Abstract
This chapter analyses the changing forms, functions, and roles of publishing in light of the turn towards media industry studies. Building on the aims of the book to explore ways of making academic research more valuable to media industry stakeholders, this chapter examines how research findings have been made meaningful to commercial media partners and ‘translated’ via more non-academic formats, such as reports. The chapter also explore the effectiveness of other methods of making academic research speak to a media industry audience, such as festivals, museum exhibits, and archives. Re-thinking the whole idea of academic publishing, Emily Caston’s case study ends the chapter by reflecting on what publishing means in her experience of working collaboratively with creative practitioners from the music industry.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Bibliography
Abrahams, L. (2010). Oral History Theory. Abington & New York: Routledge.
Aust, M. P., & Kothenschulte, D. (2011). The Art of the Pop Video. Koln: Distanz.
Austerlitz, S. (2008). Money for Nothing: A History of the Music Video from the “Beatles” to the “White Stripes”. London: Continuum.
Banks, J. (1996). Monopoly Television: MTV’s Quest To Control The Music. Boulder, CO: Westview Press.
Bechky, B. A. (2006). Gaffers, Gofers, and Grips: Role-Based Coordination in Temporary Organizations. Organization Science, 17(1), 3–12.
Born, G. (2010). The Social and the Aesthetic: For a Post-Bourdieuian Theory of Cultural Production. Cultural Sociology, 4(2), 171–208.
Borne, G. (2004). Uncertain Vision: Birt, Dyke and the Reinvention of the BBC. London: Secker & Warburg.
Brown, L. (2015). Television Production in the Academy: Bringing Commercial Practices into the Classroom. Panel Presentation at the Conference of New Directions in Film and Television Production Studies (Bristol, April 14–15).
Caldwell, J. T. (2008). Production Culture: Industrial Reflexivity and Critical Practice in Film and Television. Durham and London: Duke University Press.
Caldwell, J. T. (2009). “Both Sides of the Fence”: Blurred Distinctions in Scholarship and Production (a Portfolio of Interviews). In V. Mayer, M. J. Banks, & J. T. Caldwell (Eds.), Studies: Cultural Studies of Media Industries (pp. 214–216). New York: Routledge.
Caldwell, J. T. (2013). Para-Industry: Researching Hollywood’s Blackwaters. Cinema Journal, 52(3), 157–165.
Caston, E. (2012). “Kick, Bollocks and Scramble”: An Examination of Power and Creative Decision-Making in the Production Process During the Golden Era of British Music Videos 1995–2001. Journal of British Cinema and Television, 9(1), 96–110.
Caston, E. (2014). The Fine Art of Commercial Freedom: British Music Videos and Film Culture. Scope: An Online Journal of Film and Television Studies, 26, 1–18.
Caston, E. (2015). Equalities, Human Rights, and Heritage: The Need For an Industry-Academia Forum. Panel Presentation at the Conference of New Directions in Film and Television Production Studies (Bristol, April 14–15).
Caston, E. (2016). ‘Not Another Article on the Author! God and Auteurs in Moving Image Analysis: Last Call for a Long Overdue Paradigm Shift’, Music Sound and the Moving Image. Special Issue ‘Musical Screens: Musical Inventions, Digital Transitions, Cultural Critique (forthcoming).
Caston, E., Parti, N., Walker, N., & Sutton, C. (2000). Report on the Music Video Industry in 1998 and 1999. Promo (April).
Dawson, A., & Holmes, S. P. (2012). Working the Global Film and Television Industries. London: Bloomsbury Academic.
Denisoff, R. S. (1991). Inside MTV. New Brunswick: Transaction Publishers.
Donnelly, K. (2007). Experimental Music Video and Television. In L. Mulvey & J. Sexton (Eds.), Experimental British Television (pp. 166–179). Manchester: Manchester University Press.
Douglas, M. (1975). Implicit Meanings. London: Routledge & Kegan Paul.
Evans, E. (2014). Ethics in Industry and Audience Research. Industrial Approaches to Media—The University of Nottingham. Available at: http://www.nottingham.ac.uk/research/groups/isir/projects/industrial-approaches-to-media/industrial-approaches-to-media-inaugural-event.aspx
Fletcher, W. (2008). Powers of Persuasion: The Inside Story of British Advertising. Oxford: Oxford University Press.
Frith, S., Goodwin, A., & Grossberg, L. (1993). Sound & Vision: The Music Video Reader. London: Routledge.
