Gamification in Entertainment Industry

Author(s):  
Savita Sharma ◽  
Adarsh Somani

Gamification is a tool used for brand awareness to attract new customers and to make the present customers more loyal towards the product by making them engaged in an enjoyable manner. It has become one of the prominent topics of interest for many academicians and marketing professionals because of the simple reason that it is considered to be the one of effective ways to promote various services and products for many brands and other companies. This chapter explores gamification in the Indian film industry.

2021 ◽  
Vol 2 (5) ◽  
Author(s):  
Matthew N. O. Sadiku ◽  
Tolulope J. Ashaolu ◽  
Abayomi Ajayi-Majebi ◽  
Sarhan M. Musa

Digital refers to the practice of downloading and distributing copyrighted contents such as music, video, software, and e-book without permission. It is a fact of life for book publishing industry, entertainment industry, movie industry, television sector, film industry, etc. Piracy is regarded as a crime. Not only does piracy hurts and cause economic loss to these companies, it also inhibits incentive to keep creating. Unfortunately, there is no “silver bullet” solution to the problem of digital piracy. This paper provides an introduction to digital piracy.


2009 ◽  
Vol 7 (1) ◽  
pp. 57-75
Author(s):  
Kathleen K. Wright ◽  
Stewart S. Karlinsky ◽  
Kim A. Tarantino

ABSTRACT: This article discusses recent developments for both federal and state tax purposes that directly impact the entertainment industry. For federal purposes, Congress has recently expanded the scope of the Section 181 and 199 deductions to allow more generous deductions, and in the case of Section 199 to relax the requirements which must be met to claim the deduction. The states seem to be in competition to “outdo” each other in enacting rebates or transferable credits to enhance the desirability of their states for film production. The tax treatment of these credits for both federal and state purposes is discussed, and the Appendix summarizes the provisions of these incentives on a state-by-state basis. The article concludes with a discussion of the effectiveness of this type of incentive legislation.


Author(s):  
Marta Massi ◽  
Chiara Piancatelli ◽  
Sonia Pancheri

Albeit often perceived as two worlds apart, low culture and high culture are increasingly converging to collaborate in mutually advantageous ways. Brands—including the name, term, sign, symbol, or combination of them that identify the goods and services of a seller or group of sellers, and differentiate them from those of the competitors—are the new territory where high culture and low culture co-exist and collaborate, creating new possibilities of cross-fertilization and hybridization between the two. Through the analysis of successful examples coming from different industries, this chapter aims to highlight how brands have blurred the distinction between low culture and high culture. On the one hand, brands can use the heritage of the arts world to gain authenticity and legitimate themselves in the eyes of consumers and the society. On the other hand, artists and arts organizations, such as museums and other art institutions, can indulge in popular culture in order to become appealing to younger target markets and enhance their brand awareness and image.


Author(s):  
Peter Lev

“Studio” and “Hollywood” are interestingly complex terms. “Studio” originally meant a room with abundant natural light. The first motion picture studios were large, glass-walled rooms designed for filming with natural light. The term “studio” expanded to refer to a motion picture production facility, and then it expanded again to mean a company that made motion pictures. By the late 1920s the best-known American studios were large, vertically integrated corporations that produced, distributed, and exhibited films: Paramount, MGM, Fox, Warner Bros., and RKO. Columbia, Universal, and United Artists were also considered major studios, though they owned few or no theaters, and there were smaller B-movie companies such as Monogram and Republic. “Hollywood” refers to a neighborhood north and west of downtown Los Angeles where a number of movie companies settled when they left the East Coast for California in the 1910s. This term has expanded in meaning as well; it now means all film production in the Los Angeles area, and even by synecdoche the entire American film industry. From about 1920 to 1950, film was the dominant entertainment industry in the United States, and the eight major studios firmly controlled this medium. The studios’ top executives, sometimes called “moguls” to emphasize their power, supervised thousands of employees and decided what films were made, how they were made, and how they were released. This is often called the “studio period,” or the “classic period,” or the “golden age of Hollywood.” After 1950 there was a gradual change to independent production as directors, producers, stars, and agents took over the creative aspects of filmmaking, with the studios mainly responsible for financing and distribution. Eventually, the Hollywood film studios expanded to other fields such as television, cable, music, home video, theme parks, and Internet, and they were bought or merged with larger corporations. The giant media conglomerates of the early 21st century (Disney, Time Warner, News Corp., Viacom, Comcast, and Sony) resemble the studios of old in their domination of the entertainment industry. This article will concentrate on the studio period, especially the economic and institutional histories of the eight major studios. However, since almost all of these companies still exist, and they are still called studios, some entries will discuss what happened to the American film industry and to the individual companies since the 1950s.


