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    Streaming Music : Practices, Media, Cultures

    Streaming Music examines how the Internet has become integrated in contemporary music use, by focusing on streaming as a practice and a technology for music consumption.The backdrop to this enquiry is the digitization of society and culture, where the music industry has undergone profound disruptions, and where music streaming has altered listening modes and meanings of music in everyday life.The objective of Streaming Music is to shed light on what these transformations mean for listeners, by looking at their adaptation in specific cultural contexts, but also by considering how online music platforms and streaming services guide music listeners in specific ways.Drawing on case studies from Moscow and Stockholm, and providing analysis of Spotify, VK and YouTube as popular but distinct sites for music, Streaming Music discusses, through a qualitative, cross-cultural, study, questions around music and value, music sharing, modes of engaging with music, and the way that contemporary music listening is increasingly part of mobile, automated and computational processes.Offering a nuanced perspective on these issues, it adds to research about music and digital media, shedding new light on music cultures as they appear today.As such, this volume will appeal to scholars of media, sociology and music with interests in digital technologies.

    Price: 43.99 £ | Shipping*: 0.00 £
  • Company to Company Student's Book
    Company to Company Student's Book

    Company to Company is for anyone studying or working in business, commerce or administration who needs to correspond in English.It is particularly suitable for learners at the lower-intermediate and intermediate levels, but more advanced learners who are unfamiliar with business correspondence will also find it invaluable. The fourth edition of this highly successful course contains thoroughly updated content and includes extensive work on email correspondence.It follows the successful interactive task and feedback approach of the previous editions.

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  • Content Production for Digital Media : An Introduction
    Content Production for Digital Media : An Introduction

    This book provides an introduction to digital media content production in the twenty-first century.It explores the kinds of content production that are undertaken in professions that include journalism, public relations and marketing.The book provides an insight into content moderation and addresses the legal and ethical issues that content producers face, as well as how these issues can be effectively managed.Chapters also contain interviews with media professionals, and quizzes that allow readers to consolidate the knowledge they have gathered through their reading of that chapter.

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  • Company
    Company

    This is a celebration of family - of shifting allegiances, riotous laughter, complicated love. Meet four sisters - Cassandra, Fay, Lela, and Suzette - and their sprawling circle of daughtersand sons, parents and cousins, friends and lovers.Here are strong women and enigmatic men whose quirks are written in their children's faces, whose siblings are always getting their shared stories wrong, whose needs weigh heavily: money, status, a lover, a child - or simply company. Journeying from a glittering soirée to a haunted porch, Company is a multigenerational, joyfully honest expression of belonging - and of how far we sometimes land from home.

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  • The Arena Concert : Music, Media and Mass Entertainment
    The Arena Concert : Music, Media and Mass Entertainment

    The Arena Concert: Music, Media and Mass Entertainment is the first sustained engagement with what might said to be - in its melding of concert and gathering, in its evolving relationship with digital and social media, in its delivery of event, experience, technology and star - the art form of the 21st century.This volume offers interviews with key designers, discussions of the practicalities of mounting arena concerts, mixing and performing live to a mass audience, recollections of the giants of late twentieth century music in performance, and critiques of latter-day pretenders to the throne.The authors track the evolution of the arena concert, consider design and architecture, celebrity and fashion, and turn to feminism, ethnographic research, and ideas of humour, liveness and authenticity, in order to explore and frame the arena concert.The arena concert becomes the “real time” centre of a global digital network, and the gig-goer pays not only for an immersion in (and, indeed, role in) its spectacular nature, but also for a close encounter with the performers, in this contained and exalted space.The spectacular nature of the arena concert raises challenges that have yet to be fully technologically overcome, and has given rise to a reinvention of what live music actually means. Love it or loathe it, the arena concert is a major presence in the cultural landscape of the 21st century.This volume finds out why.

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  • Digital Satire in Latin America : Online Video Humor as Hybrid Alternative Media
    Digital Satire in Latin America : Online Video Humor as Hybrid Alternative Media

    How creators of online video critique politics and society and amplify public discourse in Latin American countries This book analyzes how digital-native audiovisual satire has become increasingly influential in national public debates within Latin America.Paul Alonso illuminates the role of online video in filling gaps in sociopolitical critique left by television, traditional journalism, and commercial entertainment while exposing some of the prevalent tensions of the region.Alonso draws on interviews and analyzes media content to consider some of the most representative and influential satirical shows born on the internet and produced in Argentina, Colombia, Ecuador, Peru, Mexico, and Latinx communities in the United States.He discusses YouTubers Chumel Torres, Malena Pichot, Guille Aquino, Joanna Hausmann, and El Cacash; the Enchufe.tv collective; and the video columnists Maria Paulina Baena from La Pulla and Mariángela Urbina from Las Igualadas.These creators use professional and non-mainstream practices and resources to dismantle fake news, highlight social tensions, and offer in-depth content that goes beyond confrontational attacks.In contexts of highly ideological polarization, Alonso argues, digital satire is a unique type of hybrid alternative media that can articulate nonpartisan interpretations of reality while also questioning, deconstructing, and subverting the authoritative role of media.Satiric voices can offer an informed, reflexive, argumentative, or historically rooted perspective that amplifies public discourse and shapes changing notions of journalism and political communication in democratic societies. A volume in the series Reframing Media, Technology, and Culture in Latin/o America, edited by Héctor Fernández L’Hoeste and Juan Carlos Rodríguez Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

