This volume bridges the divide between film and media studies scholarship by exploring audience expectations of film and TV genre in the age of digital streaming, using qualitative thematic and quantitative data-driven analyses. Through four ground-breaking surveys of audience members and content creators, the authors have empirically determined what audiences expect of various genres, the extent to which these definitions match those of scholars and critics, and the overall variation and complexity of audience expectations in the age of media abundance. They also examine audience habits and preferences, drawing from both theory and original empirical analyses, with a view toward the implications for the moving image in a rapidly changing media environment. The book draws from the data to develop a number of new concepts, including genre repertoire, genre hybridity, audience interest maximization, and variety seeking, and a new stage of genre development, genre bending. It is an ideal resource for students and scholars interested in the symbiotic relationship between audiences and the moving image products they consume, as well as the way the current digital media environment has impacted our understanding of film and TV genres.

This fifth edition of Film, Form, and Culture offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). This textbook is an invaluable and exciting resource for students beginning film studies at undergraduate level. Additional resources for students and teachers can be found on the eResource, which includes case studies, discussion questions, and links to useful websites.

This is an open access book. Media industry research and EU policymaking are predominantly tailored to large (and, in the latter case, Western) European markets. This open access book addresses the specific qualities of smaller media markets, highlighting their vulnerability to global digital competition and outlining survival strategies for them. New online distribution models and new trends in the consumption of audiovisual content are limited by, and pose new challenges for, existing audiovisual business models and their legal framework in the EU. The European Commission’s Digital Single Market (DSM) strategy, which was intended e.g. to remove obstacles to the cross-border distribution of audiovisual content, has triggered a heated debate on the transformation of the existing ecosystem for European screen industries. While most current discussions focus on the United States, Western Europe, and the multinational giants, this book approaches these industry trends and policy questions from the perspective of relatively small and peripheral (in terms of their population, language, cross-border cultural flows, and financial and/or symbolic capital) media markets.

An audience's satisfaction with an entertainment product is dependent on how well their expectations are fulfilled. This study delves into the implicit contract that is formed between the purveyor of an entertainment property and their audience, as well as the consequences of frustrating audience expectations. Building on this model of the implicit contract, the creation of expectations through marketing, character and world development, and the invocation of genre discourses are examined through the lens of the television shows House M.D. and Veronica Mars. The issues surrounding the dynamic equilibrium between novelty and stability in serial entertainment and entertainment franchises brought up by these initial case studies are examined in further detail through the collectible card game Magic: the Gathering, and the complexity of the interactions between different types of expectations are demonstrated via a study of the superhero comics serials 52 and Civil War.

This book brings genre back to the forefront of the current transmedia trend. Genres are perhaps the most innately transmedial of media constructs, formed as they are from all kinds of industrial, technological and discursive phenomena. Yet, few have considered how genre works in a multiplatform context. This book does precisely that, making a uniquely transmedial contribution to the study of genre in the age of media convergence. The book interrogates how industrial, technological and participatory transformations of digital platforms and emerging technologies reshape workings of genre. The authors consider franchises such as Star Wars, streaming platforms such as Netflix, catch-up services such as ITV Hub, creative technologies such as virtual reality, and beyond. In setting the stage for the revival of genre theory in contemporary transmedia scholarship, this book pushes forward understandings of multiplatform media and the emerging form and function of genre across contemporary culture.

This book examines issues and implications of digital and social media marketing for emerging markets. These markets necessitate substantial adaptations of developed theories and approaches employed in the Western world. The book investigates problems specific to emerging markets, while identifying new theoretical constructs and practical applications of digital marketing. It addresses topics such as electronic word of mouth (eWOM), demographic differences in digital marketing, mobile marketing, search engine advertising, among others. A radical increase in both temporal and geographical reach is empowering consumers to exert influence on brands, products, and services. Information and Communication Technologies (ICTs) and digital media are having a significant impact on the way people communicate and fulfil their socio-economic, emotional and material needs. These technologies are also being harnessed by businesses for various purposes including distribution and selling of goods, retailing of consumer services, customer relationship management, and influencing consumer behaviour by employing digital marketing practices. This book considers this, as it examines the practice and research related to digital and social media marketing.