Taylor (2007) explores the changing nature of the music industry. 

Taylor, T. D. (2007). The Changing Shape of the Culture Industry; or, How Did Electronica Music Get into Television Commercials?. Television & New Media, 8(3): 235-258.

 

Wilken (2014) offers an account of the development of social media industries and platforms.

Wilken, R. (2014). Places Nearby: Facebook as a location-based social media platform. New Media & Society.

 

Athique (2008) explores the structure of Indian media industries paying attention to their interconnectedness with informal economies and piracy. This article draws attention to the role that players outside of formal institutions play in organising and influencing the circulation of cultural content like music and film.

Athique, A. (2008). ‘The global dynamics of Indian media piracy: export markets, playback media and the informal economy’, Media Culture and Society, 30: 699-717.

 

Bar and Sandvig (2008) consider how communication policy responds to and regulates new media technologies. 

Bar, F. and Sandvig, C. (2008). ‘US communication policy after convergence’, Media Culture and Society, 30: 531-550.

 

McKnight and Hobbs (2011) examine how book deals made by HarperCollins promote conservative intellectual and political ideas. The authors argue that agenda aligns with the conservative politics of their owner Rupert Murdoch.

McKnight, D. and Hobbs, M. (2011). ‘'You're all a bunch of pinkos': Rupert Murdoch and the politics of HarperCollins’, Media, Culture and Society, 33: 835-850.

 

Schlesinger (2009) examines how ‘experts’ and ‘power plays’ shaped UK Labour government policies that developed the ‘creative industries’ as a new way of configuring and controlling cultural production. 

Schlesinger, P. (2009). ‘Creativity and the Experts: New Labour, Think Tanks, and the Policy Process’, International Journal of Press/Politics, 14: 3-20.

 

Zhang (2006) offers an account of how Chinese policy-makers conceptualise and implement their control of the internet.

Zhang, L. (2006). ‘Behind the 'Great Firewall': Decoding China's Internet Media Policies from the Inside’, Convergence, 12: 271-291.

 

Hassan (2003) examines the Massachusetts Institute of Technology’s Media Lab as a key site for producing technologies and discourses that promote networked information technologies. 

Hassan, R. (2003). ‘The MIT Media Lab: techno dream factory or alienation as a way of life?’, Media Culture Society, 25: 87-106.

 

O’Connor and Xin (2006) provide an account of the emergence of the ‘creative industries’ as part of China being incorporated into the global information economy. They examine the ‘tensions’ this creates within China. 

O'Connor, J. and Xin, G. (2006). ‘A new modernity?: The arrival of 'creative industries' in China’, International Journal of Cultural Studies, 9 (September): 271-283.

 

Tremblay (2011) critically considers how government policies construct and use ‘evidence’ to promote the idea of ‘creative’ economies in order to position the UK in the global information economy.

Tremblay, G. (2011). ‘Creative statistics to support creative economy politics’, Media Culture Society, 33: 289-298.

 

Hearn (2008) pays attention to the way professional communicators are called on to produce ourselves as a valuable brand within flexible media and communication workplaces. The article is concerned about the effects competitive relationships have on the identities, social relationships and products of professional communicators. 

Hearn, A. (2008). Meat, Mask, Burden: Probing the contours of the branded self. Journal of Consumer Culture, 8(2), 197-217.

 

Hesmondhalgh and Baker (2011) and Ursell (2000) each address the range of professional, casual, flexible and ‘below the line’ employment relationships that exist in media and cultural industries.

Hesmondhalgh, D., & Baker, S. (2008). Creative work and emotional labour in the television industry. Theory, culture & society, 25(7-8), 97-118.

Ursell, G. (2000). Television production: issues of exploitation, commodification and subjectivity in UK television labour markets. Media, Culture & Society, 22(6), 805-825.

 

Alper (2013) and Anden-Papadopoulos (2013) each examine the role that mobile media technologies play in representing conflict.

Alper, M. (2013). War on Instagram: Framing conflict photojournalism with mobile photography apps. New Media & Society.

Andén-Papadopoulos, K. (2013). Media witnessing and the ‘crowd-sourced video revolution’. Visual Communication, 12(3), 341-357.

 

Deuze (2005) examines how the professional ideologies of journalists inform their practice.

Deuze, M. (2005). What is journalism? Professional identity and ideology of journalists reconsidered. Journalism, 6(4), 442-464.

