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FINEST SOUNDS GUIDEBOOK of JAPAN ROADMAP 1.1 Introduction
FINEST SOUNDS GUIDEBOOK OF JAPAN ROADMAP 1.1 Introduction to the market ......................................................................................1 1.2 Record Labels, Licensing and Distribution .............................................................2 1.3 Music Publishing .....................................................................................................4 1.4 Retail .......................................................................................................................6 1.5 Digital ......................................................................................................................7 1.6 Concert Promoters ...................................................................................................8 1.7 Management and PR ...............................................................................................9 1.8 Media, print and online ...........................................................................................9 1.9 Music Industry Organizations ..............................................................................12 1.10 Industry Networking Events ................................................................................13 1.11 Sources...................................................................................................................13 1.12 Update to the Roadmap at May 19, 2019 .............................................................13 1.1 Introduction to the market Japan is still the second biggest music market -
MAPPING DIGITAL MEDIA: JAPAN Mapping Digital Media: Japan
COUNTRY REPORT MAPPING DIGITAL MEDIA: JAPAN Mapping Digital Media: Japan A REPORT BY THE OPEN SOCIETY FOUNDATIONS WRITTEN BY Yutaka Oishi (lead reporter) Yoshihisa Takada, Shuzo Yamakoshi, Yoshiko Nakamura, Arata Kamino (reporters) EDITED BY Marius Dragomir and Mark Thompson (Open Society Media Program editors) Graham Watts (Regional Editor) EDITORIAL COMMISSION Yuen-Ying Chan, Christian S. Nissen, Dusˇan Reljic´, Russell Southwood, Michael Starks, Damian Tambini The Editorial Commission is an advisory body. Its members are not responsible for the information or assessments contained in the Mapping Digital Media texts OPEN SOCIETY MEDIA PROGRAM TEAM Meijinder Kaur, program assistant; Morris Lipson, senior legal advisor; and Gordana Jankovic, director OPEN SOCIETY INFORMATION PROGRAM TEAM Vera Franz, senior program manager; Darius Cuplinskas, director 15 March 2012 Contents Mapping Digital Media ..................................................................................................................... 4 Executive Summary ........................................................................................................................... 6 Context ............................................................................................................................................. 9 Social Indicators ................................................................................................................................ 10 Economic Indicators ........................................................................................................................ -
Standing Committee on Copyright and Related Rights
E SCCR/30/5 ORIGINAL: ENGLISH DATE: JUNE 2, 2015 Standing Committee on Copyright and Related Rights Thirtieth Session Geneva, June 29 to July 3, 2015 CURRENT MARKET AND TECHNOLOGY TRENDS IN THE BROADCASTING SECTOR prepared by IHS Technology IHS TECHNOLOGY Current Market and Technology Trends in the Broadcasting Sector May 2015 ihs.com Introduction Like so many facets of the modern world, television has been transformed by the application of digital technologies and the parallel and related development of the fast evolving Internet. While some broadcasters – especially those in developing economies - still utilise traditional analogue transmission techniques, most have transitioned to more efficient and powerful digital means of sending their programming to viewers. Use of digital technologies has enabled explosive growth in the number of channels and choices of programmes offered. It has also ceded more control to the viewer, allowing on-demand access to programming – not only from broadcasters and pay TV service providers, but also increasingly from online video services delivered over the open Internet. Indeed, as this report outlines, the definitional boundaries between broadcasting and other forms of digital video delivery are increasingly blurred. The viewer is undoubtedly a winner as a result of these developments as we move ever closer to the ultimate provision of ubiquitous choice, convenience and control. And broadcasters are usually winners too as evidenced by the impressive global TV market growth described in this report. Inevitably, that growth and technological development is not evenly distributed geographically, and we outline some of the key regional trends in the pages that follow, as well as some more focused snapshots of the market evolution within selected countries. -
Michele Delbon Silva a SÉRIE FREE!
