(2017) Media Industries and Entrepreneurship

Media Industries and Entrepreneurship RTF365 08940// SOC352E 45545 Venue: TT 2-3:30 CMA 3.120 Wenhong Chen, PhD Email: [email protected] O: 512-471-4952 M:512-917-6317 F: 512-471-4077 Office hours: Thu 11:30-1:30; 3:30-4:30 (Please sign up http://bit.ly/1xpHy1c) or by appointment CMA 5.142 TA: Jaewon Choi Email: [email protected] Office hours: Wed 2-4pm or by appointment Belo Center Lobby Course Description Media industries have been challenged by large social forces such as globalization and technological advancements from analog to digital, wired to wireless, and desktop to cloud. Web 2.0 and social media facilitate former members of the audience to actively participate in media production. While legacy media learn to adapt to a new landscape, new media experiment with and search for viable business models and legitimacy. Great challenges bring unprecedented opportunities and risks for organizational innovations, entrepreneurship, and social change. Drawing on literatures from media studies, management, sociology, and communication, this course helps students to develop a critical understanding of the media industries. We start with a survey of the media landscape. In the second part, we examine the social, political, and economic contexts in which media and culture are produced, distributed, and monetized. Special attention is paid to new media and communication technologies such as Web 2.0, social media, gaming, and mobile media and the implications of these disruptive innovations for media production and consumption. Cases in old and new media industries from different countries will be analyzed. It is designed to help students achieve the following goals upon successful course completion: • • • • • Understand the complicated interaction between media and society, Recognize various opportunities, challenges, and responses media industries have to address due to globalization and technological advancements Understand policies and practices that affect the formation and function of media organizations, Understand the trajectory and development of various legacy and new media industry sectors Evaluate entrepreneurial opportunities, challenges, and process in the media industries facilitated and constrained by institution and culture. 1 Important Statement Writing Flag This course carries the Writing Flag. Writing Flag courses are designed to give students experience with writing in an academic discipline. In this class, you can expect to write regularly during the semester, complete substantial writing projects, and receive feedback from your instructor to help you improve your writing. You will also have the opportunity to revise one or more assignments, and you may be asked to read and discuss your peers’ work. You should therefore expect a substantial portion of your grade to come from your written work. Writing Flag classes meet the Core Communications objectives of Critical Thinking, Communication, Teamwork, and Personal Responsibility, established by the Texas Higher Education Coordinating Board Services For Students With Disabilities The University of Texas at Austin provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact the Office of the Dean of Students at 471-6259, 471-4641 TTY. The University of Texas Honor Code The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the University is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community. Scholastic Dishonesty The University defines academic dishonesty as cheating, plagiarism, unauthorized collaboration, falsifying academic records, and any act designed to avoid participating honestly in the learning process. Scholastic dishonesty also includes, but is not limited to, providing false or misleading information to receive a postponement or an extension on a test, quiz, or other assignment, and submission of essentially the same written assignment for two courses without the prior permission of the instructor. By accepting this syllabus, you have agreed to these guidelines and must adhere to them. Scholastic dishonest damages both the student’s learning experience and readiness for the future demands of a work-career. Students who violate University rules on scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and/or dismissal from the University. For more information on scholastic dishonesty, please visit the Student Judicial services Web site at http://deanofstudents.utexas.edu/sjs University Writing Center The University Writing Center, located in the Learning Commons at PCL 2.330 (phone 471-6222, http://uwc.utexas.edu/) offers free, individualized help with writing for any UT undergraduate, by appointment or on a drop-in basis. The UWC consultants are trained to work with you on your writing in ways that preserve the integrity of your work and help you become a stronger, more independent writer. Religious Holidays Religious holy days sometimes conflict with class and examination schedules. If you miss a work assignment or other project due to the observance of a religious holy day you will be given an opportunity to complete the work missed within a reasonable time after the absence. It is the policy of the University of Texas at Austin that you must notify each of your instructors at least fourteen days prior to the classes scheduled on dates you will be absent to observe a religious holy day. 2 University Electronic Mail Notification Policy All students should become familiar with the University’s official e-mail student notification policy. It is the student’s responsibility to keep the University informed as to changes in his or her e-mail address. Students are expected to check e-mail on a frequent and regular basis in order to stay current with University-related communications, recognizing that certain communications may be time-critical. It is recommended that e-mail be checked daily, but at a minimum, twice per week. The complete text of this policy and instructions for updating your e-mail address are available at http://www.utexas.edu/its/policies/emailnotify.html. (Optional: In this course e-mail will be used as a means of communication with students. You will be responsible for checking your e-mail regularly for class work and announcements.) Use of Canvas This course uses Canvas, a Web-based course management system in which a password-protected site is created for each course. Copyright and Fair Use You may find the need to use copyrighted material this semester: music, photographs, movie clips, or any other expression. For many of your uses, you need to find the copyright holder and negotiate a license. You own the copyright to the work you produce in this class. As a copyright holder yourself, you understand the importance of copyright ownership. It is your responsibility to secure music and archival footage licenses as well as artwork, location and personal releases. You will find release templates on the RTF website. For some uses, however, neither you nor anyone else needs to license copyrighted material. This is because copyright law exists to encourage and support creativity. Copyright law recognizes that creativity doesn’t arise in a vacuum. As creators, we all stand on the shoulders of giants. New works of art (such as films, books, poems, paintings) all make use of what has gone before. Thus, copyright law not only protects authors with a copyright that lets them decide who can use their works, but also offers exemptions from the author’s control. For filmmakers, the most important exemption is the doctrine of fair use. You can rely on fair use, where appropriate, in the film and media projects you undertake for this course. If you are making a documentary film, consult the influential Documentary Filmmakers Statement of Best Practices in Fair Use (http://www.centerforsocialmedia.org/files/pdf/fair_use_final.pdf), which was created by a group of national filmmaker organizations, has been endorsed by the University Film and Video Association, and is now relied on by film festivals, insurers, cablecasters, distributors and public broadcasters. Fair use also applies in the fiction film environment, but not necessarily to the same extent or in the same way. As always, the central question is whether the new use is "transformative" -- i.e., whether it adds significant value by modifying or recontextualizing the original. For more understanding, including information on when you can use works for free (http://www.centerforsocialmedia.org/files/pdf/free_use.pdf) without even using fair use, why you (mostly) don’t need to worry about trademarks (http://www.centerforsocialmedia.org/files/pdf/free_use.pdf), what is in the public domain (http://www.centerforsocialmedia.org/rock/backgrounddocs/copyrightterm.pdf), how fair use lawsuits (http://www.centerforsocialmedia.org/videos/sets/fair_use_case_studies) have been settled, and on how fair use has been employed successfully (http://www.centerforsocialmedia.org/videos/sets/fair_use_case_studies) in documentary film, visit centerforsocialmedia.org/fairuse. 