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How are "grey market" imports changing media industries? What is the role of piracy in developing new markets for movies and TV shows? How do jailbroken iPhones drive innovation? The Informal Media Economy provides a vivid, original, and genuinely transnational account of contemporary media, by showing how the interactions between formal and informal media systems are a feature of all nations - rich and poor, large and small. Shifting the focus away from the formal businesses and public enterprises that have long occupied media researchers, this book charts a parallel world of cultural in

To punish Russia for the annexation of Crimea from Ukraine, the United States and the European Union introduced a set of economic sanctions against Russian state companies and individuals closely affiliated with the Kremlin. The goal of this article is to look at the sanctions in relation to the process of the current consolidation of media assets and revenues in the hands of Russia's biggest media empires, most of whom are close to the Kremlin. It questions whether the sanctions achieved the intended goal of undermining economic stability inside Russia or if, rather, they benefitted major state-aligned media corporations.
The main conclusion drawn from the study is that the international sanctions have radically changed the structure of Russia's media in a manner contrary to their intention. The sanctions unwittingly favored the biggest players to the detriment of the smaller, protecting state-aligned media and their financial incomes. In the climate of sanctions, media tycoons close to the Kremlin used their lobbying capacity in parliament to acquire advantages, primarily in terms of advertisement. Thus, smaller competitors were pushed out of the market and their shares were redistributed among a few major stakeholders.

What does it mean to consume and produce images non-stop in the new media economy? Images can be captured, uploaded, downloaded, and disseminated with ease in digital platforms, raising the need to understand how these acts of image capture and circulation are embedded into the familiar and everyday as well as the extraordinary where images can re-negotiate cognitive realities and re-frame notions of authenticity and truth. This new media visuality is characterised by new consumption rituals and practices which transgress the boundaries between private pleasures, personal memories, and voyeurism, on the one hand, and public communion, witnessing, and expose on the other. This paper examines the notion of visuality in digital platforms and its consequences for postmodernity in terms of subjectivity, new forms of engagement and disenfranchisement.

Digital Media Worlds tracks the evolution of the media sector on its way toward a digital world. It focuses on core economic and management issues (cost structures, value network chain, business models) in industries such as book publishing, broadcasting, film, music, newspaper and video game

"This textbook considers the critical relationship between gender, race and class and the political economy of media, providing an accessible introduction for students. Carolyn M. Byerly integrates gender, race, and class analysis in posing an intersectional political economy of media theory, and demonstrates how that theory applies in examining communication laws, policies, technology, and other aspects of media today. By synthesizing feminist and critical race theories with more traditional class analysis, this book offers a unified approach to examining the media. Individual chapters delve into communication policy, ownership, governance, labor, and technology issues, with a concluding chapter that explores future research. The book situates citizen challenges to the media's control by a small power elite within a dialectic of struggle and highlights specific campaigns that have pursued successful policy and media reform. Several short case studies by other authors illustrate how an intersectional theory of critical political economy investigation can be undertaken. This is a key text for undergraduate and graduate media and communication courses such as Media and Society, Political Economy of Media, Gender, Race and Media, Research Methods, and more. It will also appeal to social science classes such as Media Sociology, Labor Studies, and Political Economy Research"--

As an appreciation for creative works, the Indonesian Film Festival (FFI) and the Indonesian Film Appreciation (AFI) aimed at giving an award for the best work. The interesting part was the implementation of AFI 2015 emerged several award categories such as Appreciation for the Local Government and Film Criticism Appreciation. This occurred in the midst of concerns about the development of Indonesian film industries which tend to be stagnant. Film communities tried to give fresh ideas and break the film market. This new award can certainly be seen as an effort through the film festival program in spurring the film industries with creative work of educating the nation's children, especially film as a "cultural builder". Film is a cultural construction. In America, the country where the Hollywood film industry is the mecca of film generation, people still debate the cultural influence of Hollywood on social phenomena. Sociologist Norman Denzim said that drinking shows in US films have influenced the misleading romanticism of alcoholism in public consciousness (Vivian, 2008: 160). On the other hand, borrowing Adorno's term, the film has carried the culture industry powerless with market power. Discussing the media industry leads to the film media economy, as the focus of Indonesian filmmakers today. For most producers, award-winning films at international film festivals are "less meaningful" when they are not in box office positions. This paper proposed to reveal the economic attractiveness of the film media and the quality of Indonesian film content in accordance with the Republic of Indonesia Act. Number 33 of 2009 on Film. It stated that the film has a function: culture; education; entertainment; information; the driving force of creative work; and economy.