Avi Santo
Biographic Data
| ID | 6600634 |
|---|---|
| NAME | Avi Santo |
| GIVEN NAMES | Avi |
| FAMILY NAME | Santo |
| SIGNATURE | SANTO A |
| AFFILIATIONS | Old Dominion University |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 9 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2004 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Configuring the Field of Character and Entertainment Licensing
Of Niggas and Citizens
Mediated Merchandise, Merchandisable Media
There are many reasons why film and media scholars ought to take merchandise seriously. That filmrelated merchandise is a lucrative part of the film business is only a starting point, but still a good place to start. In 2018, character and entertainment licensing accounted for 44.7% of retail sales of licensed merchandise, generating $121.53 billion in sales. [1] [#N1] This earned entertainment companies approximately $6.2 billion in royalties. […
Fans and merchandise
Matt Hills theorizes that the diminished focus is due to the perceived relationship between merchandise and consumerism that has dogged fan cultures and which fan scholars have worked so hard to recuperate by emphasizing fan productivity at the expense of fan consumption practices. Ultimately, the aversion to taking material fan practices seriously has led to large gaps in studying what fans actually do with the merchandise they acquire and how t…
Making Media Work
Is It a Camel? Is It a Turban? No, It’s The 99 ”
Since 2006, Kuwait-based Teshkeel’s The 99, billed as the world’s first Islamic superhero team, has developed into a transnational cross-media brand, with theme park tie-ins, merchandizing, and an animated series coproduced with Endemol sold to nearly a dozen countries around the world. The 99 is intended to be a transformative brand that repairs and redefines Islam’s reputation through branding and marketing. Yet, attempts to bring the TV series…
A Teenie Weenie amount of ‘Goodwill’
This article analyses correspondence and legal documents pertaining to William Donahey’s efforts to merchandize his Teenie Weenies comic strip in the 1920s, with particular emphasis on Donahey’s negotiations with toy distributor Geo. Borgfeldt & Company. I argue that neither the Teenie Weenies’ value as intellectual property, nor Donahey’s creative authority as licensor nor Borgfeldt’s as licensee preceded the negotiations between these two parti…
Good Morals Are Good Business”
This article takes a critical media industry studies approach to analyzing the production of children's radio in the 1930s, specifically looking at the tactical exchanges between NBC executives and the owners/producers of the Green Hornet, Little Orphan Annie, and Superman, focusing on the discursive labor to reconcile commercial and pro-social interests that framed these interactions. I argue that these discursive exchanges not only shaped the e…
Act locally, sell globally
Scholarship on Inuit media has most often focused on the impact of digital video production on local economies and cultural traditions.1 Non-Inuit audiences and global markets have been considered
Nunavut
This article expands the discussion of Inuit broadcasting in northern Canada to encompass actual texts, about which little has been written. Specifically, I focus on Nunavut, a 13-part television series produced in 1994-5 by Igloolik Isuma Productions. Nunavut is considered the first dramatic series to be created entirely by Inuit. While drawing upon Ginsburg’s emphasis on the significance of ‘embedded aesthetics’ to indigenous media producers, I…
Nunavut
This article expands the discussion of Inuit broadcasting in northern Canada to encompass actual texts, about which little has been written. Specifically, I focus on Nunavut, a 13-part television series produced in 1994-5 by Igloolik Isuma Productions. Nunavut is considered the first dramatic series to be created entirely by Inuit. While drawing upon Ginsburg’s emphasis on the significance of ‘embedded aesthetics’ to indigenous media producers, I…
Is It a Camel? Is It a Turban? No, It’s The 99 ”
Since 2006, Kuwait-based Teshkeel’s The 99, billed as the world’s first Islamic superhero team, has developed into a transnational cross-media brand, with theme park tie-ins, merchandizing, and an animated series coproduced with Endemol sold to nearly a dozen countries around the world. The 99 is intended to be a transformative brand that repairs and redefines Islam’s reputation through branding and marketing. Yet, attempts to bring the TV series…
A Teenie Weenie amount of ‘Goodwill’
This article analyses correspondence and legal documents pertaining to William Donahey’s efforts to merchandize his Teenie Weenies comic strip in the 1920s, with particular emphasis on Donahey’s negotiations with toy distributor Geo. Borgfeldt & Company. I argue that neither the Teenie Weenies’ value as intellectual property, nor Donahey’s creative authority as licensor nor Borgfeldt’s as licensee preceded the negotiations between these two parti…
Act locally, sell globally
Scholarship on Inuit media has most often focused on the impact of digital video production on local economies and cultural traditions.1 Non-Inuit audiences and global markets have been considered
Nunavut
This article expands the discussion of Inuit broadcasting in northern Canada to encompass actual texts, about which little has been written. Specifically, I focus on Nunavut, a 13-part television series produced in 1994-5 by Igloolik Isuma Productions. Nunavut is considered the first dramatic series to be created entirely by Inuit. While drawing upon Ginsburg’s emphasis on the significance of ‘embedded aesthetics’ to indigenous media producers, I…
Act locally, sell globally
Scholarship on Inuit media has most often focused on the impact of digital video production on local economies and cultural traditions.1 Non-Inuit audiences and global markets have been considered
Good Morals Are Good Business”
This article takes a critical media industry studies approach to analyzing the production of children's radio in the 1930s, specifically looking at the tactical exchanges between NBC executives and the owners/producers of the Green Hornet, Little Orphan Annie, and Superman, focusing on the discursive labor to reconcile commercial and pro-social interests that framed these interactions. I argue that these discursive exchanges not only shaped the e…
A Teenie Weenie amount of ‘Goodwill’
This article analyses correspondence and legal documents pertaining to William Donahey’s efforts to merchandize his Teenie Weenies comic strip in the 1920s, with particular emphasis on Donahey’s negotiations with toy distributor Geo. Borgfeldt & Company. I argue that neither the Teenie Weenies’ value as intellectual property, nor Donahey’s creative authority as licensor nor Borgfeldt’s as licensee preceded the negotiations between these two parti…
Is It a Camel? Is It a Turban? No, It’s The 99 ”
Since 2006, Kuwait-based Teshkeel’s The 99, billed as the world’s first Islamic superhero team, has developed into a transnational cross-media brand, with theme park tie-ins, merchandizing, and an animated series coproduced with Endemol sold to nearly a dozen countries around the world. The 99 is intended to be a transformative brand that repairs and redefines Islam’s reputation through branding and marketing. Yet, attempts to bring the TV series…
Making Media Work
Fans and merchandise
Matt Hills theorizes that the diminished focus is due to the perceived relationship between merchandise and consumerism that has dogged fan cultures and which fan scholars have worked so hard to recuperate by emphasizing fan productivity at the expense of fan consumption practices. Ultimately, the aversion to taking material fan practices seriously has led to large gaps in studying what fans actually do with the merchandise they acquire and how t…
Mediated Merchandise, Merchandisable Media
There are many reasons why film and media scholars ought to take merchandise seriously. That filmrelated merchandise is a lucrative part of the film business is only a starting point, but still a good place to start. In 2018, character and entertainment licensing accounted for 44.7% of retail sales of licensed merchandise, generating $121.53 billion in sales. [1] [#N1] This earned entertainment companies approximately $6.2 billion in royalties. […
Of Niggas and Citizens
Configuring the Field of Character and Entertainment Licensing
Political science (6 works) · Business (5 works) · Sociology (5 works) · Law (4 works) · Law (4 works) · Gender, Feminism, and Media (3 works) · Media studies (3 works) · Media Studies and Communication (3 works) · Advertising (2 works) · Art (2 works)