UNIVERSIDADE FEDERAL DE SÃO CARLOS CENTRO DE EDUCAÇÃO EM CIÊNCIAS HUMANAS PROGRAMA DE PÓS-GRADUAÇÃO EM IMAGEM E SOM Michele Delbon Silva A SÉRIE FREE!: conexões entre “genre” e “gender” São Carlos 2017 MICHELE DELBON SILVA A série Free!: conexões entre “genre” e “gender” Dissertação apresentada pela aluna Michele Delbon Silva, sob o título de “A Série Free!”: conexões entre “genre” e “gender”, orientada pelo Prof. Dr. Samuel José de Holanda de Paiva e apresentada à banca examinadora como requerimento para atribuição do título de Mestre pelo PPGIS – Programa de Pós Graduação em Imagem e Som / UFSCar (Universidade Federal de São Carlos). Área de concentração: Imagem e som Linha de pesquisa: História e políticas do audiovisual ORIENTADOR: Prof. Dr. Samuel José de Holanda de Paiva São Carlos 2017 MICHELE DELBON SILVA A SÉRIE FREE!: conexões entre “genre” e “gender” Esta dissertação foi julgada adequada para a obtenção do título de Mestre em Imagem e Som e aprovada em sua forma final pelo Orientador e pela Banca Examinadora. AGRADECIMENTOS Ao Prof. Dr. Samuel José de Holanda Paiva pela orientação dedicada, pela paciência e por acreditar neste trabalho. A Gustavo Souza e Fábio Raddi Uchôa pelos conselhos valiosíssimos durante o exame de qualificação. A Letícia Lanz pelas indicações de materiais maravilhosos, pelas conversas e discussões. À professora Anna Mahill pelas ótimas indicações de livros sobre yaoi. A Hebe Marin e Ananda Ferreira Ramos, pela atenta revisão, pelos comentários meticulosos desde o projeto de pesquisa até o texto final. A André Luna pelas correções de última hora e pelo bom humor constante. Aos amigos Leo Ang, Nina Stern e Christine Ancheta que, embora distantes, me ajudaram com envio de materiais, traduções de kanjis e termos japoneses. -
Kapitel II. Funktionen Und Formen Der Japanischen Werbung
69 Kapitel II. Funktionen und Formen der japanischen Werbung 1. Die japanische Medienlandschaft Die japanischen Medien stellen als Bestandteil der Kommunikationskette Werbetreibende – Werbeindustrie – Werbemedien – Verbraucher sozusagen die Mittlerfunktion dar. Ausgehend vom Laswellschen Kommunikationsparadigma sind die Werbeträger also Kommunikationskanäle, durch die Werbebotschaften den Empfänger erreichen sollen. Natürlich orientiert sich dieses Schema an der Wirkungsweise von Massenkommunikation und ist insofern nicht einfach auf die stark zunehmenden below the line-Werbeaktivitäten übertragbar, die durch eine stetig zunehmende Vielfalt anderer, neuer und meist individu- ellerer Kommunikationsmechanismen operieren. Dennoch ist die Bedeutung der Massen- medien für die großen Werbeunternehmen unbestritten: Das Beziehungsgeflecht zwischen Medien und Werbeindustrie ist eine Grundlage ihrer Markt- und Machtposition, die Media- Kommission stellt trotz zunehmender Diversifikation des Angebots nach wie vor einen wesentlichen Bestandteil ihrer Einkünfte dar. Dieser knappe Überblick soll als Hintergrund zu einer eher spezifischen Betrachtung der Medien als Werbeträger im folgenden Abschnitt dienen sowie als Grundlage des im Rahmen der Fallstudien vorgenommenen Vergleichs der Imagewerbung von Medienunter- nehmen. Angesichts der Fülle an Daten und Zahlen zu diesem Komplex beschränken sich die Ausführungen auf das Wesentlichste, wobei insbesondere die Hauptmerkmale von Zeitungen und Fernsehen im Mittelpunkt stehen. 1.1 Die Verbreitung von Massenmedien -
Downloaded in Korea, Was Held In
i RETHINKING THE EXPEDIENCY OF THE REGIONAL FLOW OF POP CULTURE: THE CASE OF THE KOREAN WAVE IN JAPAN by SUNYOUNG KWAK B.A., SogAng University, 1999 M.A., SogAng University, 2001 A dissertAtion submitted to the Faculty of the GraduAte School of the University of ColorAdo in pArtiAl fulfillment of the requirement for the degree of Doctor of Philosophy College of MediA, CommunicAtion And Information 2017 ii This thesis entitled: Rethinking the Expediency of the Regional Flow of Pop Culture: The Case of the Korean WAve in Japan written by Sunyoung Kwak has been approved for the College of MediA, CommunicAtion And Information Dr. Shu-Ling Chen Berggreen Dr. Hun Shik Kim Date The finAl copy of this thesis hAs been eXAmined by the signatories, and we find thAt both the content And the form meet AcceptAble presentAtion stAndArds of scholArly work in the Above mentioned discipline. iii AbstrAct KwAk, Sunyoung (Ph.D., CommunicAtion, College of MediA, CommunicAtion And Information) Rethinking the Expediency of the Regional Flow of Pop Culture: The Case of the Korean WAve in Japan DissertAtion directed by AssociAte Professor Shu-Ling Chen Berggreen This dissertAtion study Aims to identify the role of nAtionAl markets in the regional flow of pop culture, focusing on how nAtionAl markets reAct to foreign pop cultures And take advAntAge of them. TAking the internAtionAl populArity of South Korean pop culture, called “Korean Wave,” or “Hallyu” in Japan As the case, this study analyzes the discourse of JApAn’s mainstreAm mediA from 2009 to 2016 in order to find out the national market's role And desire behind the regionAl And transnational flow of pop culture. -
Hunter X Hunter's