    Price: 91.00 £ | Shipping*: 0.00 £
  • Digital Satire in Latin America : Online Video Humor as Hybrid Alternative Media
    Digital Satire in Latin America : Online Video Humor as Hybrid Alternative Media

    How creators of online video critique politics and society and amplify public discourse in Latin American countries This book analyzes how digital-native audiovisual satire has become increasingly influential in national public debates within Latin America.Paul Alonso illuminates the role of online video in filling gaps in sociopolitical critique left by television, traditional journalism, and commercial entertainment while exposing some of the prevalent tensions of the region.Alonso draws on interviews and analyzes media content to consider some of the most representative and influential satirical shows born on the internet and produced in Argentina, Colombia, Ecuador, Peru, Mexico, and Latinx communities in the United States.He discusses YouTubers Chumel Torres, Malena Pichot, Guille Aquino, Joanna Hausmann, and El Cacash; the Enchufe.tv collective; and the video columnists Maria Paulina Baena from La Pulla and Mariángela Urbina from Las Igualadas.These creators use professional and non-mainstream practices and resources to dismantle fake news, highlight social tensions, and offer in-depth content that goes beyond confrontational attacks.In contexts of highly ideological polarization, Alonso argues, digital satire is a unique type of hybrid alternative media that can articulate nonpartisan interpretations of reality while also questioning, deconstructing, and subverting the authoritative role of media.Satiric voices can offer an informed, reflexive, argumentative, or historically rooted perspective that amplifies public discourse and shapes changing notions of journalism and political communication in democratic societies. A volume in the series Reframing Media, Technology, and Culture in Latin/o America, edited by Héctor Fernández L’Hoeste and Juan Carlos Rodríguez Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

    Price: 28.95 £ | Shipping*: 0.00 £
  • Bad Company
    Bad Company

    The self-titled debut album by the rock band, originally released in 1974. Known for its blend of hard rock and blues, the album features hits like 'Can't Get Enough' and 'Ready for Love'.

    Price: 37.99 £ | Shipping*: 0.00 £

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  • How to start a Kpop entertainment company?

    To start a Kpop entertainment company, you will need to have a strong passion for Kpop music and culture. Research the industry thoroughly to understand the market, trends, and competition. Build connections with industry professionals, artists, producers, and potential investors. Develop a business plan outlining your company's vision, goals, and strategies for talent scouting, training, promoting, and managing Kpop artists. Finally, secure funding, establish legal entities, and start recruiting talented individuals to kickstart your Kpop entertainment company.

  • Which Kpop entertainment company should I audition for?

    When deciding which Kpop entertainment company to audition for, it's important to research and consider factors such as the company's reputation, the artists they have produced, their style of music, and their training programs. Some popular Kpop entertainment companies to consider auditioning for include SM Entertainment, JYP Entertainment, and YG Entertainment. Ultimately, the best company for you to audition for will depend on your personal preferences, goals, and the type of artist you aspire to become.

  • Which K-Pop entertainment company is not strict?

    It is difficult to determine which K-Pop entertainment company is not strict as most companies have rules and regulations in place to manage their artists. However, some companies are known for having a more relaxed and supportive environment for their artists, such as Big Hit Entertainment (now known as HYBE Corporation), which is the home of BTS. They are known for prioritizing the well-being and creative freedom of their artists, which has contributed to their success and positive reputation in the industry.

  • What is the worst K-Pop entertainment company?

    It is subjective to determine the worst K-Pop entertainment company as opinions vary among fans and industry insiders. However, some companies have faced criticism for their management practices, mistreatment of artists, and controversies. Some of the companies that have been mentioned in discussions about poor treatment of artists include YG Entertainment, Cube Entertainment, and TS Entertainment. It is important to note that these opinions are based on public perception and may not reflect the experiences of all artists under these companies.

  • Who knows the company Frontline Digital GmbH?

    Frontline Digital GmbH is likely known by its employees, clients, partners, investors, and possibly industry competitors. Employees would have direct knowledge of the company's operations, while clients and partners would have interacted with the company in a business capacity. Investors would have financial stakes in the company, and industry competitors would be aware of Frontline Digital GmbH as a player in the market.

  • Can a German person establish a Kpop entertainment company?

    Yes, a German person can establish a Kpop entertainment company. There are no restrictions based on nationality when it comes to starting a business in the entertainment industry. However, they would need to have a good understanding of the Kpop industry, its culture, and the Korean market to successfully run the company. Building connections with Korean artists, producers, and industry professionals would also be crucial for the company's success.

  • In which entertainment company is your favorite K-pop group?

    My favorite K-pop group is BTS, and they are under the entertainment company Big Hit Entertainment, which has now been rebranded as HYBE Corporation. HYBE Corporation is known for managing several successful K-pop groups and artists, including BTS, TXT, and Seventeen. They are also involved in various aspects of the entertainment industry, such as music production, concert organization, and content creation.

  • Is Saturn and Media Markt the same company?

    No, Saturn and Media Markt are not the same company, but they are both owned by the same parent company, Ceconomy AG. Both Saturn and Media Markt are electronics retailers, but they operate as separate brands with their own distinct store concepts and marketing strategies. While they may share some resources and infrastructure, they are independent companies with their own management and business operations.

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