3 Grading Policy: Grades are earned based on performance. Grades would not be changed on the basis of need or effort. The final grade uses a plus/minus system according to the following scale: 93-100 90-92 87-89 83-86 80-82 77-79 73-76 70-72 67-69 63-66 60-62 59 or lower A AB+ B BC+ C CD+ D DF The final grade will be based on the following distribution (tentative): Deadline Class Participation (15) In-class Presentation (10) Attendance and Participation (5) Exam (25) Staged Final Project (60) Literature Search/Bibliography (5) Project Proposal (15) Project Presentation (15) Final Paper (25) ongoing ongoing 3/7 2/16 3/30 5/2 & 5/4 5/4 Students are expected to take an active role. To fully understand and participate in discussions, it is necessary to complete the readings on time. Teamwork for the class presentation and the final project are encouraged. The maximum size of a team is limited to 3, to assure positive group dynamics. If you decide to work as a team, you will be graded as a team for the class presentation and the final project. All other assignments are individual work and graded accordingly. 4 Class Participation In-class Presentation • • • Each student/group will lead one in-class presentation. Each student/team will sign up a weekly topic and get the instructor’s approval on a first-come, first-served basis. Deadline of sign up is Friday the 2nd week of the semester. The student/team will present on at least one of the weekly readings. o A formal presentation with slides is required. o Please post your presentation on Canvas 24 hours before the class starts. • • o Each presentation will have max. 10 minutes, with Q&A included. The student/team will identify at least one additional source relevant to the topic of the weekly topic, evaluate the source (using tool distributed by the instructor), and integrate the source into the presentation. The student/team will use at least one media (broadly defined) organization or entrepreneur as a case in the presentation. Attendance and Participation in class discussion Attendance: Missing class more than THREE times without proper justification is considered as dropout. In-class discussion: Each student is expected to actively participate in the class discussion. You are welcome to bring in an article, image, chart/graph, screenshot, short video (less than three minutes), or any other relevant objects. In Class Exam • • Students are required to answer 2 out of 4 essay questions based on the readings, lectures, and in-class discussions in the first half of the semester. A list of preparation questions will be distributed two weeks before the exam. The Staged Final Project Literature Search/Bibliography o Student/team should identify and evaluate 5 sources relevant to a research topic, using the tool distributed by the instructor. Project Proposal (5-10 pages) o The proposal should lay out the research topic and its relevance/significance. Students will receive reviews from the instructor to further develop and improve their work. o See specific requirement in the grading rubric. Final Project Presentation 5 o As part of pre-professional training, all students/teams are required to present the final project to the class. Each student/team will give a 5-10 minute presentation on the term project, including Q&A. Please post your presentation on canvas by 6pm the day before your final presentation in the class. o See specific requirement in the grading rubric. o If there are enough students interested, poster session can be an option o Student/team will peer-review other students/teams’ presentation and vote one best presentation award of the class, using tool distributed by the instructor. Paper (15-30 pages) • The paper should address one topic relevant to media industries and entrepreneurship. Students can choose from the following options: o a substantial literature review, o a research plan that draws on qualitative or quantitative research methods, o a research paper that analyzes qualitative or quantitative data, o a case study of a media organization or entrepreneur, o a business plan, or o a short video (accompanied with a 5-10 pages essay) o an applied project that put the theories/methods discussed in the class in practice Paper should be typed, double-spaced, and include a list of references prepared according to the APA6th or other major citation style. All sources used must be cited. • Please respect the page limit. • See specific requirement in the grading rubric. Penalties for Late Assignment • Hard and digital copies of the assignment are due in class unless indicated otherwise. There is a penalty for unexcused later assignment. Each day for the first 5 calendar days of lateness means a reduction of 5% of the grade. Assignment handed in the same day, after class, will be considered one day late. Papers later than 5 calendar days will not be graded. 6 Toolkits: Literature Search Research Tools http://www.lib.utexas.edu/resources/ Literature Review Tutorial: http://www.library.american.edu/Help/tutorials/lit_review/index.html Writing and Revising Reese, S. Research Paper Organization Guide. http://www.academia.edu/1746961/Research_paper_organization_guide Wellman, B. How To Write -- and Edit -- a Paper. http://www.chass.utoronto.ca/~wellman/publications/index.html Presentations Presentation Tips, Garr Reynolds: http://www.garrreynolds.com/Presentation/index.html Citation Formats APA Style, APA Online: http://www.apastyle.org/ Required book • David Hesmondhalgh. 2012. The Cultural Industries. 3rd edition. Sage. $35.86 Recommended books • • Jennifer Holt and Alisa Perren. (Eds) 2009. Media Industries: History, Theory and Methods. WilleyBlackwell. $31.46. PCL P 90 M3676 Friedrichsen, M., & Mühl-Benninghaus, W. (2013). Handbook of Social Media Management: Value Chain and Business Models in Changing Media Markets: Berlin, Heidelberg: Springer Berlin Heidelberg. PCL online Topics and Scheduled Reading Assignments *** Recommended Optional Reading 7 Units Unit 1 4 weeks W1 1/17 1/19 W2 1/24 1/26 W3 1/31 2/2 W4 2/7 2/9 W5 2/14 2/16 Learning Objectives Media Landscape: Globalization, Tech, Policy • Understand interaction between media and society • Recognize media industries opportunities and challenges due to globalization and technology • Understand policies and practices that affect the formation and function of media organizations Introduction: the Changing Landscape • Hesmondhalgh: Introduction Introduction: Media Globalization • Hesmondhalgh: Ch8 • H&P: Curtin, “Thinking Globally: From Media Imperialism to Media Capital” ***Flew, Terry, and Stephen McElhinney. 