are summarized.

數位娛樂產業為新型態產業，自2000 年數位元年起，全球各國無不積極推 動相關建設，期望帶動相關動畫、線上影音、數位遊戲等的整體發展。由於數位 內容關係到一般大眾有關生活上有關娛樂、文化、教育、出版等產業脈動，近幾 年迅速成為眾所期待的焦點。數位化娛樂從技術面開始帶動產業的革新，各種因 素相互發生變化，加上消費者行為發生變化的結果，使得企業發覺過往商業模式 有所不足。企業必須審視自身、重新界定價值才能抓住機會。台灣科技業實力堅 強，聞名於世；但是相對於日韓等國，數位娛樂產業之發展規模尚淺。然而數位 化議題日趨重要，相關發展機會如雨後春筍般出現，不得等閒視之。 本論文在文獻探討主題上，把焦點放在幾個重點：數位娛樂產業、商業模式、 商業模式創新。本研究試圖了解當今數位化趨勢與特徵為何，並從學者文獻中整 理理論架構，找出商業模式重要面向為何。接下來以任天堂與Sony Computer Entertainment 兩間公司為分析個案，描述兩間公司如何發展商業模式面對社群 遊戲挑戰，用以實證關於商業模式理論架構以及歸納個案產業特徵與發展特色。 最後，本研究歸納出以下結論：商業模式之建立以核心價值為中心，且核心 價值做為一切的基礎，不會隨意變動。企業應該妥善運用資源擺脫惰性，求新求 變，以靈活、充滿彈性的商業模式來發揮核心價值，因應挑戰。當環境條件允許 的情況下，企業便能夠以自身能力來改變環境，或者有時亦須被動地因應環境需 求做調整。最後，商業模式之建立為一連續過程，而在模式建立的過程中，產業 之間也有機會產生連結，進而合作，共創、共享價值。 關鍵字：數位娛樂產業、商業模式、電玩產業、任天堂、SCE、社群遊戲。 / Digital entertainment industry is a new style industry. Since 2000s, the first year of digital era, the whole world began to boost the related projects of the industry, and looked forward to drive the development of animations, online studios and digital games. Because digital contents have a lot to do with activities of general entertainment, culture, education and publishing, recently it has brought everyone’s eyes on it. Digital entertainment brought the innovation from the technique side, different elements started to have an effect on the others. What’s more, the change of consumer behavior made enterprises found that old business models are no longer apply to new environment. They needed to check themselves again and try to redefine their core value, so can they catch new chances. Technology industry in Taiwan is strong and world-famous. But when it comes to compare with Japan, Korea or other countries, development of digital entertainment industry is still in the beginning stage. However, digital issues are more important, opportunities also sprang up like mushrooms. It should not be treated lightly. This study has focused on several subjects: digital entertainment industry, business model and innovation of business models. First, the study had tried to realize the characteristic of current trend of digitization, and then tried to find out major factors of building business models by classification of research documents. Second, the study has chosen two target companies: Nintendo and Sony Company Entertainment as goal of analysis, and tried to tell how the two companies faced the challenges of social games and online games by developing their own business models. Thus, we can prove how the business model theories work and generalize the feature and characteristic of target industry. In the end, the study has conclusions as below: The establishment of business should be based on core value, and it is the foundation of everything and will never be changed easily. Companies need to use their resources by flexible applications to get rid of laziness, fully perform their core values by varied business models and face the challenges. With the availability of environment, enterprises can actively change the world by their own power, or they have to adjust themselves to adapt the circumstance. At last, Building of business model is a continuous process. When running a new model, there may be cooperation between different industries and different companies can create and share the value together. Key words: digital entertainment industry, business model, game industry, Nintendo, SCE, social game.

Depuis la fin des années 1960 se sont développées différentes pratiques artistiques délibérément bêtes, assumant et parfois même revendiquant leur bêtise. Dans une approche ancrée à la fois dans l'histoire culturelle et la théorie esthétique, prenant en compte les paramètres que sont les modalités d'exposition, l'industrie du divertissement et le rôle des collectionneurs, il s'agit de comprendre comment un phénomène à l'origine excentré, marginal et parfois contestataire, est devenu une donnée centrale de la production artistique contemporaine. Le premier mouvement revient sur la tradition de la bêtise en histoire de l'art. Partant de l'expression « bête comme un peintre », y est proposé une relecture du « retour à la peinture» du début 1980 (Figuration Libre, Mülheimer Freiheit à Cologne, bad painting américaine). Le deuxième moment porte sur les mécanismes de diffusion, d'expansion, de légitimation et d'institutionnalisation de l'art bête dans les années 1990 et 2000, abordant notamment les pratiques Martin Kippenberger, Jeff Koons, Paul McCarthy, Mike Kelley, Richard Jackson, Gelitin, Wim Delvoye ou encore Damien Hirst. Le troisième et dernier temps consiste en une généalogie alternative de cette histoire de la bêtise en prenant la Californie comme paradigme. On y développe l'hypothèse qu'à Los Angeles sont en germe, depuis le milieu des années 1960, les formes de bêtise artistique qui s'imposent à l'échelle internationale depuis les années 1990 : l'industrie du divertissement et le culte du succès, de la célébrité et de la richesse, et son contre-point dynamique, son envers dévoyé, le modèle du bad boy made in L.A. / Stupidity (bêtise) can be apprehended as bodily, vulgar, even regressive. Or it can simply be understood as foolish, silly or childish. I investigate all of these strains of "bêtise" in order to demonstrate the key role it has played in shaping aesthetic styles and debates about contemporary art from the late 1960s to the present day. The dissertation thus traces these fluctuations by looking at the shift from the 1960-l 970s, when dumbness, used as a critical tool, occupied a position at the margins of the art world, to the l 980-1990s when "bêtise" began to constitute an autonomous aesthetics mobilized by the art world's biggest stars. What used to be marginal then became preeminent, what used to be popular culture became high art, while lowbrow turned into highbrow. The first part takes a look back at the tradition of stupidity in art history. Viewed from the popular phrase "stupid as a painter", I propose a reevaluation of the so-called "return to painting" in the early 80s (Figuration libre, Bad Painting, Mülheimer Freiheit Grup in Koln) as an initial step. The second section analyses the mechanisms of diffusion, expansion, legitimation and institutionalization of "dumb art" in the 90s and 2000s, focusing on practices of artists like Martin Kippenberger, JeffKoons, Paul McCarthy, Mike Kelley, Gelitin, Wim Delvoye or Damien Hirst. The third and last part is an attempt to write an alternative narrative to this history of stupidity, in which I propose California as a paradigmatic model. The entertainment industry and the cult of success, fame and wealth, and its dynamic counterpoint, its dark side, the made-in-L.A.-bad-boy model played major roles in that process.