Gambetta, D. (Ed.) (1990). Trust: Making and Breaking Cooperative Relations. New Jersey: Wiley-Basil Blackwell.
Gaut, B. (1997). Film Authorship and Collaboration. In R. Allen & M. Smith (Eds.), Film Theory and Philosophy (pp. 149–173). Oxford: Oxford University Press.
Geertz, C. (1973). The Interpretation of Cultures. New York: Basic Books.
Geertz, C. (1983). Local Knowledge: Further Essays in Interpretive Sociology. New York: Basic Books.
Goodwin, A. (1992). Dancing in the Distribution Factory: Music Television and Popular Culture. Minnesota: University of Minnesota Press.
Grainge, P. (Ed.) (2011). Ephemeral Media: Transitory Screen Culture From Television to YouTube. Basingstoke: Palgrave Macmillan.
Grainge, P., & Johnson, C. (2015). Promotional Screen Industries. London and New York: Routledge.
Greenfield, S., & Osborn, G. (1998). Contract and Control in the Entertainment Industry: Dancing on the Edge of Heaven. Aldershot: Dartmouth.
Grice, J. (2013). Sorrow Might Come in the End: Legal Cases in the Music and Entertainment Industries. London: CreateSpace Independent Publishing.
Groom, E. (2014). It’s All on Paper: Archiving the Media Industries, and Studying Archive Collections. Industrial Approaches to Media—The University of Nottingham. Available at: http://www.nottingham.ac.uk/research/groups/isir/projects/industrial-approaches-to-media/elinor-groom.aspx
Gunkel, D. J. (2012). What Does it Matter Who is Speaking? Authorship, Authority, and the Mashup. Popular Music and Society, 35(1), 71–91.
Handel, L. (1950). Hollywood Looks at Its Audience: A Report of Film Audience Research. Urbana: University of Illinois.
Hearsum, P., & Inglis, I. (2013). The Emancipation of Music Video: YouTube and the Cultural Politics of Supply and Demand. In J. Richardson, C. Gorbman, & C. Vernallis (Eds.), The Oxford Handbook of New Audio-Visual Aesthetics (pp. 483–500). Oxford: Oxford University Press.
Hesmondhalgh, D. (2007). The Cultural Industries (2nd ed.). London: SAGE.
Hesmondhalgh, D. (2014). The Menace of Instrumentalism in Media Industries Research and Education. Media Industries Journal, 1(1), 21–26.
Hesmondhalgh, D., & Baker, S. (2011). Creative Labour: Media Work in Three Cultural Industries. Abingdon, Oxon: Routledge.
Holt, J., & Perren, A. (Eds.) (2009). Media Industries: History, Theory, and Method. Malden: Wiley-Blackwell.
Howkins, J. (2007). The Creative Economy: How People Make Money From Ideas. London: Penguin.
Hutton, W., O’Keeffe, A., Schneider, P., Andari, R., & Bakhshi, H. (2007). Staying Ahead: The Economic Performance of the UK’s Creative Industries. London: DCMS.
Johnson, C. (2013). The Mutual Benefits of Engaging with Industry. CST Online. Accessed December 3, 2015, from http://cstonline.tv/mutual-benefits
Jones, S., & Clulow S. (2012). How to Foster a Culture of Collaboration Between Universities and Industry. The Guardian (August 2). Available at: http://www.theguardian.com/higher-education-network/blog/2012/aug/02/the-value-of-research-collaborations
Kaplan, E. A. (1987). Rocking Around the Clock. Music Television, Postmodernism, and Consumer Culture. London and New York: Routledge.
Korsgaard, M. B. (2013). Music Video Transformed. In J. Richardson, C. Gorbman, & C. Vernallis (Eds.), The Oxford Handbook of New Audio-Visual Aesthetics (pp. 501–524). Oxford: Oxford University Press.
Livingston, P. (1997). Cinematic Authorship. In R. Allen & M. Smith (Eds.), Film Theory and Philosophy (pp. 132–148). Oxford: Oxford University Press.
Mayer, V., Banks, M. J., & Caldwell, J. T. (2009). Production Studies: Cultural Studies of Media Industries. New York: Routledge.
McDonald, P. (2014). An Interview with Professor Paul McDonald. Industrial Approaches to Media—The University of Nottingham. Available at: http://www.nottingham.ac.uk/research/groups/isir/projects/industrial-approaches-to-media/index.aspx
Moy, R. (2015). Authorship Roles in Popular Music: Issues and Debates. New York: Routledge.
