The Dynamics of the Media and Content Industries: a Synthesis

Total Page:16

File Type:pdf, Size:1020Kb

The Dynamics of the Media and Content Industries: a Synthesis The Dynamics of the Media and Content Industries: A Synthesis Jean Paul Simon 2012 Report EUR 25277 EN/7 European Commission Joint Research Centre Institute for Prospective Technological Studies Contact information Address: Edificio Expo. c/ Inca Garcilaso, 3. E-41092 Seville (Spain) E-mail: [email protected] Tel.: +34 954488318 Fax: +34 954488300 http://ipts.jrc.ec.europa.eu http://www.jrc.ec.europa.eu This publication is a Scientific and Policy Report by the Joint Research Centre of the European Commission. Legal Notice Neither the European Commission nor any person acting on behalf of the Commission is responsible for the use which might be made of this publication. Europe Direct is a service to help you find answers to your questions about the European Union Freephone number (*): 00 800 6 7 8 9 10 11 (*) Certain mobile telephone operators do not allow access to 00 800 numbers or these calls may be billed. A great deal of additional information on the European Union is available on the Internet. It can be accessed through the Europa server http://europa.eu/. JRC76471 EUR 25277 EN/7 ISBN 978-92-79-22547-5 (pdf) ISSN 1831-9424 (online) doi:10.2791/79297 Luxembourg: Publications Office of the European Union, 2012 © European Union, 2012 Reproduction is authorised provided the source is acknowledged. Printed in Spain The Dynamics of the Media and Content Sector: A Synthesis Shake (up), rattle (along), and roll (about)1 1 "Shake, rattle and roll", was first recorded by “blackface” artist Al Bernard in 1919. It was released by Edison under a Blue Amberol cylinder 4 minute format (1912-1929), a new cylinder medium--celluloid due to the rapid rate of technological development in the cylinder era. It was published by Jazz musician W C Handy, who tried to copyright the song under his name. Jesse Stone who wrote the hit for Big Joe Turner in 1954 was also involved earlier in the vaudeville scene: the song alludes to a scene in a minstrel show about playing dice (Tosches, 2001: illustrating the connection of minstrel singers with American folk music, country music, and the blues : 233-234). The same year Bill Haley & His Comets recorded the song. Elvis Presley recorded the song twice in 1955. 1 The Dynamics of the Media and Content Sector: A Synthesis Acknowledgements This report was written by Jean Paul Simon for the Information Society Unit at the Institute for Prospective Technological Studies (JRC-IPTS). The author would like to thank the numerous industry representatives, academics and staff from public authorities for their comments and reviews of earlier drafts. The author is grateful to Pierre-Jean Benghozi, Alain Busson, Patrice Chazerand, Jean Pierre Coustel, Claudio Feijoo, Bernard Guillou, Augusto Preta, Erik Lambert, David Waterman, and Steve Wildman for their support. The research on which this report is based was presented and discussed for validation at an international expert workshop attended by representatives from the European Commission and industry experts, all of whom offered many valuable comments and viewpoints. Finally, the skilful checking and editing of the text by Patricia Farrer (IPTS) is gratefully acknowledged. Although these contributions were substantial, the responsibility for this final version clearly remains with the author. 2 The Dynamics of the Media and Content Sector: A Synthesis Preface Media and Content Industries (MCI) carry out an array of heterogeneous economic activities, which encompass publishing (including music), sound, motion picture and video/TV production, programming, distribution and broadcasting industries, as well as diverse information services. The common thread in these activities is that they are all conducted by establishments primarily engaged in the creation and dissemination of information and cultural products. Also, the last decade witnessed a progressive intertwining of these activities amongst themselves and with the ICT sector, which increasingly provides the means for disseminating MCI products. At the same time, there was rapid change in the way these establishments worked and their business models (production and distribution processes, key players, organisation, etc.). Last, but not least, there was a substantial increase in the overall weight of MCI in the EU economy. While understanding and mastering the descriptive quantitative tools that we have to hand is important, it is even more essential to grasp the current dynamics in the various industries in the Media and Content sector, possibly in relation with those in the ICT sector, in order to adapt our metrics and analysis to the current and emerging transformations of these sectors. Therefore in 2009, IPTS launched a research project on the "Statistical, ecosystems