2006. "Globalization and the Structure of New Media Industries." in The Handbook of New Media: Updated Student Edition, edited by Leah A Lievrouw and Sonia Livingstone: Sage Publications. Media Old and New // Tool Time 1: Reading and Presenting • Hesmondhalgh: Ch9 • O'Reilly, T. (2005). What Is Web 2.0: Design Patterns and Business Models for the Next Generation of Software Policies and Ownership // Tool Time 2: Literature Search • Hesmondhalgh: Ch4 • Marsden, Christopher T. 2010. Net Neutrality: Towards a Co-Regulatory Solution. Intro ***Goldsmith, Jack and Wu, Tim. (2006). Who Controls the Internet? Oxford. Ch1 and 5 Policies and Ownership II • Hesmondhalgh: Ch6 • Potter, W. James (2008). Media Literacy. Sage. Ch16: Who owns and controls the mass media. ***Arsenault, Amelia and Manuel Castells. 2008. “The Structure and Dynamics of Global Multi-Media Business Networks”. International Journal of Communication 2: 707-748. ***D. Croteau and W. Hoynes, (2005). The Business of Media: Corporate Media and the Public Interest, 2nd Edition, Sage. Ch 1: Media, Markets, and the Public Sphere Major Assignments • • • • • • • • Canvas self-intro In-class presentation o Sign up o Review rubric How to read How to present Choose topic Know the source Information/media literacy Reference list 8 Unit 2 3 weeks W6 2/21 2/23 W7 2/28 3/1 W8 3/7 3/9 Media Management and Entrepreneurship • Understand and evaluate entrepreneurial opportunities, challenges, and process in media industries facilitated and constrained by institution and culture Media Management and Entrepreneurship I: Entrepreneurship • • Hesmondhalgh: Ch7 • Compaine, B., & Hoag, A. (2012). Factors Supporting and Hindering New Entry in Media Markets: A Study of Media Entrepreneurs. JMM: The International Journal On Media Management, 14(1), 27-49. doi:10.1080/14241277.2011.627520 • Khajeheian, D. (2013). New Venture Creation in Social Media Platform; Towards a Framework for Media Entrepreneurship. Handbook of Social Media Management (pp. 125-142): Springer. ***Hull, C.E., Hung, Y-T.C., Hair, N., Perotti, V. and DeMartino, R. (2007) ‘Taking advantage of digital opportunities: a typology of digital entrepreneurship’, Int. J. Networking and Virtual Organisations, Vol. 4, No. 3, pp.290–303. ***Boyle, R., & Magor, M. (2008). A nation of entrepreneurs? Television, social change and the rise of the entrepreneur. International Journal of Media & Cultural Politics, 4(2), 125-144. Bibliography Media: Shark tank http://abc.go.com/shows/shark-tank Media Management and Entrepreneurship II: The Ecosystem • Florida, Richard. (2002). “The Economic Geography of Talent”. Annals of the Association of American Geographers. 92 (4). 743-755. • Bell-Masterson, J., & Stangler, D. (2015). Measuring an entrepreneurial ecosystem. Available at SSRN 2580336. *** Gedajlovic, E., Honig, B., Moore, C. B., Payne, G. T., & Wright, M. (2013). Social capital and entrepreneurship: A schema and research agenda. Entrepreneurship Theory and Practice, 37(3), 455-478. In-class Exam Chinese Media Industry + Exam Review Firm/Entrepreneur: Wanda // Wang Jianlin; Wang Sicong 9 Unit 3 W9 3/21 3/23 Legacy Media • Understand the trajectory and development of various legacy media industry sectors • Understand key terms used in legacy media industry • Understand business models, process and practices in legacy media industry Film // Tool Time 3: Literature Review • Mezias, S. (2001). The community dynamics of entrepreneurship. The birth of the American film industry, 1895–1929. Journal of Business Venturing, 16(3), 209-233. doi: 10.1016/S08839026(99)00057-9. **Cattani, Gino, and Simone Ferriani. 2008. "A Core/Periphery Perspective on Individual Creative Performance: Social Networks and Cinematic Achievements in the Hollywood Film Industry." Organization Science 19:824-844. Firm/Entrepreneur: TWC/Lionsgate W 10 3/28 3/30 TV • • Straubhaar, Joseph. (2007). World Television: From Global to Local. Sage. Ch 1 Perretti, Fabrizio, Giacomo Negro, and Alessandro Lomi. 2008. "E Pluribus Unum: Framing, Matching, and Form Emergence in U.S. Television Broadcasting, 1940-1960." Organization Science 19:533-547. ***Pan, Zhongdang (2010). Enacting the Family-Nation on a Global Stage: An Analysis of CCTV’s Spring Festival Gala in M. Curtin and H. Shah (2010). Reorienting Global Communication: Indian and Chinese Media Beyond Borders, University of Illinois Press. Ch 12. • Project Proposal Firm/Entrepreneur: ESPN / Rasmussen 10 Unit 4 W 11 4/4 4/6 W 12 4/11 4/13 Digital Media • Understand the trajectory and development of various new media industry sectors • Understand key terms used in new media industry • Understand business models, process and practices in new media industry • Understand how digital media technologies change entrepreneurship New Media and Social Media // Tool Time 4: Writing • Anderson, C. (2004). The Long Tail. Wired, 12(10), http://www.wired.com/wired/archive/12.10/tail.html • Albarran, Alan, and Moellinger Terry. 2013. Traditional Media Companies in the U.S. and Social Media: What’s the Strategy? Handbook of Social Media Management (Chapter 2, pp. 9-25): Springer. • Zuboff, S. (2015). Big other: surveillance capitalism and the prospects of an information civilization. J Inf technol, 30(1), 75-89. doi:10.1057/jit.2015.5 ***boyd, D. M., & Ellison, N. B. (2007). Social network sites: Definition, history, and scholarship. Journal of Computer-Mediated Communication, 13(1). ***Turow, Joseph. 2005. "Audience Construction and Culture Production: Marketing Surveillance in the Digital Age." The ANNALS of the American Academy of Political and Social Science 597:103-121. ***Acquisti, A. (2014). The Economics and Behavioral Economics of Privacy. In J. Lane, V. Stodden, S. Bender & H. Nissenbaum (Eds.), Privacy, Big Data, and the Public Good: Frameworks for Engagement (pp. 76-95). New York, NY: Cambridge University Press. *** Miel, P. & Faris, R. (2008). Media Re:Public: News and information as digital media come of age. Berkman Center for Internet and Society at Harvard University Firm/Entrepreneur: Zuckerberg Media: Film Social Network // TV Silicon Valley Mobile and Apps • Chen, W., & Ling, R. (2014). Mobile Media and Communication. In P. J. Schulz & P. Cobley (Eds.), The Handbook of Communication Science (Vol. 5 Communication and Technology, edited by L. Cantoni & J. Danowski): Sage Publications. • Auletta, Ken. 2010. Publish or Perish: Can the iPad topple the Kindle, and save the book business? ***Ito, Mizuko. 2005. Introduction: Personal, Portable, Pedestrian. In Personal, Portable, Pedestrian: Mobile Phones in Japanese Life. Edited by Mizuko Ito, Daisuke Okabe, and Misa Matsuda. Cambridge: MIT Press ***Chen, W. (2014). A Moveable Feast: Do Mobile Media Technologies Mobilize or Normalize Cultural Participation? Human Communication Research, n/a-n/a. doi: 10.1111/hcre.12041 http://onlinelibrary.wiley.com/doi/10.1111/hcre.12041/pdf Firm/Entrepreneurs: Apple/Snapchat 11 W13 4/18 4/20 W 14 4/25 4/27 W 15 5/2 5/7 Media: Films Steve Jobs / Jobs Gaming // Tool Time 5: Revision and Presentation • Dyer-Witheford, Nick, and Greig de Peuter. 2009. "Empire@Play: Virtual Games and Global Capitalism." ctheory: www.ctheory.net/articles.aspx?id=608. • Jin, D. Y. (2010). Political Economy of the Korean Online Game Industry. In Korea's online gaming empire. The MIT Press. 35-56 -- suggestion for Korean part • Chung, P., & Fung, A. (2012). Internet Development and the Commercialization of Online Gaming in China. In Nina B. Hunteman & Ben. Aslinger. (Eds). Gaming globally: Production, play, and place (pp.233250). Palgrave Macmillan, 2012. *** Dal Yong Jin, & Chee, F. (2008). Age of New Media Empires: A Critical Interpretation of the Korean Online Game Industry. Games and Culture, 3(1), 38-58. doi: 10.1177/1555412007309528 ***Williams, Dmitri. 2002. "Structure and Competition in the U.S. Home Video Game Industry." The International Journal on Media Management 4:41-54. • Revision Firm/Entrepreneur: Angry Bird // PokemonGo Media Management and Entrepreneurship III: Process and Promise • Mollick, Ethan R. The Dynamics of Crowdfunding: An Exploratory Study (June 26, 2013). Journal of Business Venturing, Volume 29, Issue 1, January 2014, Pages 1–16. • Deresiewicz, William. "The Death of the Artist—and the Birth of the Creative Entrepreneur." The Atlantic. Atlantic Media Company, 28 Dec. 2014. Web. 28 July 2015. <http://www.theatlantic.com/magazine/archive/2015/01/the-death-of-the-artist-and-the-birth-of-thecreative-entrepreneur/383497/>. ***Hart, Jim, and Gary D. Beckman. "Arts Entrepreneurship: You Are Closer than You Think." http://www.tcgcircle.org/2013/08/arts-entrepreneurship-you-are-closer-than-you-think/. Final Project Presentations 12 Note 13 14 

