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7. Key Readings (Indicative)
- Hesmondhalgh, D. (2019). The Cultural Industries (5th ed.). Sage.
- Jenkins, H. (2006). Convergence Culture. NYU Press.
- Banet-Weiser, S. (2018). Empowered: Popular Feminism and Popular Misogyny. Duke UP.
- Cunningham, S., & Craig, D. (2021). Social Media Entertainment. NYU Press.
- Lotz, A. D. (2022). Netflix and Streaming Video. Polity.
TME, a leading online music entertainment platform in China, has been instrumental in shaping the entertainment industry. With its diverse range of music streaming services, including Kugou, Kankan, and Kuwo, TME has become a household name, offering users access to a vast library of music, live concerts, and other entertainment content. Hesmondhalgh, D
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5. Assessment Structure (Typical)
| Component | Weight | Description | |-----------|--------|-------------| | Case Study Analysis | 40% | 2,000-word critical analysis of a popular media phenomenon (e.g., Squid Game, Barbenheimer, Hawk Tuah meme) | | Research Essay | 60% | 3,500-word essay applying theory to an entertainment content sector (e.g., “Streaming era sitcoms and nostalgia labor”) |
Tools for Managing Video Subtitles and Metadata
4. Key Theoretical Frameworks
- Critical Political Economy (Mosco, Hesmondhalgh): Ownership, consolidation, labor in entertainment.
- Cultural Studies (Hall, du Gay): Encoding/decoding, articulation, circuits of culture.
- Audience & Fandom Studies (Jenkins, Hills, Gray): Participatory culture, interpretive communities.
- Platform Studies (van Dijck, Nieborg): Platform governance, affordances, datafication.