and competitiveness analysis of the Media and Content Industries". This research initially included the preparation of a statistical report, a historical report and three subsector case studies, each supported by a dataset and technical annex. In 2010, IPTS decided to complement the initial case studies (cinema, music and newspaper) with two additional subsectors (book publishing and broadcasting) in order to provide a comprehensive view of the sector. In 2010, IPTS had already released a case study of the video games industry, a fast growing segment of the sector. This set of studies has two objectives: 1. To offer a quantitative statistical approach to the Media and Content Industries, including their extension or blurring boundaries due to: offline and online activities; innovative activities deriving from recently developed technological applications (i.e. P2P, WEB 20, social computing or other related current or emerging trends and technologies); specific sub-industries, companies or products that would not readily fit existing taxonomies. 2. To offer an industrial and economic analysis of the Media and Content Industries, and their dynamics. The case studies investigate the past and current ecosystems of these industries, looking beyond value chains or major actors to those aspects that are relevant to the understanding of the transformations themselves: emerging challengers, past and new threats and ways of responding, new business models, major investments, major failures or successes and their causes, technological changes affecting the industry, radical innovations if any, etc. The six reports2 are based on a review and synthesis of the available literature and (official 2 See http://is.jrc.ec.europa.eu/pages/ISG/MCI.html for the following reports: 1. Leurdijk, A; de Munck, S; van den Broek, T; van der Plas, A; Manshanden, W; Rietveld, E (2012) Statistical, Ecosystems and Competitiveness Analysis of the Media and Content Industries: A Quantitative Overview”. 3 The Dynamics of the Media and Content Sector: A Synthesis and unofficial) data of the MCI sector, desk research, and several workshops3. The results were reviewed by experts and at dedicated workshops. The reports aim to offer a reliable set of data and analysis, and also to contribute significantly to the debate about the economic health and development conditions that will support the future competitiveness of the European Media and Content Industries. In 2012, the IPTS launched a call on “Media and Content Industries: Changing regulation for changing industries”, with the following aims: - Describe impacts and lessons from digitalisation, - Draw synthetic lessons about the impacts of digitalisation and give an integrated view about the resulting transformations in the Media and Content Industries, differentiating these impacts within and outside Europe.” - Propose an overview of value creation in the media and content industries and identify emerging business models from the various subsectors”. - Debate main policy-related issues, consequences and ways forward”, with a main focus on copyright. - Compare/confront the economic, industrial and other observations gathered in those studies with the above mentioned European and other non-European policies and regulations. - Offer a series of policy options or recommendations. This report offers a synthesis of all the six case studies together as well as some new features based on further research, interviews and conferences. The report underlines the specific dynamics at work within the media and content industries after a succession of disruptive technological waves. This first report is complemented by a more detailed report on copyright issues: “Changing modes of asset management: IPR and copyright in the digital age”. Contract title: Media and Content Industries: Changing regulation for changing industries Contract number: 152 849 2012 A08 FR The contract was awarded by: Institute of Prospective Technological Studies (IPTS) of the Directorate General Joint Research Centre, European Commission Main contractor: JPS Public Policy Project leader: Jean Paul Simon IPTS MCI research team: Giuditta de Prato, Esteve Sanz. 2. Leurdijk, A., Nieuwenhuis., O., Statistical, Ecosystems and Competitiveness Analysis of the Media and Content Industries: The Music Industry (2012). 3. Leurdijk, A., Nieuwenhuis., O., Slot, M., Statistical, Ecosystems and Competitiveness Analysis of the Media and Content Industries: The Newspaper Publishing Industry (2012) 4. De Vinck, S., Lindmark, S., (2012). Statistical, Ecosystems and Competitiveness Analysis of the Media and Content Industries: The Film Sector (2012). 5. De Prato, G., Simon, J.P, Statistical, Ecosystems and Competitiveness Analysis of the Media and Content Industries: The
Recommended publications
  • 2020 Writing09.11Metodichkareview
