Posts Tagged ‘Entertainment Business’
Based on Wikipedia it is also called cultural or art industries that is a group of companies and institutions whose primary activity is the production of mass culture and mass based on the constant repetition of some basic patterns which show a series of situations and models unrealistic and inaccessible for the vast majority of cases, with a profit-making.
Can be regarded as means of cultural production:
- TV
- Radio
- Newspapers and magazines
- The film – which becomes an “art” that dominates the uniformity and predictability (cliché)
- Music Business
- Publishers
- Drama
- Dance
- Videogames (recently accepted on March 25 2009), etc..
All these are made looking at the same time increasing the consumption of cultural artifacts, social habits change, educate, inform and ultimately transform society. Thus, any cultural object is considered a cultural product with an ethical value and aesthetic value, from which the targets its offering through the laws of supply and demand. Thus, we see the “outline” of the culture industry that preceded the market value of quality cultural products. The term cultural industries was first used by theorists of the Frankfurt School: Theodor Adorno and Max Horkheimer in the book Dialektik der Aufklärung (Dialética the illustration) written in 1944, a time when the culture no longer needs to be justified socially.
In this book, Horkheimer and Adorno elaborate on the reification of culture through industrial processes. Assume that the economy system is a concentrated market in which the culture industry is a business which, in turn, reaffirms the system itself, so that resources end up being technological resources of domination over the receiver (Technocracy).
Under this system, most of the structural needs of modern society find their satisfaction in the mass culture. According Zallo Cultural Industries is “a set of segments, segments and ancillary activities in production and distribution of industrial goods with symbolic content, designed by a creative, organized by a capital that is valued and intended ultimately to the consumer markets with a role of social and ideological reproduction.
According to King and others, cultural industries are those that cover the creation and production of goods and services with intangible cultural content. The goods and services which are integrated lifestyles, values, ideas, and that for purposes of a regulation requiring protection of copyright.
Ultimately, some of these authors as the culture industry are seen as a repressor of the instincts and individuality of people and a tool that allows and encourages the perpetuation of the capitalist system.
The global music sales fell for the seventh consecutive year, while the most important fair of the industry, MIDEM in Cannes (France), the industry breaks down the head to try to increase sales through the Internet, the distribution channel for excellence. Everything from competition that is a dreaded word ‘free’. Total music sales have dropped again in 2006, according to preliminary estimates. However, despite that the digital market has almost doubled, to 2,000 million dollars, and notes that the popularity of the music is today stronger than ever.
Critics of the main responsible for the music business argue that they have spent much energy in the fight against ‘piracy’ and in so doing, have put aside the business growth of the discharge of payment.
In response, the industry says it has had no choice. Many people around the world tells me that our problems we managed properly, but nobody tells me what he should have done. It is impossible to compete against free.
Protecting files
Much debate has centered on the concept of protection of rights in the digital world (the famous DRM) systems that can restrict the use of music purchased through the Web and that is often proposed as a solution against called ‘piracy’, or copying of protected content. Advocates of this system claim that the DRM will also offer other tools that enable the music can be offered through subscription services or advertising-based, as certain protections to prevent digital music can be offered in exchange networks.
However, a negative consequence of DRM for consumers is that the items purchased with this protection at sites such as Rhapsody, for example, cannot be used in an Apple iPod, digital music player market leader, as they are not compatible, which restricts the potential growth of music sales.
Reviews
However, not everyone (even less) is in agreement with the IFPI. David Pakman is chief executive of eMusic, the second biggest selling music service ‘online’ after iTunes in the U.S. market, and an ardent critic of DRM. Their service is the only large-scale items provided in MP3 format, meaning they can be played on any portable music device, including iPod. That position, however, showed that none of the four major record companies (responsible for two thirds of the music world) provide the service issues.
Ours is the same model used for CD and DVD, universal compatibility, and think that is the main reason for withholding the digital growth today,” said Pakman.
For its part, Chris Anderson, director of Wired magazine, argues that some forms of ‘piracy’ should simply be accepted. “You cannot have ‘piracy’ zero, and if you try to convert the experience of consuming music so painful into something that will end up having a zero industry,” he said.