Влияние кросс-культурного аспекта на производственный менеджмент в индустрии музыки и спорта
Аннотация
ABSTRACT
Entertainment (music and sport) is a key cultural category. Yet the definition of entertainment can differ depending on the concept and approach used upon whom one asks. This report maps out understandings of entertainment in three key areas. Entertainment is characterized by a commercial business model in industrial discourse. Within evaluative discourses used by consumers and critics, it is understood through an aesthetic system that privileges emotional engagement, story, speed, and vulgarity. Despite being one of the central categories used by producers and consumers of culture, entertainment has not been a key organizing concept within academia in the humanities. It has been significant in psychology, where entertainment is defined as anything that an individual finds entertaining in a solipsistic manner. Synthesizing these approaches, the authors propose a cross-sectoral definition of entertainment as an ‘audience-centered commercial culture’. In my opinion, the abstract should summarize the key ideas of the entire study, not just its first part. What is written here can be included in the theoretical basis.
Entertainment (music and sport) is a key cultural category. Yet the definition of entertainment can differ depending on the concept and approach used upon whom one asks. This report maps out understandings of entertainment in three key areas. Entertainment is characterized by a commercial business model in industrial discourse. Within evaluative discourses used by consumers and critics, it is understood through an aesthetic system that privileges emotional engagement, story, speed, and vulgarity. Despite being one of the central categories used by producers and consumers of culture, entertainment has not been a key organizing concept within academia in the humanities. It has been significant in psychology, where entertainment is defined as anything that an individual finds entertaining in a solipsistic manner. Synthesizing these approaches, the authors propose a cross-sectoral definition of entertainment as an ‘audience-centered commercial culture’. In my opinion, the abstract should summarize the key ideas of the entire study, not just its first part. What is written here can be included in the theoretical basis.