i Getting into the Schwing of Things: Hunter x Hunter’s Progressive Gender Depictions and Exploration of Non-Binary Possibilities By: Michaela Bakker A thesis submitted to Victoria University of Wellington in fulfilment of the requirement for the degree of Master of Arts in Film Studies. Victoria University of Wellington 2017 ii ABSTRACT: This thesis investigates the depiction of gender in Madhouse’s 2011 television anime adaptation of Hunter x Hunter; a commercially successful ongoing manga (comic) series with a multitude of incarnations. The thesis examines three groups of characters across three chapters, respectively: androgynous men who embody conflicting attributes of hegemonic and homosexual masculinities; masculine women who defy traditional stereotypes via their association of domesticity with violence; and gender ambiguous characters who potentially challenge the established gender binary model by demonstrating loyalty to neither category. These characters are studied in relation to both Japanese and western gender norms to highlight cultural differences, however emphasis is placed on western interpretation through the application of western theories to the text and incorporation of western fan discourse into my own textual analysis. I assess the characters with an understanding that gender is not a biological prescription but a social construction, and observe how characters are easily able to adopt masculine and feminine qualities regardless of their implied sex. I additionally aim to shed light on how Hunter x Hunter (2011) refreshingly tests the notion that mainstream shōnen (boys’) series are necessarily conservative in their alignment with normative gender ideals; on the contrary, Hunter x Hunter (2011) fearlessly challenges its viewers to question established gender norms and encourages discussion about the legitimacy of binary gender categories. -
Vegvísir Nokkrar Hugleiðingar Um Tónleikaferðalög 5
Vegvísir Nokkrar hugleiðingar um tónleikaferðalög 5 Hvernig á að skrifa rider ................................................................................................6 Hvernig á að tala við bókara .........................................................................................6 Hvernig á að plana leiðina sem þú hyggst ferðast ...........................................................7 Þegar út er komið ..........................................................................................................7 Markaðir 9 Bandaríkin 10 (United States of America) ...........................................................................................10 Introduction to the Market ...........................................................................................10 Record Labels, Licensing & Distribution .........................................................................11 Performance Rights ......................................................................................................12 Management ..............................................................................................................13 Live ............................................................................................................................13 Media, PR & Promo .....................................................................................................16 PR Agencies ................................................................................................................18 Visa and Work Permissions -
Guidebook of Jap An
GUIDEBOOK OF JAPAN CONTENT 1. Roadmap (Nordic Travelpass by Nomex) 3 1.1 Introduction to the market 4 1.2 Record Labels, Licensing and Distribution 6 1.3 Publishing 8 1.4 Retail 9 1.5 Digital 10 1.6 Promoters 11 1.7 Management and PR 13 1.8 Media, print and online 17 1.9 Music Industry Organisations 17 1.10 Industry Networking Events 17 1.11 Sources 17 2. Insiders’ stories 18 2.1 Demystifying Japan - Same but Different 20 2.2 The social media scene in Japan 25 2.3 Concert industry Overview 33 2.4. Japanese labels and publishing 37 2.5. Music and brands 41 2 ROADMAP NORDIC TRAVELPASS BY NOMEX INTRODUCTION TO THE MARKET Introduction to the market apan is the second biggest music market in the world ($2.6 Jbillion in trade value in 2015). 84% of recorded music sales are physical and 16% are digital. The market share of physical music sales in relation to all sales is the largest in the world (RIAJ Yearbook 2016). In 2015, the production value of physical and digital music sales increased 1% to ca. 2,6 billion USD, according to a RIAJ (Recording Industry Association of Japan) 2016 report. The value of vinyl production increased by 73% in 2015, although the total number of units sold remains small (ca. 660,000 units). According to the RIAJ, vinyl sales have decreased 29% so far this year compared to 2016. Arguably, one of the main reasons Japan still retains a rela- tively strong (physical) recorded music market is a result of the 2012 Copyright Act that enacted penalties including im- prisonment and fines for illegal downloading, uploading and even viewing of copyrighted material.