    МІНІСТЕРСТВО ОСВІТИ І НАУКИ УКРАЇНИ ДЗ «ПІВДЕННОУКРАЇНСЬКИЙ НАЦІОНАЛЬНИЙ УНІВЕРСИТЕТ імені К. Д. Ушинського» Кафедра германської філології та методики викладання іноземних мов Т. Є. Єременко, О. О. Негрівода, Г. А. Слободянюк Writing in English. A Book of Practice Методичні рекомендації для самостійної роботи студентів молодших курсів Одеса, 2020 1 Рекомендовано Вченою радою ДЗ «Південноукраїнський національний педагогічний університет ім. К. Д. Ушинського» (протокол №4 від 26 грудня 2020 р.) Т.Є. Єременко, О.О. Негрівода, Г.А. Слободянюк Методичні рекомендації “Writing in English. A Book of Practice”. Одеса, 2020. – 92 с. Рецензенти: доктор педагогічних наук, професор О.В. Попова кандидат педагогічних наук, доцент Л.В. Першина Методичні рекомендації для самостійної роботи студентів молодших курсів факультету іноземних мов закладів вищої освіти містять практичні завдання з написання таких типів текстів як: дискурсивний нарис, відгук, біографія, оповідання, резюме та ін. Запропоновані вправи спрямовані на розвиток навичок писемного мовлення. 2 CONTENTS Preface………………………………………………………….…...………….. 4 Discursive Essay…………….………………………………………………….. 5 Opinion Essay……………………………………………..…………………….. 11 Argumentative Essay (Essay: for and against) …………………………………. 20 Review………………………………………………………………………….. 25 Curriculum Vitae (CV)………………………………………………………….. 32 Descriptive writing………………………………………………………………. 38 Narratives - Stories ……………………………………………………………... 48 Summary ………………………………………………………………………... 55 Literature ……………………………………………………………………… 63 Appendix A 64 Appendix
    [Show full text]
  • Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937
    An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937 Peter Stanfield Cinema Journal, 41, Number 2, Winter 2002, pp. 84-108 (Article) Published by University of Texas Press DOI: 10.1353/cj.2002.0004 For additional information about this article http://muse.jhu.edu/journals/cj/summary/v041/41.2stanfield.html Access Provided by Amherst College at 09/03/11 7:59PM GMT An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929–1937 by Peter Stanfield This essay considers how Hollywood presented the song St. Louis Blues in a num- ber of movies during the early to mid-1930s. It argues that the tune’s history and accumulated use in films enabled Hollywood to employ it in an increasingly com- plex manner to evoke essential questions about female sexuality, class, and race. Recent critical writing on American cinema has focused attention on the struc- tures of racial coding of gender and on the ways in which moral transgressions are routinely characterized as “black.” As Eric Lott points out in his analysis of race and film noir: “Raced metaphors in popular life are as indispensable and invisible as the colored bodies who give rise to and move in the shadows of those usages.” Lott aims to “enlarge the frame” of work conducted by Toni Morrison and Ken- neth Warren on how “racial tropes and the presence of African Americans have shaped the sense and structure of American cultural products that seem to have nothing to do with race.”1 Specifically, Lott builds on Manthia D iawara’s argument that “film is noir if it puts into play light and dark in order to exhibit a people who become ‘black’ because of their ‘shady’ moral behaviour.2 E.
    [Show full text]
  • Technical Annex A: Purposes, Values and Scope November 2015
    BBC Trust Response to the Department for Culture, Media and Sport’s Charter Review consultation Technical Annex A: Purposes, Values and Scope November 2015 Getting the best out of the BBC for licence fee payers BBC Trust Technical Annex A: Purposes, Values and Scope November 2015 BBC Trust Technical Annex A: Purposes, Values and Scope Contents Scope 1 Range of services and programmes 1 Opinions on what the BBC should do more of 6 Opinions on what the BBC should do less of 8 Universality 10 Mission 12 Purposes 20 Providing news and information to help people understand the world around them 21 Supporting education and learning 23 Reflecting and representing the whole UK population 27 Showing the most creative ideas and highest quality content 34 Growing the creative industries and promoting the UK abroad 35 Role of Technology 39 VALUES 44 November 2015 BBC Trust Technical Annex A: Purposes, Values and Scope Scope Range of services and programmes 1. In the quantitative research, as independently conducted and analysed by ICM Unlimited, respondents were asked about the range of services and programmes (see Figure 1 below). The public were in broad agreement that the BBC should provide more rather than less (56% compared to 7%1). Over a third believed that the range of services and programmes at the BBC is about right (37%). Figure 1: Quantitative research - Balance of services and programmes 2. The desire for the BBC to provide more services and content was especially strong among young people aged 16-34 (66%) and ethnic minorities (65%, compared to 55% among white people).