2006 ◽  
Vol 188 ◽  
pp. 1048-1069 ◽  
Author(s):  
Paul G. Pickowicz

This article explores cultural producation during the Mao era (1949–76) by focusing on the evolving relationship between artists and the party-state. The emphasis is on state direction of art in the all-important film industry. From 1949, well-known bourgeois Republican-era artists willingly began the complicated, painful and sometimes deadly process of adjusting to Communist Party state building, nation building and political domination. The career of influential film director Zheng Junli is examined as a case study of creative and strategic accommodation to new circumstances on the one hand, and of complicity on the other. Zheng is seen in his dual and contradictory roles as both trusted, ever loyal insider and unreliable, even degenerate, outsider. His Mao-era films, especially the spectacular Great Leap Forward production of Lin Zexu, are analysed in terms of their political thrust and reception in the difficult-to-predict world of the People's Republic.


Author(s):  
Klaus Keil ◽  
Tobias Mosig

THE SUCCESS OF MOTION PICTURES – AN ECONOMIC GAMBLE: SELECTED MOVIE EXPLOITATION PHENOMENA More than 5,000 marketable movies are produced worldwide every year - a risky economic gamble running into billions. Despite the potential risk of commercial failure, film producers still try to achieve outstanding box-office results. There are also special movies that are able to preserve or even increase their intrinsic value due to the longevity of their commercial success. This article focuses on distinctive movie exploitation phenomena, which can be observed worldwide. These phenomena show the unpredictability of film success due to the fact that the cycles, the duration, and the progress of film exploitation are unforeseeable. MythSuccess is the big myth of the international film industry: on the one hand enormous profits, glamour, film stars, red carpet shows at Cannes, Berlin, and Venice - the big film festivals. And as climax - the Oscars in...


Prologia ◽  
2020 ◽  
Vol 4 (1) ◽  
pp. 106
Author(s):  
Rizky Ferdy ◽  
Wulan Purnama Sari

Digital era already begun now it is the time of internet make everything so practical and lead many improvements for many fields, as one of it is business, business industry is developing so fast using digital media making new start-up businesses that need promotion to reach the society, this research purpose is to find Gojek #UninstallKhawatir billboard print-ads effect to Gojek’s brand awareness measured using AIDA: Attention, Interest, Desire, and Action. The research method is quantitative method using surveying. The technical field-research is using non-probability technique with the style of purposive sampling, the respondent was 30 people for pre-test and 50 people for post-test. Data technique collected by questionnaire and books study. The tests included are validity test, reliability test, normality test. Data analysis is using determination coefficient determination, simple regression analysis, T-test, F-test. The correlation coefficient result is 0,826 which shows strong link between variables, and determination coefficient’s result is 68% of brand awareness: AIDA affected by Gojek’s billboard print-ads. The conclusion of this research is “Reminder” that is in advertising purpose theory is the one that influences the “interest” level of brand awareness measured by AIDA.Era digital yang membuat semua hal menjadi lebih praktis membawa perkembangan pada banyak bidang, salah satunya bisnis, bisnis yang terus berkembang dengan menggunakan media digital melahirkan banyak bisnis baru yang membutuhkan media promosi untuk mencapai khalayak ramai, penelitian berikut bertujuan untuk mencari pengaruh iklan Gojek versi #UninstallKahwatir di billboard terhadap brand awareness yang diukur dengan AIDA: Attention, Interest, Desire, & Action. Metode yang digunakan dalam penelitian ini dengan metode kuantitatif dan berjenis survey. Teknik yang digunakan adalah non-probability dengan sampel dari purposive sampling, jumlah responden adalah 30 orang untuk pre-test dan 150 orang untuk post-test. Pengumpulan data dilakukan melalui kuesioner dan studi kepustakaan. Uji  persyaratan  analisis  menggunakan  uji  validitas,  reliabilitas,  dan  normalitas. Data dianalisis dengan koefisien  determinasi, analisis  regresi sederhana, uji  T dan uji  F. Hasil dari koefisien korelasi sebesar 0,826 yang berarti ada hubungan yang kuat antar variabel, dan untuk koefisien determinasi mendapat hasil 68% brand awareness: AIDA dipengaruhi iklan billboard Gojek. Dimensi “pengingat” pada fungsi iklan (Variabel X) adalah dimensi yang paling menonjol dari variabel iklan dan dimensi ini adalah yang mempengaruhi dimensi “interest” pada Brand Awareness: AIDA (Variabel Y)


