Entertainment Education and Health in the United States

Discusses the history of "entertainment education" -- the use of entertainment media as a means of educating viewers about health and social issues -- and provides several examples of entertainment education from American television

Entertainment Center di Purwokerto

Saatini Indonesia menjadinegaraberkembangdenganpertumbuhanekonomi yang pesat. Meningkatnya pula tingkat stress pekerja yang membukakesempatanmembuatfasilitas-fasilitashiburanuntukpendudukkota. Hiburanmerupakansuatukonseprekreasi yang berhubungandengansuatufenomenaatauaktifitas yang dapatmenarikperhatiandanmenyenangkanbagi orang yang melakukannya. Jenishiburan yang dibutuhkanpendudukkota juga beragamdarihiburankeluarga, private, grup, maupunkomunitas, denganfasilitas-fasilitasnya pun bermacam-macamsepertipusatperbelanjaan, tamanhiburan, tamanterbuka, single building entertainment. Entertainment Center merupakan solusi menjawab permasalah kebutuhan hiburan di Purwokerto yang sangat potensial untuk mengembangkan pusat-pusat hiburan, baikdalamsisikomersilyaknisebagaisalahsatubentuk entertainment untukmasyarakat modern yang berkembang di Purwokertotetapi juga sebagaiwadahkomunitasberkumpulmencarihiburan, baikkeluarga, grup, ataukomunitas-komunitaslainnya. Konsep One Stop Entertainment yang diterapkanmemudahkanmasyarakatmendapatkanbanyakhiburanhanyadalamsatutempat.Penekanandesainpada Entertainment Center iniadalaharsitektur modern, dimanafokusdalamarsitektur modern adalahbagaimanamemunculkansebuahgagasanruang, kemudianmengolahdanmengelaborasinyasedemikianrupa, hinggaakhirnyadiartikulasikandalampenyusunanelemen-elemenruangsecaranyata. Kajiandiawalidenganmempelajaripengertiandanhal-halmendasarmengenaihiburan, jenis-jenishiburan yang akanadapada Entertainment Center sepertibioskop, karaoke, game center, billiard, dan resto, sertaarsitektur modern. Setelahitudilakukanstudi banding ketempathiburan lain untukmengetahuifasilitasatausaranaprasaranalengkap Entertainment Center. Seluruhhasilkajiandituangkandalambentuk program ruangdankonsep-konsepperancangan yang diaplikasikankedalamdesain yang dipresentasikankedalambentukgambar-gambararsitektur

Movies, Music, and Sports: U.S. Entertainment Spending, 2008-2013

[Excerpt] This Beyond the Numbers article examines entertainment spending from 2008 to 2013 and breaks the spending down into its four parts: fees and admissions; audio and visual equipment and services; pets, toys, hobbies, and playground equipment; and other entertainment supplies, equipment, and services. This article also analyzes the relationships between entertainment spending and 1) income, 2) education, and 3) age

Cultural Capital: Challenges to New York State’s Competitive Advantages in the Arts and Entertainment Industry

This is a report on the findings of the Cornell University ILR planning process conducted with support of a grant from the Alfred P. Sloan Foundation to investigate trends in the arts and entertainment industry in New York State and assess industry stakeholders’ needs and demand for industry studies and applied research. Building on a track record of research and technical assistance to arts and entertainment organizations, Cornell ILR moved toward a long-term goal of establishing an arts and entertainment research center by forging alliances with faculty from other schools and departments in the university and by establishing an advisory committee of key players in the industry. The outcome of this planning process is a research agenda designed to serve the priority needs and interests of the arts and entertainment industry in New York State

Understanding consumer responses to special event entertainment (SEE) in shopping centres

This paper reviews the literature on the use of entertainment in shopping centres and outlines the constructs believed to impact upon consumer’s responses to special event entertainment. Special event entertainment (SEE) refers to entertainment events or activities that are offered on an occasional, temporary or discontinued basis in shopping centres. Examples of SEE include school holiday entertainment and fashion shows (Parsons, 2003; Sit, Merrilees, & Birch, 2003). Using SEE, shopping centre management seeks to entice consumer patronage, increase patron traffic or promote the shopping centre brand. Despite the popularity of SEE in shopping centres, very little academic research (e.g. Parsons, 2003; Sit, Merrilees, & Birch, 2003) has either conceptually or empirically examined how consumers perceive or respond to SEE. This research presents a conceptual model that examines the determinants and outcomes of consumer responses to SEE, In particular, consumer responses to SEE are represented by SEE proneness and overall appreciation of SEE. These SEE responses are proposed to be determined by sensation-seeking tendencies and perceived value of SEE. Eight propositions are presented to explain the relationships of SEE responses with their determinants and outcomes. These relationships will be empirically tested in future research. Research implications of the conceptual model are also presented

From Nascar to Cirque du Soleil: Lessons in Audience Development

Examines marketing trends and principles in entertainment and performance. Case studies include nonprofit arts organizations, mega-concert promoters, for-profit entertainment conglomerates, sports promoters and religious organizations

The Tragedy Zone: Ableism in Entertainment

Ableism, or discrimination towards individuals with disabilities, is pervasive in our society. The entertainment world and the media are largely responsible for shaping the way the general public views minority groups. The topic of disability is incredibly popular on screen and stage, but very few actors and writers with disabilities are being hired in comparison to the amount of work that is being produced on the topic. A startling percentage of best actor/actress Oscar winners have won for portraying a character with a disability of some kind, but only two actors with the same disabilities as their characters have been awarded. In discussions about diversity, the issue of disability representation is often overlooked. When stories about disability are told from an ableist perspective, there are various harmful tropes that commonly arise. These tropes and trends writers fall into can have a negative effect on the lives of people living with disabilities. True disability representation in entertainment calls for platforms for writers, artists and actors with disability to have voices. As a writer with a newfound physical disability, I wanted to write a play that indirectly captured my experience and educated my audience. I was able to incorporate knowledge I gained from research with my personal experience to write my play, titled The Tragedy Zone . By giving the audience the opportunity to see microaggressions through the lens of someone with a newfound disability, the play aims to educate them on the impact tiny ableist interactions can have on relationships and individuals

The relationship between entertainment producers and higher education providers

Cameron, Verhoeven and Court have noted that many screen producers do not see their tertiary education as being beneficial to their careers. We hypothesise that Universities have traditionally not trained students in producing skills because of the division of labour between Faculties of Art and Faculties of Business; and because their focus on art rather than entertainment has downplayed the importance of producing. This article presents a SOTL (Scholarship of Teaching and Learning) whole-of-program evaluation of a new cross-Faculty Bachelor of Entertainment Industries at QUT, devoted to providing students with graduate attributes for producing including creative skills (understanding story, the aesthetics of entertainment, etc), business skills (business models, finance, marketing, etc) and legal skills (contracts, copyright, etc). Stakeholder evaluations suggest that entertainment producers are highly supportive of this new course