Jon Silver
Biographic Data
| ID | 3855770 |
|---|---|
| NAME | Jon Silver |
| GIVEN NAMES | Jon |
| FAMILY NAME | Silver |
| SIGNATURE | SILVER J |
| AFFILIATIONS | Queensland University of Technology |
| ORCID | 0000-0003-3814-4205 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 1 |
Australian feature films and distribution
Feature films remain critical flagships to any national film industry. Australian feature films can be highly commercial endeavours that also perform symbolic functions by embodying the national imaginary in big screen based sound and imagery. They conduct a dialogue with domestic audiences as well as showcase key aspects of Australia in the global film festival circuit. As the preeminent filmmaking form, feature films also serve as important lau…
Screen Distribution and the New King Kongs of the Online World
Drawing on comparisons with historical shake-ups in the film industry, Screen Distribution Post-Hollywood offers a timely account of the changes brought about in global online distribution of film and
The Relationship between Entertainment Producers and Higher Education Providers
Cameron, Verhoeven and Court have noted that many screen producers do not see their tertiary education as being beneficial to their careers. We hypothesise that universities traditionally have not trained students in producing skills because of the division of labour between arts and business faculties, and because their focus on art rather than entertainment has downplayed the importance of producing. This article presents a Scholarship of Teach…
Section III Chindia screens Chindia
The first global entertainment company
For almost a decade before Hollywood existed, French firm Pathé towered over the early film industry with estimates of its share of all films sold around the world varying between 50 and 70%. Pathé was the first global entertainment company. This paper analyses its rise to market leadership by applying a theoretical framework drawn from the business literature on causes of industry dominance, which provides insights into how firms acquire and mai…
Rates of Change
Much debate in media and communication studies is based on exaggerated opposition between the digital sublime and the digital abject: overly enthusiastic optimism versus determined pessimism over the potential of new technologies. This inhibits the discipline's claims to provide rigorous insight into industry and social change - which is, after all, continuous. Instead of having to decide one way or the other, we need to ask how we study the proc…
Rates of Change
Much debate in media and communication studies is based on exaggerated opposition between the digital sublime and the digital abject: overly enthusiastic optimism versus determined pessimism over the potential of new technologies. This inhibits the discipline's claims to provide rigorous insight into industry and social change - which is, after all, continuous. Instead of having to decide one way or the other, we need to ask how we study the proc…
Section III Chindia screens Chindia
The first global entertainment company
For almost a decade before Hollywood existed, French firm Pathé towered over the early film industry with estimates of its share of all films sold around the world varying between 50 and 70%. Pathé was the first global entertainment company. This paper analyses its rise to market leadership by applying a theoretical framework drawn from the business literature on causes of industry dominance, which provides insights into how firms acquire and mai…
Rates of Change
Much debate in media and communication studies is based on exaggerated opposition between the digital sublime and the digital abject: overly enthusiastic optimism versus determined pessimism over the potential of new technologies. This inhibits the discipline's claims to provide rigorous insight into industry and social change - which is, after all, continuous. Instead of having to decide one way or the other, we need to ask how we study the proc…
The Relationship between Entertainment Producers and Higher Education Providers
Cameron, Verhoeven and Court have noted that many screen producers do not see their tertiary education as being beneficial to their careers. We hypothesise that universities traditionally have not trained students in producing skills because of the division of labour between arts and business faculties, and because their focus on art rather than entertainment has downplayed the importance of producing. This article presents a Scholarship of Teach…
Screen Distribution and the New King Kongs of the Online World
Drawing on comparisons with historical shake-ups in the film industry, Screen Distribution Post-Hollywood offers a timely account of the changes brought about in global online distribution of film and
Australian feature films and distribution
Feature films remain critical flagships to any national film industry. Australian feature films can be highly commercial endeavours that also perform symbolic functions by embodying the national imaginary in big screen based sound and imagery. They conduct a dialogue with domestic audiences as well as showcase key aspects of Australia in the global film festival circuit. As the preeminent filmmaking form, feature films also serve as important lau…
Business (6 works) · Advertising (5 works) · Political science (4 works) · Sociology (4 works) · Art (3 works) · Cinema and Media Studies (3 works) · Cultural Industries and Urban Development (3 works) · Film industry (3 works) · Hollywood (3 works) · Marketing (3 works)