2017 ◽  
Vol 9 (2) ◽  
Author(s):  
Michael Christian ◽  
Howard Sarmento Giam ◽  
Amelia Suryani

<p>For almost all sales men, the strategy of time becomes the main key of selling effectiveness. Having appointment in a product’s presentation is oftenly measured by a very short times to deliver. In many cases, delivering the detail of products must be done at a sudden spot and extremely short time where he/she does not imagine before. This needs skill of designing the points of products and how to execute well in order to get the best memorable experience. Entertainment industry especially movie has a very unique on its competition. The development of technology totally delivers big change on how to produce a good film. In recent years, the capability of actor or actress is not the main consideration. We can find many brilliant of them have contributed playing the script however it’s not in line with the moviegers’ responses or the revenue itself. The interest of moviegoers on film sometimes can be seen by various factors. Sound effect, animation technology, pictures editing, original soundtrack, trailers, towards to the name of production house, are numbers of x-factors affecting the moviegoers.</p><p>This paper intends to describe how the elevator speech-official movie trailer affects the moviegoers. Further this paper also intends to describe how the big production house affects the moviegoers. The analysis is measured by the regression which comes from one hundred respondent involved. The instrument used to collect data is by questionnaire. Most of respondents have the same response that almost all of the indicators have big effects for them.</p><p> </p><p>Keywords- Elevator Speech, Brand Awareness, Buying Decision</p>


Maska ◽  
2020 ◽  
Vol 35 (200s3) ◽  
pp. 70-77
Author(s):  
Ana Vujanović

Abstract The title Precarity or Self-Management provokes me. On the one hand, I can agree that self-management is a way out of precarity, while on the other, this raises the questions of which precarity, whose precarity, which self-management and for whom. Since the temporalities of these two notions are divergent, I feel like time-traveling while staying in one spot – the spot where precarity and self-management are bound together by the curatorial gesture of Maska. My metaphor here is predicated on a thesis that in order to analyse the art and the phenomena in art today, one needs to situate them in a twofold social process: one of its streams consists of the economization of politics and the other of the politicization of production. Within the present article I invite the reader to situate both the precarity and the self-management today within that process, as a default condition of making and doing art in neo-liberal capitalist and democratic society. The same goes for many other social practices, such as mass media, the film industry, professional sports, clubbing, education, tourism, etc.


2011 ◽  
Vol 28 (6) ◽  
pp. 67-90 ◽  
Author(s):  
Anna Munster

In a range of digital creative productions and digital culture, questions of how to deal with finitude are on the rise. On the one hand, sectors of the digital entertainment industry – specifically computer games developers – are concerned with the question of how to manage `death' digitally. On the other hand, death and suicide have become the impetus for humorous artistic expression. This article tracks the emergence of a digital ethos that is cognizant of consequence, finitude and even death. Rather than pit a 1990s `will to life' against an emerging `death drive', I argue that the shift to an ethos in which dark consequences ensue from digital actions must be understood by working through digital code's technicity and unfolding this relation of technics to both ethics and politics. Although Bernard Stiegler's analysis of technicity goes some way toward unfolding a political analysis of the aesthetics of digital code, his articulation of noopolitics fails to provide us with a way to conduct ourselves digitally in an era of cognitive capitalism. I look to critical software practices and their provisional networked publics, with potential lines of flight for contemporary technoculture via novel digital `codings'.


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