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This is the first comprehensive history of MGM from its origins in 1905 to the present. Following a straightforward chronology corresponding to specific periods of film industry history, each chapter describes how successive managements adjusted their production strategies and business practices in response to evolving industrial and market conditions. As the production subsidiary of the Loew’s Incorporated theatre chain, MGM spent lavishly on its pictures and injected them with plenty of star power. The practice helped sustain MGM’s preeminent position during the heyday of Hollywood. But MGM was a conservative company and watched as other studios innovated with sound and widescreen, adjusted to television, and welcomed independent producers. By the 1960s, the company, sans its theatre chain, was in decline and was ripe for a takeover. A defining moment occurred in 1969, when Kirk Kerkorian, a Las Vegas entrepreneur, made a successful bid for the company. There followed a tumultuous thirty-six-year period when Kerkorian bought and sold MGM three times. Meanwhile, MGM never regained its former status and has functioned as a second-tier company to this day. Focusing on MGM’s top talent – such as Louis B. Mayer, Irving Thalberg, David O. Selznick, and Arthur Freed; directors King Vidor and Vincente Minnelli; and stars of the screen Greta Garbo, Judy Garland, Clark Gable, and Mickey Rooney – and award-winning films, this book highlights the studio’s artistic achievements and status within the industry.

Motion picture studios --- Motion picture studios. --- Film History --- Hollywood --- Media Industries --- History. --- Metro-Goldwyn-Mayer

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This book traces the emergence and development of cultural and creative industries (CCI) policy in Europe in the last 25 years. Why and how CCI policy has been designed and implemented in Europe is a central question of the book, in particular with regards to negotiations and relations between policy actors across established policy domains. There are many policy publications and reports on best practice and general descriptions of how policy systems work, fewer describe policy development over time and from a comparative perspective. Drawing mainly on research in policy studies, this book aims to improve knowledge of the dynamics of cultural and creative activities as well as that of policymaking in a changing policy landscape and increasingly cross-disciplinary research frameworks. Katja Lindqvist is Associate Professor and Senior Lecturer at Lund University, Sweden. As Art Historian with a PhD in Business Administration, she researches and teaches in the field of arts management and has published texts on museum economy and competence development, entrepreneurship and the arts, public policy and governance, and other related fields.

Mass media --- Communication and traffic. --- Media Policy and Politics. --- Media Industries. --- Political aspects.

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“With an impressive number of sources, Tereza achieves an encyclopaedic overview of the audio documentary production, or feature. Her work has the potential to become a pillar of specialized literature, dealing with the present field of radio.“ —Jan Gogola, Documentarist, Tomas Bata University, Czechia “You pick up European Radio Documentary to learn how the audio feature has evolved and is celebrated. You put it down challenged and provoked as to how to nourish creativity not just in one’s own audio making but also through the power of coming together.“ —Diarmuid McIntyre, Producer & Founder of the HearSay Festival, Ireland “Based upon extensive research and in-depth interviews, Tereza tells the story of passionate explorers of the most discrete of all media - radio. Written with bravura, humour, impertinence, and clear historical insight.“ —Edwin Brys, Royal Institute for Theatre, Cinema and Sound, Belgium “In a period with audio bits, TV snippets and hasty competitions, Tereza makes us familiar with this sounding globe, which we must preserve like our planet on the whole.“ —Helmut Kopetzky, Author & Producer, Germany “Tereza characterized the generational change which had been difficult to implement over the past decades. To date, no one has undertaken such task in such complexity.“ —Andrea Hanáčková, Documentarist, Palacký University, Czechia This book studies the history and significance of radio documentaries in Europe, and the institutions that are specialized on this genre. Focused on the 50-year history of the International Feature Conference (an annual gathering of radio documentarians from around the world), the book discusses the Prix Europa, Prix Italia, the Third Coast International Audio Festival, and the HearSay Audio Arts Festival. The book tells the story of people who chose sound as their lifestyle and who spread their passion worldwide. Tereza Reková is an award-winning producer, screenwriter, and podcaster. She is one of the current leading Czech representatives of documentary makers who reflect on their work theoretically – she teaches Radio Studies at JAMU and inspires young creators to work with audio. .

Art festivals --- Radio broadcasting. --- Communication and traffic. --- Communication. --- Radio. --- Media Industries. --- Media and Communication.

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Journalism. --- Communication and traffic. --- Social media. --- Media Industries. --- Social Media. --- Resilience (Personality trait) --- Journalism --- Affective and dynamic functions

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Spätestens seit den frühen Formationen einer auf Notendrucken basierenden Musikindustrie unterhalten musikferne Unternehmen Beziehungen zu Musik und ihren Akteur*innen. Damals wurden vornehmlich Kosmetik und Tabakprodukte in Notenbüchern beworben. Heute jedoch haben sich die Formen, bei denen Musik in den kommerziellen Aktivitäten musikferner Akteur*innen eine Rolle spielt, ausdifferenziert. Gleichzeitig hat der Markt für Aktivitäten wie Sponsoring oder Werbung an Volumen zugenommen. Hierbei spielen Marken eine besondere Rolle. Um Marken aufzubauen publizieren Unternehmen Musikmagazine, vertreiben Tonträger, organisieren und streamen Konzerte oder nehmen gar Künstler*innen mit eigenen Labels unter Vertrag. Gleichzeitig werden auch Künstler*innen und Bands durch die Musikindustrie immer stärker als Marken aufgebaut. Das Jahrbuch der GMM „Musik & Marken“ sondiert die Forschung zu Musik und Marken, versammelt empirische Befunde und zeigt neue Forschungsperspektiven in der Untersuchung von „Musik & Marken“ auf. Die Herausgeber*innen Lorenz Grünewald-Schukalla ist Geschäftsführer der Gesellschaft für Musikwirtschafts- und Musikkulturforschung e.V. und Referent für digitale Technologien und Innovationen beim AWO Bundesverband. Dr. Anita Jóri ist Post-Doc Wissenschaftliche Mitarbeiterin im Vilém Flusser Archiv, Universität der Künste, Berlin. Dr. Holger Schwetter ist selbständiger Musikwissenschaftler, Kulturmanager und Berater und hat Lehraufträge an der Hochschule Osnabrück und der Universität Paderborn.

Communication and traffic. --- Mass media and globalization. --- Popular music. --- Popular Culture. --- Business. --- Management science. --- Media Industries. --- Media and Globalisation. --- Popular Music. --- Business and Management. --- Popular culture.