A survey of children's interests from grade IV through grade VIII in the fields of active recreation, entertainment, reading, school subjects, and vocations.

Thesis (Ed.M.)--Boston Universit

Entertainment in the 21st Century: Is an Independent Networked Multimedia Production and Promotion Firm a Viable Business Option in the Modern Entertainment Industry?

“Artists are being stifled by the ‘major label’ stance that exclusively demands what’s ours is ours and can only be handled by us. It should be more about creative freedom” (Monstercat Manifesto). Over the past fifteen years, we have witnessed how the internet has changed how entertainment is distributed and consumed. This has led to a change in behavior from major entertainment production firms, and has given way to the surge of independent labels and production houses. Now, entertainers can lead successful careers by reaching their audience through digital platforms, successfully decreasing production and distribution costs. Consumers can find an unlimited amount of ad-supported content that they can access for free. Understanding these change is vital in finding and solving the problems these changes have produced

Spartan Daily, February 14, 2018

Volume 150, Issue 9https://scholarworks.sjsu.edu/spartan_daily_2018/1008/thumbnail.jp

American Mass Media and Sustainable Development

The American mass media overwhelmingly promote a consumer culture, while paying scant attention to the effects this culture has on the environment. American film and television, especially, is reaching more and more people worldwide, thus promoting wasteful overconsumption on a global scale by encouraging people to abandon traditional, sustainable lifestyles and to aspire to an unsustainable consumerist lifestyle. Hollywood has produced many highly successful movies addressing major social issues, including environmental issues such as chemical pollution, nuclear radiation, and global warming, yet it fails to tie these concerns to the consumerist behaviour that is at the root of these problems. Although it may be too much to expect the American mass media to actively promote sustainable development, it is surely irresponsible to promote consumerism as if it had no adverse environmental consequences. Of course, ultimate power rests with the consumer, without whom there would be no audience to make moves for: but the decision about which movies to make, and where to release them, is in the hands of production companies. They have responsibilities not only to present generations but also to future ones

To Review or Not to Review? Limited Strategic Thinking at the Movie Box Office

Film distributors occasionally withhold movies from critics before their release. Cold openings provide a natural field setting to test models of limited strategic thinking. In a set of 856 widely released movies, cold opening produces a significant 15% increase in domestic box office revenue (though not in foreign markets and DVD sales), consistent with the hypothesis that some moviegoers do not infer low quality from cold opening. Structural parameter estimates indicate 1–2 steps of strategic thinking by moviegoers (comparable to experimental estimates). However, movie studios appear to think moviegoers are sophisticated since only 7% of movies are opened cold

The Experience Machine: Existential reflections on Virtual Worlds

Problems and questions originally raised by Robert Nozick in his famous thought experiment ‘The Experience Machine’ are frequently invoked in the current discourse concerning virtual worlds. Having conceptualized his Gedankenexperiment in the early seventies, Nozick could not fully anticipate the numerous and profound ways in which the diffusion of computer simulations and video games came to affect the Western world. This article does not articulate whether or not the virtual worlds of video games, digital simulations, and virtual technologies currently actualize (or will actualize) Nozick’s thought experiment. Instead, it proposes a philosophical reflection that focuses on human experiences in the upcoming age of their ‘technical reproducibility’. In pursuing that objective, this article integrates and supplements some of the interrogatives proposed in Robert Nozick’s thought experiment. More specifically, through the lenses of existentialism and philosophy of technology, this article tackles the technical and cultural heritage of virtual reality, and unpacks its potential to function as a tool for self-discovery and self-construction. Ultimately, it provides an interpretation of virtual technologies as novel existential domains. Virtual worlds will not be understood as the contexts where human beings can find completion and satisfaction, but rather as instruments that enable us to embrace ourselves and negotiate with various aspects of our (individual as well as collective) existence in previously-unexperienced guises

Spartan Daily, September 25, 2003

Volume 121, Issue 20https://scholarworks.sjsu.edu/spartandaily/9886/thumbnail.jp

The Crescent Student Newspaper, October 30, 1998

Student Newspaper of George Fox University,https://digitalcommons.georgefox.edu/the_crescent/2201/thumbnail.jp