Media Industries and Entrepreneurship Undergraduate RTF365 AAS320 SOC352E Wenhong Chen, PhD Email: [email protected] O: 512-471-4952 M:512-917-6317 F: 512-471-4077 Office hours: Mon 2-5 pm or by appointment, CMA 5.142 Venue: MWF 1:00 p.m. - 2:00 p.m. CMA 3.116 TA: Dr. Peter Kunze, [email protected], 856 308 8940, Office hour: Thursday, 2-3 PM, CMA 6.156 Course Description Media industries have been challenged by large social forces such as globalization and technological advancements from analog to digital, wired to wireless, and desktop to cloud. Web 2.0 and social media facilitate former members of the audience to actively participate in media production. While legacy media learn to adapt to a new landscape, new media experiment with and search for viable business models and legitimacy. Great challenges bring unprecedented opportunities and risks for organizational innovations, entrepreneurship, and social change. Drawing on literatures from media studies, management, sociology, and communication, this course helps students to develop a critical understanding of the media industries. We start with a survey of the media landscape. In the second part, we examine the social, political, and economic contexts in which media and culture are produced, distributed, and monetized. Special attention is paid to new media and communication technologies such as Web 2.0, social media, gaming, and mobile phone and apps and the implications of these disruptive innovations for media production and consumption. Cases in old and new media industries from different countries will be analyzed. 1 Grading Policy: Grades are earned based on performance. Grades would not be changed on the basis of need or effort. The final grade uses a plus/minus system according to the following scale: 93-100 90-92 87-89 83-86 80-82 77-79 73-76 70-72 67-69 63-66 60-62 59 or lower A AB+ B BC+ C CD+ D DF The final grade will be based on the following distribution (tentative): Deadline Class Participation (20) In-class Presentation (10) Attendance and Participation (10) Exam (25) Final Project (55) Project Proposal (10) Project Presentation (15) Final Paper (30) ongoing ongoing Oct 27 Oct 20 Week of Dec 1 Dec 10* Students are expected to take an active role. To fully understand and participate in discussions, it is necessary to complete the readings on time. Teamwork for the class presentation and the final project are encouraged. The maximum size of a team is limited to 3 students to assure positive group dynamics. If you decide to work as a team, you will be graded as a team for the class presentation and the final project. All other assignments are individual work and graded accordingly. 2 Class Participation In-class Presentation (10%) o Each student/team must “claim” a topic and get the instructor’s approval on a first-come, first-served basis. After consultation with the instructor, each student/group will lead one class discussion. Please note that the weeks 14/15 for the final project presentation. o The student/team is expected to present on the weekly reading. However, the presentation can also include any material relevant to the topic of the weekly reading. o A formal presentation with slides is required. Please post your presentation on Canvas 24 hours before the class starts. (For instance, if you are presenting Tuesday afternoon 3 pm, please post your presentation by Monday 3 pm). o Each presentation will be given 10 minutes. Attendance and Participation in class discussion (10%)  Comment/Response (3%). Throughout the semester, a total of 3 topics for comments or input would be distributed in class and/or via email. Each student is required to post one double-spaced page comment/response on Canvas. Please post on time so that the instructor and students would have enough time to read it. Each comment/response will be given 1 point. Late posting receives no points.  In-class discussion (7%). Each student is expected to actively participate in the class discussion. You are welcome to bring in an article, image, chart/graph, screen capture, short video (less than three minutes), or any other relevant object.  Attendance: Missing class more than THREE times without proper justification is considered as dropout. Exam  Students are required to answer 2 out 4 essay questions based on the readings, lectures, and in-class discussions in the first two-thirds of the semester. The Final Project Project Proposal (5 pages) o The proposal should lay out the research topic and its relevance/significance. Students will receive reviews from the instructor to further develop and improve their work. Final Project Presentation o As part of pre-professional training, all students/teams are required to present the final project to the class. Each student/team will give a 5-10 minute presentation on the term project, including Q&A. Please post your presentation on blackboard by 3 pm the day before your presentation in the class. 3 Paper (15-30 pages) The paper should address one topic relevant to media industries and entrepreneurship. Students can chose from the following options: o a substantial literature review, o a research plan that draws on qualitative or quantitative research methods, o a research paper that analyzes qualitative or quantitative data, o a case study of a media firm or start-up, or o an applied project that put the theories/methods discussed in the class in practice o Paper should be typed, double-spaced, and include a list of references prepared according to the APA format. All sources used must be cited. o Please respect the page limit. Penalties for Late Assignment  Assignment is due in class unless indicated otherwise. There is a penalty for unexcused later assignment. Each day for the first 5 calendar days of lateness means a reduction of 5% of the grade. Assignment handed in the same day, after class, will be considered one day late. Papers later than 5 calendar days will not be graded. Toolkits: Literature Search Research Tools http://www.lib.utexas.edu/resources/ Literature Review Tutorial: http://www.library.american.edu/Help/tutorials/lit_review/index.html Writing and Revising Reese, S. Research Paper Organization Guide. http://www.academia.edu/1746961/Research_paper_organization_guide Wellman, B. How To Write -- and Edit -- a Paper. http://www.chass.utoronto.ca/~wellman/publications/index.html Presentations Presentation Tips, Garr Reynolds: http://www.garrreynolds.com/Presentation/index.html Citation Formats APA Style, APA Online: http://www.apastyle.org/ 4 Important Statement Services For Students With Disabilities The University of Texas at Austin provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact the Office of the Dean of Students at 471-6259, 471-4641 TTY. The University of Texas Honor Code The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the University is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community. Scholastic Dishonesty The University defines academic dishonesty as cheating, plagiarism, unauthorized collaboration, falsifying academic records, and any act designed to avoid participating honestly in the learning process. Scholastic dishonesty also includes, but is not limited to, providing false or misleading information to receive a postponement or an extension on a test, quiz, or other assignment, and submission of essentially the same written assignment for two courses without the prior permission of the instructor. By accepting this syllabus, you have agreed to these guidelines and must