    [Show full text]
  • Critiques / Bulworth / Fear and Loathing in Las Vegas / Feux D’Artifices / the Last Days of Disco / Le Septième Ciel / Wild Man Blues]
    Document generated on 09/27/2021 9:20 p.m. Ciné-Bulles Le cinéma d’auteur avant tout Critiques Bulworth Fear and Loathing in Las Vegas Feux d’artifices The Last Days of Disco le Septième Ciel Wild Man Blues Paul Beaucage, Charles-Stéphane Roy and Jean Beaulieu Volume 17, Number 2, Summer 1998 URI: https://id.erudit.org/iderudit/34365ac See table of contents Publisher(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (print) 1923-3221 (digital) Explore this journal Cite this review Beaucage, P., Roy, C.-S. & Beaulieu, J. (1998). Review of [Critiques / Bulworth / Fear and Loathing in Las Vegas / Feux d’artifices / The Last Days of Disco / le Septième Ciel / Wild Man Blues]. Ciné-Bulles, 17(2), 48–56. Tous droits réservés © Association des cinémas parallèles du Québec, 1998 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Critiques BULWORTH de Jay Bulworth (Warren Beatty), un sénateur dé­ de Warren Beatty mocrate qui, las des mensonges et de la corruption politiques, décide d'avouer la vérité (si âpre soit- elle) à ses électeurs. À quoi doit-on attribuer sa sou­ par Paul Beaucage daine volte-face? Mystère.
    [Show full text]
  • Grammar for English Language Teachers
    Grammar for English Language Teachers Second edition Martin Parrott ~CAMBRIDGE ~ UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, TrumpingtonStreet, Cambridge,United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, CambridgeCB2 2RU. UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road. Port Melbourne, VIC 3207,Australia Ruiz de Alarcon 13, 28014 Madrid, Spain Dock House, The Waterfront. Cape Town 8001, South Africa http://www.cambridge.org © Cambridge UniversityPress 2000 Copyright The law allows a reader to make a single copy of part of a book for the purposes of private study. It does not allow the copying of entire books or the making of multiple copies of extracts. Written permissionfor any such copying must always be obtained from the publisher in advance. First published 2000 Eighth printing 2004 Printed in the United Kingdom at the UniversityPress , Cambridge Typesetin 10.25\ 13pt Utopia [cE] A cataloguerecord for this book is availablefrom the British Library ISBN O 521 477972 paperback ISBN O 521 472164 hardback cover design by Mark Diaper Contents Thanks v Acknowledgments v Introduction 1 PART A Words Introduction to Part A 6 1 Nouns 9 2 Articles 25 3 Quantifiers 36 4 Adjectives 51 5 Adverbs 61 6 Comparatives and superlatives 79 7 Prepositions 94 8 Verbs (introduction) 106 9 Combining words 124 PART B More about verbs and related forms Introduction to Part B 138 10 Multiword verbs and verbal expressions 140 11 Modal verbs 152 12 . Infinitive and-ingforms
    [Show full text]
  • CONSTRUCTING TIN PAN ALLEY 17 M01 GARO3788 05 SE C01.Qxd 5/26/10 4:35 PM Page 18
    M01_GARO3788_05_SE_C01.qxd 5/26/10 4:35 PM Page 15 Constructing Tin Pan 1 Alley: From Minstrelsy to Mass Culture The institution of slavery has been such a defining feature of U.S. history that it is hardly surprising to find the roots of our popular music embedded in this tortured legacy. Indeed, the first indige- nous U.S. popular music to capture the imagination of a broad public, at home and abroad, was blackface minstrelsy, a cultural form involving mostly Northern whites in blackened faces, parodying their perceptions of African American culture. Minstrelsy appeared at a time when songwriting and music publishing were dispersed throughout the country and sound record- The institution of slavery has been ing had not yet been invented. During this period, there was an such a defining feature of U.S. history that it is hardly surprising to find the important geographical pattern in the way music circulated. Concert roots of our popular music embedded music by foreign composers intended for elite U.S. audiences gener- in this tortured legacy. ally played in New York City first and then in other major cities. In contrast, domestic popular music, including minstrel music, was first tested in smaller towns, then went to larger urban areas, and entered New York only after success elsewhere. Songwriting and music publishing were similarly dispersed. New York did not become the nerve center for indigenous popular music until later in the nineteenth century, when the pre- viously scattered conglomeration of songwriters and publishers began to converge on the Broadway and 28th Street section of the city, in an area that came to be called Tin Pan Alley after the tinny output of its upright pianos.