Mundy, J. (1999). Popular Music on Screen: From Hollywood Musical to Music Video. Manchester: Manchester University Press.
Murray, V. S. (2014). ‘Collaborative Authorship in Film Production: Walter Murch and Film Editing, International Journal of New Media. Technology and the Arts, 8(2), 9–19.
Negus, K. (1997). The Production of Culture. In P. Du Gay (Ed.), Production of Culture/Cultures of Production (pp. 67–118). London: SAGE.
Negus, K. (2011). Authorship and the Popular Song. Music and Letters, 92(4), 607–629.
Negus, K., & Pickering, M. J. (2004). Creativity, Communication and Cultural Value. London: SAGE.
Ortner, S. B. (2009). Studying Sideways: Ethnographic Access in Hollywood. In V. Mayer, M. J. Banks, & J. T. Caldwell (Eds.), Production Studies: Cultural Studies of Media Industries (pp. 175–189). New York: Routledge.
Powdermaker, H. (2013). Hollywood: The Dream Factory: An Anthropologist Looks at the Movie-Makers. Eastford: Martino Publishing.
Presence, S (2014). The Ethics and Politics of Media Engagment. Industrial Approaches to Media—The University of Nottingham. Available at: http://www.nottingham.ac.uk/research/groups/isir/projects/industrial-approaches-to-media/industrial-approaches-to-media-inaugural-event.aspx
Railton, D., & Watson, P. (2011). Music Video and the Politics of Representation. Edinburgh: Edinburgh University Press.
Reiss, S., & Feineman, N. (2000). Thirty Frames Per Second: The Visionary Art of the Music Video. In H. N. Abrams, J. Richardson, C. Gorbman, & C. Vernallis (Eds.), The Oxford Handbook of New Audiovisual Aesthetics (2013). Oxford: Oxford University Press.
Richardson, J., Gorbman, C., & Vernallis, C. (Eds.) (2013). The Oxford Handbook of New Audiovisual Aesthetics. Oxford: Oxford University Press.
Schwartz, L. M. (2007). Making Music Videos: Everything You Need to Know from the Best in the Business. New York: Watson-Guptill.
Smith, J. (2015). Plenary. Panel discussion at the conference of New Directions in Film and Television Production Studies (Bristol, April 14–15).
Smith, J. and McDonald, Paul (2014). Channel 4 and British Film Culture. Journal of British Cinema and Television 11:4 (October): 413–417.
Vernallis, C. (2001). The Kindest Cut: Functions and Meanings of Music Video editing. Screen, 42(1), 21–48.
Vernallis, C. (2002). The Functions of Lyrics in Music Video. Journal of Popular Music Studies, 14(1), 11–31.
Vernallis, C. (2004). Experiencing Music Video: Aesthetics and Cultural Context. Columbia: Columbia University Press.
Vernallis, C. (2007). Strange People, Weird Objects: The Nature of Narrativity, Character, and Editing in Music Videos. In R. Beebe & J. Middleton (Eds.), Medium Cool: Music Videos From Soundies to Cellphones (pp. 303–328). Durham and London: Duke University Press.
Vernallis, C. (2008). Music Video, Songs, Sound: Experience, Technique and Emotion in Eternal Sunshine of the Spotless Mind. Screen, 49(3), 277–297.
Vernallis, C. (2013a). Unruly Media: YouTube, Music Video and the New Digital Cinema. Oxford: Oxford University Press.
Vernallis, C. (2013b). Music Video’s Second Aesthetic? In J. Richardson, C. Gorbman, & C. Vernallis (Eds.), The Oxford Handbook of New Audiovisual Aesthetics (pp. 437–465). Oxford: Oxford University Press.
Vernallis, C., & Ueno, H. (2013). Interview with Video Director and Auteur Floria Sigismondi. Music, Sound and the Moving Image, 7(2), 167–194.
Author information
Authors and Affiliations
Corresponding author
Copyright information
© 2016 The Author(s)
About this chapter
Cite this chapter
Freeman, M. (2016). Publishing Media Industry Research. In: Industrial Approaches to Media. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-55176-4_9
Download citation
DOI: https://doi.org/10.1057/978-1-137-55176-4_9
Published:
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-137-55175-7
Online ISBN: 978-1-137-55176-4
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)