adhere to them. Scholastic dishonest damages both the student’s learning experience and readiness for the future demands of a work-career. Students who violate University rules on scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and/or dismissal from the University. For more information on scholastic dishonesty, please visit the Student Judicial services Web site at http://deanofstudents.utexas.edu/sjs Undergraduate Writing Center The Undergraduate Writing Center, located in the FAC 211, phone 471-6222, http://www.utexas.edu/cola/centers/uwc/ offers individualized assistance to students who want to improve their writing skills. There is no charge, and students may come in on a drop-in or appointment basis. Religious Holidays Religious holy days sometimes conflict with class and examination schedules. If you miss a work assignment or other project due to the observance of a religious holy day you will be given an opportunity to complete the work missed within a reasonable time after the absence. It is the policy of the University of Texas at Austin that you must notify each of your instructors at least fourteen days prior to the classes scheduled on dates you will be absent to observe a religious holy day. University Electronic Mail Notification Policy All students should become familiar with the University’s official e-mail student notification policy. It is the student’s responsibility to keep the University informed as to changes in his or her e-mail address. Students are expected to check e-mail on a frequent and regular basis in order to stay current with University-related communications, recognizing that certain communications may be time-critical. It is recommended that e-mail be checked daily, but at a minimum, twice per week. The complete text of this policy and instructions for updating your e-mail address are available at http://www.utexas.edu/its/policies/emailnotify.html. (Optional: In this course e-mail will 5 be used as a means of communication with students. You will be responsible for checking your e-mail regularly for class work and announcements.) Use of Blackboard This course uses Blackboard, a Web-based course management system in which a passwordprotected site is created for each course. Copyright and Fair Use You may find the need to use copyrighted material this semester: music, photographs, movie clips, or any other expression. For many of your uses, you need to find the copyright holder and negotiate a license. You own the copyright to the work you produce in this class. As a copyright holder yourself, you understand the importance of copyright ownership. It is your responsibility to secure music and archival footage licenses as well as artwork, location and personal releases. You will find release templates on the RTF website. For some uses, however, neither you nor anyone else needs to license copyrighted material. This is because copyright law exists to encourage and support creativity. Copyright law recognizes that creativity doesn’t arise in a vacuum. As creators, we all stand on the shoulders of giants. New works of art (such as films, books, poems, paintings) all make use of what has gone before. Thus, copyright law not only protects authors with a copyright that lets them decide who can use their works, but also offers exemptions from the author’s control. For filmmakers, the most important exemption is the doctrine of fair use. You can rely on fair use, where appropriate, in the film and media projects you undertake for this course. If you are making a documentary film, consult the influential Documentary Filmmakers Statement of Best Practices in Fair Use (http://www.centerforsocialmedia.org/files/pdf/fair_use_final.pdf), which was created by a group of national filmmaker organizations, has been endorsed by the University Film and Video Association, and is now relied on by film festivals, insurers, cablecasters, distributors and public broadcasters. Fair use also applies in the fiction film environment, but not necessarily to the same extent or in the same way. As always, the central question is whether the new use is "transformative" -- i.e., whether it adds significant value by modifying or recontextualizing the original. For more understanding, including information on when you can use works for free (http://www.centerforsocialmedia.org/files/pdf/free_use.pdf) without even using fair use, why you (mostly) don’t need to worry about trademarks (http://www.centerforsocialmedia.org/files/pdf/free_use.pdf), what is in the public domain (http://www.centerforsocialmedia.org/rock/backgrounddocs/copyrightterm.pdf), how fair use lawsuits (http://www.centerforsocialmedia.org/videos/sets/fair_use_case_studies) have been settled, and on how fair use has been employed successfully (http://www.centerforsocialmedia.org/videos/sets/fair_use_case_studies) in documentary film, visit centerforsocialmedia.org/fairuse 6 Required book  David Hesmondhalgh. 2012. The Cultural Industries. 3rd edition. Sage. $35.86  Jennifer Holt and Alisa Perren. (Eds) 2009. Media Industries: History, Theory and Methods. Willey-Blackwell. $31.46. PCL P 90 M3676 Recommended books  Friedrichsen, M., & Mühl-Benninghaus, W. (2013). Handbook of Social Media Management: Value Chain and Business Models in Changing Media Markets: Berlin, Heidelberg: Springer Berlin Heidelberg. PCL online Topics and Scheduled Reading Assignments *** Recommended Optional Reading W1 8/27 8/29 Introduction: the Changing Landscape   Hesmondhalgh: Introduction and Ch8*** Flew, Terry, and Stephen McElhinney. 2006. "Globalization and the Structure of New Media Industries." in The Handbook of New Media: Updated Student Edition, edited by Leah A Lievrouw and Sonia Livingstone: Sage Publications. *** H&P: Curtin, “Thinking Globally: From Media Imperialism to Media Capital” ***Auletta, Ken. (2009). Googled. Penguin. Ch16: Where is the wave taking old media? W2 9/3 9/5 Media Old and New   Hesmondhalgh: Ch9 O'Reilly, T. (2005). What Is Web 2.0: Design Patterns and Business Models for the Next Generation of Software ***H&P: Marshall, “New Media as Transformed Media Industry” ***Henry Jenkins (2006). "Eight Traits of the New Media Landscape" ***Henry Jenkins (2001). “Convergence? I Diverge”, Technology Review. June 2001. p 93. W3 Policies and Ownership I 9/8 Hesmondhalgh: Ch4 9/10 9/12   Marsden, Christopher T. 2010. Net Neutrality: Towards a Co-Regulatory Solution. Intro ***Keane, Michael A (2003). Creativity and complexity in post-WTO China. Continuum: Journal of Media & Cultural Studies 17(3):pp. 291-301. ***Goldsmith, Jack and Wu, Tim. (2006). Who Controls the Internet? Oxford. Ch1 7 and 5 9/12 Flow http://flowtv.org/flowconference2014/ -> 1 page response due 9/17 W4 9/15 9/17 9/19 Policies and Ownership II   Potter, W. James (2008). Media Literacy. Sage. Ch16: Who owns and controls the mass media. Hesmondhalgh: Ch6 ***Arsenault, Amelia and Manuel Castells. 2008. “The Structure and Dynamics of Global Multi-Media Business Networks”. International Journal of Communication 2: 707-748. ***D. Croteau and W. Hoynes, (2005). The Business of Media: Corporate Media and the Public Interest, 2nd Edition, Sage. Ch 1: Media, Markets, and the Public Sphere W5 9/22 9/24 Film   9/26 H&P: Schatz, “Film Industry Studies and Hollywood History” Mezias, S. (2001). The community dynamics of entrepreneurship. The birth of the American film industry, 1895–1929. Journal of Business Venturing, 16(3), 209233. doi: 10.1016/S0883-9026(99)00057-9. ***Cattani, Gino, and Simone Ferriani. 2008. "A Core/Periphery Perspective on Individual Creative Performance: Social Networks and Cinematic Achievements in the Hollywood Film Industry." Organization Science 19:824-844. 