    [Show full text]
  • General Music Responding to and Creating Blues Music—Grade 5
    General Music Creating through Responding Unit Grade 5 Responding to and Creating Blues Music A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States Teaching with Primary Sources ACKNOWLEDGMENTS PERSONNEL, LIBRARY OF CONGRESS GRANT — WRITING RESPONDING UNITS 2018–2019 PROJECT DIRECTOR • Johanna J. Siebert COMPOSITION/THEORY WRITING TEAM • Carolyn Bennett, North Stonington, CT, Team Chair • Terrence E. Bacon, North Chili, NY • Lisa Cookson, Wichita, KS GENERAL MUSIC WRITING TEAM • Wendy Barden, Minnetonka, MN, Team Chair • Steve Kennedy, New Orleans, LA • Richard Maxwell, Phoenix, AZ • Susan Osborn, Bear, DE • David Potter, Lansing, MI • Matt Warren, Webster, NY Special thanks to the Library of Congress for the generous grant on Teaching with Primary Sources (TPS), which made this resource possible. GENERAL MUSIC RESPONDING UNIT | GRADE 5 | NATIONAL ASSOCIATION for MUSIC EDUCATION 2 TABLE OF CONTENTS Overview of NAfME/Library of Congress Responding Units ........... 4 Overview of Grade 5 General Music Unit on Responding to and Creating Blues Music ............................................ 4 Prerequisite Knowledge and Experiences ........................... 5 Instructional Goals ............................................. 5 Embedded Inquiry Model: KWL ................................... 6 National Core Arts Standards in Music (2014) ....................... 7 Formative/Summative Assessments ............................... 9 Library of Congress Resource Links ..............................
    [Show full text]
  • A SONY PICTURES CLASSICS RELEASE Www
    A SONY PICTURES CLASSICS RELEASE www.itmightgetloudmovie.com Running time: 97 minutes *Official Selection: 2008 Toronto International Film Festival *Official Selection: 2009 Sundance Film Festival Publicity Distributor PMK/HBH Sony Pictures Classics Allen Eichhorn Carmelo Pirrone 622 Third Avenue Lindsay Macik 8th Floor 550 Madison Ave New York, NY 10017 New York, NY 10022 212-373-6115 Tel: 212-833-8833 [email protected] Short Synopsis Rarely can a film penetrate the glamorous surface of rock legends. It Might Get Loud tells the personal stories, in their own words, of three generations of electric guitar virtuosos – The Edge (U2), Jimmy Page (Led Zeppelin), and Jack White (The White Stripes). It reveals how each developed his unique sound and style of playing favorite instruments, guitars both found and invented. Concentrating on the artist’s musical rebellion, traveling with him to influential locations, provoking rare discussion as to how and why he writes and plays, this film lets you witness intimate moments and hear new music from each artist. The movie revolves around a day when Jimmy Page, Jack White, and The Edge first met and sat down together to share their stories, teach and play. Long Synopsis Who hasn't wanted to be a rock star, join a band or play electric guitar? Music resonates, moves and inspires us. Strummed through the fingers of The Edge, Jimmy Page and Jack White, somehow it does more. Such is the premise of It Might Get Loud, a new documentary conceived by producer Thomas Tull. It Might Get Loud isn't like any other rock'n roll documentary.
    [Show full text]
  • Does Nature Abhor a Vacuum of Patriarchy? Missing Fathers in the Films of Whit Stillman
    Michael P. Foley Does Nature Abhor a Vacuum of Patriarchy? Missing Fathers in the Films of Whit Stillman author’s preface: Prior to publication, Mr. Whit Stillman was kind enough to read this essay and offer his comments, all of which were incor- porated one way or another into the final draft. Nonetheless, the opinions expressed herein do not necessarily reflect those of Mr. Stillman. Hailed as the “Poet of the Urban Haute Bourgeoisie” and the “Jane Austen of indie film,” filmmaker and author Whit Stillman has gar- nered critical acclaim for works that are “rich, beautiful and surpris- ingly virtuous.”1 Stillman’s first film, the low-budgetMetropolitan (1990), was nominated for the Academy Award for Best Original Screenplay and also helped to launch the independent film industry as we know it today. Stillman’s cinematic comedies of manner are known for their erudite and delightful dialogue, Austenian sensibili- ties, and gently ironic humor.2 But one of the most recognizable fea- tures of Stillman’s first four movies—Metropolitan (1990), Barcelona (1994), Last Days of Disco (1998), and Damsels in Distress (2011)—is not a quality that they possess but a demographic they lack.3 Each film depicts young persons who are ill-equipped to face the challenges of logos 20:3 summer 2017 missing fathers in the films of whit stillman 19 becoming happy adults because they are bereft of significant adult guidance. This pattern appears to be especially true where fathers are concerned: while the main characters’ mothers sometimes make an appearance (albeit briefly), fathers only appear as usually wistful subjects of conversation.