9/26 Guest lecture: Swapnil Rai, Bollywood ***Vijay Mishra 2008, Bollywood Cinema: A Critical Genealogy W6 9/29 TV  10/1 10/3  Perretti, Fabrizio, Giacomo Negro, and Alessandro Lomi. 2008. "E Pluribus Unum: Framing, Matching, and Form Emergence in U.S. Television Broadcasting, 19401960." Organization Science 19:533-547. Straubhaar, Joseph. (2007). World Television: From Global to Local. Sage. Ch 1 *** H&P: Johnson, “Historicizing TV Networking: Broadcasting, Cable and the Case of ESPN”; ***Pan, Zhongdang (2010). Enacting the Family-Nation on a Global Stage: An Analysis of CCTV’s Spring Festival Gala in M. Curtin and H. Shah (2010). Reorienting Global Communication: Indian and Chinese Media Beyond Borders, University of Illinois Press. Ch 12. W7 10/6 10/8 New Media and Social Media   Anderson, C. (2004). The Long Tail. Wired, 12(10), http://www.wired.com/wired/archive/12.10/tail.html Albarran, Alan, and Moellinger Terry. 2013. Traditional Media Companies in the 8 10/10  U.S. and Social Media: What’s the Strategy? Handbook of Social Media Management (Chapter 2, pp. 9-25): Springer. Miel, P. & Faris, R. (2008). Media Re:Public: News and information as digital media come of age. Berkman Center for Internet and Society at Harvard University ***Li, Charlene, and Josh Bernoff. 2008. Groundswell: Winning in a World Transformed by Social Technologies: Harvard Business School Press. Excerpt and chapter 4 (blackboard) W8 10/13 10/15 10/17 Gaming    Dyer-Witheford, Nick, and Greig de Peuter. 2009. "Empire@Play: Virtual Games and Global Capitalism." ctheory: www.ctheory.net/articles.aspx?id=608. Dal Yong Jin, & Chee, F. (2008). Age of New Media Empires: A Critical Interpretation of the Korean Online Game Industry. Games and Culture, 3(1), 3858. doi: 10.1177/1555412007309528 Chung, P., & Yuan, J. (2011). Dynamics in the online game industry of China: A political economic analysis os its competitiviness. Revista Eptic Online, 11(2). ***Williams, Dmitri. 2002. "Structure and Competition in the U.S. Home Video Game Industry." The International Journal on Media Management 4:41-54. ***Castronova, Edward. 2003. "Virtual Economies." Game Studies 3: http://www.gamestudies.org/0302/castronova/. ***Pausch, Randy (2004). An Academic’s Field Guide to Electronic Arts. Observations based on a residency in the spring semester of 2004. W9 10/20 10/22 10/24 Mobile and Apps    Katz, J. 2008 Handbook of Mobile Communication Studies. MIT Press. Ch1. Auletta, Ken. 2010. Publish or Perish: Can the iPad topple the Kindle, and save the book business? Chen, W. (2014). A Moveable Feast: Do Mobile Media Technologies Mobilize or Normalize Cultural Participation? Human Communication Research, n/a-n/a. doi: 10.1111/hcre.12041 http://onlinelibrary.wiley.com/doi/10.1111/hcre.12041/pdf ***Campbell, S.W. (2007). A cross-cultural comparison of perceptions and uses of mobile telephony. New Media and Society, 9(2), 343-363. ***Ito, Mizuko. 2005. Introduction: Personal, Portable, Pedestrian. In Personal, Portable, Pedestrian: Mobile Phones in Japanese Life. Edited by Mizuko Ito, Daisuke Okabe, and Misa Matsuda. Cambridge: MIT Press 10/24 Global Fusion -> 1 page response due 10/29 W 10 10/27 In-class Exam (10/27)  Wallis, C. (2011). New Media Practices in China: Youth Patterns, Processes, and 9 Politics. [Article]. International Journal of Communication, 5, 406-436. 10/29 10/31 Exam Review (10/31) W 11 Media Management and Entrepreneurship I 11/3 11/5   11/7  Hesmondhalgh: Ch7 Boyle, R., & Magor, M. (2008). A nation of entrepreneurs? Television, social change and the rise of the entrepreneur. International Journal of Media & Cultural Politics, 4(2), 125-144. Khajeheian, D. (2013). New Venture Creation in Social Media Platform; Towards a Framework for Media Entrepreneurship. Handbook of Social Media Management (pp. 125-142): Springer. ***H&P: Deuze, “Convergence Culture and Media Work” ***Hoag Anne. & Ben Compaine. 2006. Media Entrepreneurship In The Era Of Big Media: Prospects For New Entrants ***Herrero, M., & Medina, M. (2013). Keys to Monetize Social Media in the Audiovisual Business. Handbook of Social Media Management (pp. 311-325): Springer. ***Hull, C.E., Hung, Y-T.C., Hair, N., Perotti, V. and DeMartino, R. (2007) ‘Taking advantage of digital opportunities: a typology of digital entrepreneurship’, Int. J. Networking and Virtual Organisations, Vol. 4, No. 3, pp.290–303. W 12 11/10 11/12 11/14 Media Management and Entrepreneurship II   Florida, Richard. (2002). “The Economic Geography of Talent”. Annals of the Association of American Geographers. 92 (4). 743-755. C.W. Anderson, Enda Brophy, Nicole Cohen, Michelle Colcino, Alice E. Marwick, Gina Neff, Laura Robinson and Jeremy Schulz. (forthcoming). Venture Labor, Media Work, and the Good Life: Agendas for the Field ***Fuchs, Christian(2010). 'Labor in Informational Capitalism and on the Internet', The Information Society, 26: 3, 179 -196 W13 11/17 11/19 11/21 Studying Media Industries   H&P: Napoli, “Media Economics and the Study of the Media Industries” H&P: Green and Jenkins, “The Moral Economy of Web 2.0: Audience Research and Convergence Culture” 11/21 TA Guest lecture W 14 11/24 Wrapping Up (11/24) 11/26, 28 ***Thanksgiving 10 W 15 Final Project Presentations 12/1, 3, 5 11 

Media Industries (Undergraduate Courses) RTF 365 (08370), SOC 321K (45525) Wenhong Chen, PhD Email: [email protected] O: 512-471-4952 M:512-917-6317 F: 512-471-4077 Office hours: Tuesday 9am-12pm or by appointment, CMA 6.136 Venue: 3:30-5 pm, CMA3.112 TA: Clarie Shinhea Lee, [email protected], Mon 14:45~15:45, JAVA Coffee shop (at PCL) Course Description Media industries have been challenged by large social forces such as globalization and technological advancements from analog to digital, wired to wireless, and desktop to cloud. Web 2.0 and social media facilitate former members of the audience to actively participate in media production. While legacy media learn to adapt to a new landscape, new media experiment with and search for viable business models and legitimacy. Great challenges bring unprecedented opportunities and risks for organizational innovations, entrepreneurship, and social change. Drawing on literatures from media studies, management, sociology, and communication, this course helps students to develop a critical understanding of the media industries. We start with a survey of the media landscape. In the second part, we examine the social, political, and economic contexts in which media and culture are produced, distributed, and monetized. Special attention is paid to new media and communication technologies such as Web 2.0, social media, gaming, and mobile phone and apps and the implications of these disruptive innovations for media production and consumption. Cases in old and new media industries from different countries will be analyzed. Grading Policy: Grades are earned based on performance. Grades would not be changed on the basis of need or effort. The final grade uses a plus/minus system according to the following scale: 93-100 A 90-92 A- 87-89 B+ 83-86 B 80-82 B- 77-79 C+ 73-76 C 70-72 C- 67-69 D+ 63-66 D 60-62 D- 59 or lower F The final grade will be based on the following distribution (tentative):   Deadline Class Participation (25) Class Presentation (10) ongoing Blackboard Comment (5) ongoing Attendance and Participation (10) ongoing Take-home midterm exam (15) Mar 22 Final Project (60) Project Proposal (10) Mar 29 Project Presentation (20) Apr 26, May 1, May 3 Final Paper (30) May 10, 5pm Students are expected to take an active role. To fully understand and participate in discussions, it is necessary to complete the readings on time. Due to the class size, teamwork for the class presentation and the final project are strongly encouraged. The maximum size of a team is limited to 3 students to assure positive group dynamics. If you decide to work as a team, you will be graded as a team for the class presentation and the final project. All other assignments are individual work and graded accordingly. Class Participation Class Presentation Each student/team must “claim” a topic and get the instructor’s approval on a first come first served basis. After consultation with the instructor, each student/group will lead one class discussion. Please note that the weeks 14/15 for the final project presentation. The student/team is expected to present on the weekly reading. However, the presentation can also include any material relevant to the topic of the weekly reading. A formal presentation with slides is required. Please post your presentation on blackboard 24 hours before the class starts. (For instance, if you are presenting Tuesday afternoon 3 pm, please post your presentation by Monday 3 pm). Each presentation will be given 15 minutes. Blackboard Comments/Input Throughout the semester, a total of 5 topics for comments or input would be distributed in class and/or via email. Each student is required to post a one-page comment/input on blackboard 24 hours before the next class. Please post on time so that the instructor and students would have enough time to read it. Each comment/input will be given 1 point. Late posting receives no points. Attendance and Participation in class discussion (10%) In-class discussion (9%). Each student is expected to actively participate in the class discussion. You are welcome to bring in an article, image, chart/graph, screen capture, short video (less than three minutes), or any other relevant object. Meeting with the course instructor F2F (1%). Each student is expected to meet the course instructor in person for self introduction within the first two weeks of the semester. Attendance: Missing class more than THREE times without proper justification is considered as drop out. Take-home Midterm Students are required to answer 2 out 4 essay questions based on the readings, lecture, and in-class discussions in the first half of the semester. The Final Project Project Proposal (5 pages) The proposal should lay out the research topic and its relevance/significance. Students will receive reviews from the instructor to further develop and improve their work. Final Project Presentation As part of pre-professional training, all students/teams are required to present the final project to the class. Each student/team will give a 15-20 minute presentation on the term project, including Q&A. Please post your presentation on blackboard by 3 pm the day before your presentation in the class. Paper (15-30 pages) The paper should address one topic relevant to social capital and social networks. Students can chose from the following options: a substantial literature review a research plan that draws on qualitative or quantitative research methods, a research paper that analyzes qualitative or quantitative data, or an applied project that put the theories/methods discussed in the class in practice Paper should be typed, double-spaced, and include a list of references prepared according to the APA format. All sources used must be cited. Please note and respect the page limit. Penalties for Late Assignment Assignment is due in class unless indicated otherwise. There is a penalty for unexcused later assignment. Each day for the first 5 calendar days of lateness means a reduction of 5% of the grade. Assignment handed in the same day, after class, will be considered one day late. Papers later than 5 calendar days will not be graded. Toolkits: Literature Search Research Tools http://www.lib.utexas.edu/resources/ Literature Review Tutorial: http://www.library.american.edu/Help/tutorials/lit_review/index.html Writing and Revising Wellman, B. How To Write -- and Edit -- a Paper. http://www.chass.utoronto.ca/~wellman/publications/index.html Presentations Presentation Tips, Garr Reynolds: http://www.garrreynolds.com/Presentation/index.html Citation Formats APA Style, APA Online: http://www.apastyle.org/ Important Statement Services For Students With Disabilities The University of Texas at Austin provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact the Office of the Dean of Students at 471-6259, 471-4641 TTY. The University of Texas Honor Code The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the University is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community. Scholastic Dishonesty The University defines academic dishonesty as cheating, plagiarism, unauthorized collaboration, falsifying academic records, and any act designed to avoid participating honestly in the learning process. Scholastic dishonesty also includes, but is not limited to, providing false or misleading information to receive a postponement or an extension on a test, quiz, or other assignment, and submission of essentially the same written assignment for two courses without the prior permission of the instructor. By accepting this syllabus, you have agreed to these guidelines and must adhere to them. Scholastic dishonest damages both the student’s learning experience and readiness for the future demands of a work-career. Students who violate University rules on scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and/or dismissal from the University. For more information on scholastic dishonesty, please visit the Student Judicial services Web site at http://deanofstudents.utexas.edu/sjs Undergraduate Writing Center The Undergraduate Writing Center, located in the FAC 211, phone 471-6222, http://www.utexas.edu/cola/centers/uwc/ offers individualized assistance to students who want to improve their writing skills. There is no charge, and students may come in on a drop-in or appointment basis. Religious Holidays Religious holy days sometimes conflict with class and examination schedules. If you miss a work assignment or other project due to the observance of a religious holy day you will be given an opportunity to complete the work missed within a reasonable time after the absence. It is the policy of the University of Texas at Austin that you must notify each of your instructors at least fourteen days prior to the classes scheduled on dates you will be absent to observe a religious holy day. University Electronic Mail Notification Policy All students should become familiar with the University’s official e-mail student notification policy. It is the student’s responsibility to keep the University informed as to changes in his or her e-mail address. Students are expected to check e-mail on a frequent and regular basis in order to stay current with University-related communications, recognizing that certain communications may be time-critical. It is recommended that e-mail be checked daily, but at a minimum, twice per week. The complete text of this policy and instructions for updating your e-mail address are available at http://www.utexas.edu/its/policies/emailnotify.html. (Optional: In this course e-mail will be used as a means of communication with students. You will be responsible for checking your e-mail regularly for class work and announcements.) Use of Blackboard This course uses Blackboard, a Web-based course management system in which a password-protected site is created for each course. Copyright and Fair Use You may find the need to use copyrighted material this semester: music, photographs, movie clips, or any other expression. For many of your uses, you need to find the copyright holder and negotiate a license. You own the copyright to the work you produce in this class. As a copyright holder yourself, you understand the importance of copyright ownership. It is your responsibility to secure music and archival footage licenses as well as artwork, location and personal releases. You will find release templates on the RTF website. For some uses, however, neither you nor anyone else needs to license copyrighted material. This is because copyright law exists to encourage and support creativity. Copyright law recognizes that creativity doesn’t arise in a vacuum. As creators, we all stand on the shoulders of giants. New works of art (such as films, books, poems, paintings) all make use of what has gone before. Thus, copyright law not only protects authors with a copyright that lets them decide who can use their works, but also offers exemptions from the author’s control. For filmmakers, the most important exemption