    [Show full text]
  • THE Permanent Crisis of FILM Criticism
    mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem­ the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author­ N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo­ C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter­ film criticism since its origins. net amateurs and the lack of authorita­ of tive critics, many journalists and acade­ Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, co­editor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis­ tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory.
    [Show full text]
  • Executive Intelligence Review, Volume 23, Number 26, June 21
    Selected works in new English translations. The writings of Friedrich Schiller, the great 19th-century poet, playwright, historian and philosopher, have inspired patriots and world citizens for 200 years. VOLUME I VOLUME II VOLUME III Don Carlos, Infante of Spain Wilhelm Tell The Virgin of Orleans Letters on Don Carlos What Is, and To What End Do Philosophical Letters Theater Considered as a Moral We Study Universal History? On the Pathetic Institution The Legislation of Ly curgus and On the Sublime Solon On the Aesthetical Education of On Naive and Sentimental Poetry Man On Grace and Dignity Poetry and Ballads The Ghost Seer Poetry, including The Song of the $15.00 Poetry and Epigrams Bell $9.95 $15.00 '" SPECIAL OFFER: Buy the three-volume set for only $34.50. Make check or mon�y order payable to: Shipping and handling: Add $4 for the first book and $.50 for each additional book in the order. Ben Franklin Booksellers Virginia residents add 4.5% sales tax. 107 South King St. Leesburg, Va. 22075 1-800-453-4108 or 1-703-777-3661 We accept Mastercard, Visa, American Express, and Discover. Founder and Contributing Editor: Lyndon H. LaRouche, Jr. Editorial Board: Melvin Klenetsky, Antony From theAssociate Editor Papen, Gerald Rose, Dennis Small, Edward Spannaus, Nancy Spannaus, Jeffrey Steinberg, Webster Tarpley, Carol White, Christopher White Senior Editor: Nora Hamerman If any among our readers think that Lyndon LaRouche's campaign Associate Editor: Susan Welsh Managing Editors: John Sigerson, is "pretty much over," with the end of the primary season, they don't Ronald Kokinda know Mr.
    [Show full text]
  • Joseph Gallucci Prof. Howard Besser Intro to Moving Image Archiving And
    Joseph Gallucci Prof. Howard Besser Intro to Moving Image Archiving and Preservation 9 December 2008 Our Sequined Heritage: A Night at the Gallery and the Audiovisual Record of New York's Underground Dance Clubs In the popular consciousness, at least among those who lived through the era and into the following generation, the word "disco" registers in the mind as something ersatz, plastic, disposable, chintzy, and, as the implication of such labels suggests, ultimately insignificant. A certain set of signifiers are automatically associated with discotheques: John Travolta's character in Saturday Night Fever, suited all in white with gold chains adorning an exposed, hirsute chest; glamorous celebrities engaging in unspeakably decadent behavior; and of course, the omnipresent music that seemingly refuses to die, falsetto male voices (save for Barry White) and belting divas over bouncy, string-laden, and percussive pop songs that are more often than not described as "guilty pleasures" by the very people who sing along to them at karaoke bars or dance to them at weddings. It It is telling that on Wikipedia, disco belongs to the subject category "1970s fads" (its arguable spiritual descendant, new wave, is similarly listed as a "1980s fad"). Punk, on the other hand, which emerged roughly simultaneously with disco's ascendance to the pop culture stratosphere, manages to escape this vaguely derogatory classification, perhaps because it was never embraced to quite the extent that disco was and cannot technically qualify as a "fad." However much these archetypes have persisted, it should be stated that little of it was rooted in reality: Saturday Night Fever, for instance, was based on an article written by Nik Cohn for New York Magazine that, while not too far off from the truth vis-à-vis the Italian-American inner-city working-class preoccupation with disco, was mostly fabricated (Laurino 137).
    [Show full text]