is the doctrine of fair use. You can rely on fair use, where appropriate, in the film and media projects you undertake for this course. If you are making a documentary film, consult the influential Documentary Filmmakers Statement of Best Practices in Fair Use (http://www.centerforsocialmedia.org/files/pdf/fair_use_final.pdf), which was created by a group of national filmmaker organizations, has been endorsed by the University Film and Video Association, and is now relied on by film festivals, insurers, cablecasters, distributors and public broadcasters. Fair use also applies in the fiction film environment, but not necessarily to the same extent or in the same way. As always, the central question is whether the new use is "transformative" -- i.e., whether it adds significant value by modifying or recontextualizing the original. For more understanding, including information on when you can use works for free (http://www.centerforsocialmedia.org/files/pdf/free_use.pdf) without even using fair use, why you (mostly) don’t need to worry about trademarks (http://www.centerforsocialmedia.org/files/pdf/free_use.pdf), what is in the public domain (http://www.centerforsocialmedia.org/rock/backgrounddocs/copyrightterm.pdf), how fair use lawsuits (http://www.centerforsocialmedia.org/videos/sets/fair_use_case_studies) have been settled, and on how fair use has been employed successfully (http://www.centerforsocialmedia.org/videos/sets/fair_use_case_studies) in documentary film, visit centerforsocialmedia.org/fairuse Required books David Hesmondhalgh. 2007. The Cultural Industries. 2nd edition. Sage. $30.52 PCL HM 621 H474 2007 Jennifer Holt and Alisa Perren. (Eds) 2009. Media Industries: History, Theory and Methods. Willey-Blackwell. $31.46. PCL P 90 M3676 Recommended book Mark Deuze. 2007. Media Work. Polity. $20.66 PCL HM 1206 D48 2007   Topics and Scheduled Reading Assignments *** Recommended Optional Reading W1 Introduction Hesmondhalgh: Introduction ***Auletta, Ken. (2009). Googled. Penguin. Ch16: Where is the wave taking old media? W 2 The Changing Landscape: Media Industry and Globalization Hesmondhalgh: Ch8 H&P: Curtin, “Thinking Globally: From Media Imperialism to Media Capital” Flew, Terry, and Stephen McElhinney. 2006. "Globalization and the Structure of New Media Industries." in The Handbook of New Media: Updated Student Edition, edited by Leah A Lievrouw and Sonia Livingstone: Sage Publications. W 3 Media Old and New Hesmondhalgh: Ch9 O'REILLY, T. (2005). What Is Web 2.0: Design Patterns and Business Models for the Next Generation of Software H&P: Marshall, “New Media as Transformed Media Industry” ***Henry Jenkins (2006). "Eight Traits of the New Media Landscape" ***Henry Jenkins (2001). “Convergence? I Diverge”, Technology Review. June 2001. p 93. W 4 Policies and Ownership I Hesmondhalgh: Ch4 Marsden, Christopher T. 2010. Net Neutrality: Towards a Co-Regulatory Solution. Intro and ch7 ***Keane, Michael A (2003). Creativity and complexity in post-WTO China. Continuum: Journal of Media & Cultural Studies 17(3):pp. 291-301. *** Goldsmith, Jack and Wu, Tim. (2006). Who Controls the Internet? Oxford. Ch1 and 5 W 5 Policies and Ownership II Potter, W. James (2008). Media Literacy. Sage. Ch16: Who owns and controls the mass media. D. Croteau and W. Hoynes, (2005). The Business of Media: Corporate Media and the Public Interest, 2nd Edition, Sage. Ch 1: Media, Markets, and the Public Sphere Hesmondhalgh: Ch6 *** Arsenault, Amelia and Manuel Castells. 2008. “The Structure and Dynamics of Global Multi-Media Business Networks”. International Journal of Communication 2: 707-748. W 6 Film H&P: Schatz, “Film Industry Studies and Hollywood History” Mezias, S. (2001). The community dynamics of entrepreneurship. The birth of the American film industry, 1895–1929. Journal of Business Venturing, 16(3), 209-233. doi: 10.1016/S0883-9026(99)00057-9. W. Wayne Fu and Achikannoo Govindaraju. Explaining Global Box-Office Tastes in Hollywood Films: Homogenization of National Audiences’ Movie Selections Communication Research April 2010 37: 215-238 Cattani, Gino, and Simone Ferriani. 2008. "A Core/Periphery Perspective on Individual Creative Performance: Social Networks and Cinematic Achievements in the Hollywood Film Industry." Organization Science 19:824-844. W 7 TV Perretti, Fabrizio, Giacomo Negro, and Alessandro Lomi. 2008. "E Pluribus Unum: Framing, Matching, and Form Emergence in U.S. Television Broadcasting, 1940-1960." Organization Science 19:533-547. H&P: Johnson, “Historicizing TV Networking: Broadcasting, Cable and the Case of ESPN”; Straubhaar, Joseph. (2007). World Television: From Global to Local. Sage. Ch 1 and 3 M. Curtin and H. Shah, (2010). Reorienting Global Communication: Indian and Chinese Media Beyond Borders, University of Illinois Press. Ch 12: Enacting the Family-Nation on a Global Stage: An Analysis of CCTV’s Spring Festival Gala W 8 New Media and Social Media Anderson, C. (2004). The Long Tail. Wired, 12(10), http://www.wired.com/wired/archive/12.10/tail.html Li, Charlene, and Josh Bernoff. 2008. Groundswell: Winning in a World Transformed by Social Technologies: Harvard Business School Press. Excerpt and chapter 4 (blackboard) Miel, P. & Faris, R. (2008). Media Re:Public: News and information as digital media come of age. Berkman Center for Internet and Society at Harvard University *** Watkins, S.C and Lee, H. (2010). Got Facebook? investigating what’s social about social media. Report, Department of Radio-TV-Film, University of Texas Austin. W 9 Gaming Williams, Dmitri. 2002. "Structure and Competition in the U.S. Home Video Game Industry." The International Journal on Media Management 4:41-54. Castronova, Edward. 2003. "Virtual Economies." Game Studies 3:http://www.gamestudies.org/0302/castronova/. Dyer-Witheford, Nick, and Greig de Peuter. 2009. "Empire@Play: Virtual Games and Global Capitalism." ctheory: www.ctheory.net/articles.aspx?id=608. ***Pausch, Randy (2004). An Academic's Field Guide to Electronic Arts. Observations based on a residency in the spring semester of 2004. W 10 Mobile and Apps Katz, J. 2008 Handbook of Mobile Communication Studies. MIT Press. Ch1. Campbell, S.W. (2007). A cross-cultural comparison of perceptions and uses of mobile telephony. New Media and Society, 9(2), 343-363. Ito, Mizuko. 2005. Introduction: Personal, Portable, Pedestrian. In Personal, Portable, Pedestrian: Mobile Phones in Japanese Life. Edited by Mizuko Ito, Daisuke Okabe, and Misa Matsuda. Cambridge: MIT Press Auletta, Ken. 2010. Publish or Perish: Can the iPad topple the Kindle, and save the book business? W 11 Media Management and Entrepreneurship I H&P: Hartley, “From the Consciousness Industry to the Creative Industries” H&P: Deuze, “Convergence Culture and Media Work” Hesmondhalgh: Ch7 *** Neff, Gina. 2005. "The changing place of cultural production: The location of social networks in the digital media industry." Annals of the American Academy of Political and Social Science 597:134-152. W 12 Media Management and Entrepreneurship II Florida, Richard. (2002). “The Economic Geography of Talent”. Annals of the Association of American Geographers. 92 (4). 743-755. Fuchs, Christian(2010) 'Labor in Informational Capitalism and on the Internet', The Information Society, 26: 3, 179 -196 Hoag Anne. & Ben Compaine. 2006. Media Entrepreneurship In The Era Of Big Media: Prospects For New Entrants ***Hull, C.E., Hung, Y-T.C., Hair, N., Perotti, V. and DeMartino, R. (2007) ‘Taking advantage of digital opportunities: a typology of digital entrepreneurship’, Int. J. Networking and Virtual Organisations, Vol. 4, No. 3, pp.290–303. W13 Studying Media Industries H&P: Hesmondhalgh, “Politics, Theory and Method in Media Industries Research” H&P: Napoli, “Media Economics and the Study of the Media Industries” H&P: Green and Jenkins, “The Moral Economy of Web 2.0: Audience Research and Convergence Culture” W 14 Warping Up /Final Project Presentations W 15 Final Project Presentations PAGE 2