 

Kitzinger (2000) describes the role journalism plays in representing and managing crisis events. 

Kitzinger, J. (2000). Media templates: patterns of association and the (re) construction of meaning over time. Media, Culture & Society, 22(1), 61-84.

 

McKnight (2010) examines how News Corporation represents climate change.

McKnight, D. (2010). A change in the climate? The journalism of opinion at News Corporation. Journalism, 11(6), 693-706.

 

North (2009) examines the role that gender plays in the production of news. 

North, L. (2009). Rejecting the ‘F-word ‘How ‘feminism ‘and ‘feminists’ are understood in the newsroom. Journalism, 10(6), 739-757.

 

Campus (2010) illustrates how Berlusconi and Sarkozy each leverage and manage a mediatized political process. Part of their success is attributed to their capacity to create attention-grabbing and affective personalities. 

Campus, D. (2010). Mediatization and personalization of politics in Italy and France: The cases of Berlusconi and Sarkozy. The International Journal of Press/Politics, 15(2): 219-235.

 

Kellner (2009) examines how Obama mastered celebrity spectacle. 

Kellner, D. (2009). Barack Obama and Celebrity Spectacle. International Journal of Communication, 3: 715-741.

 

Pease and Brewer (2008) use data from an experiment to determine how news about celebrity endorsements benefit political campaigns. They examine Oprah’s endorsement of Obama’s campaign.

Pease, A., & Brewer, P. R. (2008). The Oprah factor: The effects of a celebrity endorsement in a presidential primary campaign. The International Journal of Press/Politics, 13(4): 386-400.

 

Chouliaraki (2010) examines the interrelationships between promotion and branding, culture, politics and ethics. They address themes related to ethical consumption, humanitarianism and activism within a commercial popular culture. 

Chouliaraki, L. (2010). Post-humanitarianism Humanitarian communication beyond a politics of pity. International Journal of Cultural Studies, 13(2), 107-126.

 

Feldman (2008) considers the role that comedy news plays in informing the public and enabling deliberative forms of democracy.

Feldman, L. (2007). The news about comedy Young audiences, The Daily Show, and evolving notions of journalism. Journalism, 8(4), 406-427.

 

Peck (2008) examines the frameworks of self-improvement offered by Oprah. 

Peck, J. (2010). The secret of her success: Oprah Winfrey and the seductions of self-transformation. Journal of Communication Inquiry, 34(1), 7-14.

 

Turner (2006) offers an argument about the participation of ordinary people in popular culture formats like reality TV. 

Turner, G. (2006). The mass production of celebrity ‘Celetoids’, reality TV and the ‘demotic turn’. International Journal of Cultural Studies, 9(2), 153-165.

 

Boyd (2008) and Fuchs (2012) discuss interactivity and participation relating to personal privacy.

Boyd, D. (2008). Facebook's Privacy Trainwreck. Convergence: The International Journal of Research into New Media Technologies, 14(1), 13-20.

Fuchs, C. (2012). The political economy of privacy on Facebook. Television & New Media, 13(2), 139-159.

 

Dahlberg (2011) explores political participation.

Dahlberg, L. (2011). Re-constructing digital democracy: An outline of four ‘positions’. New Media & society, 13(6), 855-872.

 

Hallinan & Striphas (2014) consider the conceptual and semantic work required to render algorithmic information processing systems legible as forms of cultural decision making. The article then represents an effort to add depth and dimension to the concept of “algorithmic culture.”

Hallinan, B., & Striphas, T. (2014). Recommended for you: The Netflix Prize and the production of algorithmic culture. New Media & Society.

 

Van Dijck (2011) explores the way social media structures relationships.

Van Dijck, J. (2012). Facebook as a tool for producing sociality and connectivity. Television & New Media, 13(2), 160-176.

 

Hasinoff (2013) explores cultural, legal and ethical questions relating to the use of smartphones for sexting. 

Hasinoff, A. A. (2013). Sexting as media production: Rethinking social media and sexuality. new media & society, 15(4), 449-465.

 

Hamelink (2008) considers how urban space might foster better forms of communication. 

Hamelink, C. J. (2008). Urban conflict and communication. International Communication Gazette, 70(3-4), 291-301.

 

Livingstone (2008) examines how we use social media to construct and perform our identities.

Livingstone, S. (2008). Taking risky opportunities in youthful content creation: teenagers' use of social networking sites for intimacy, privacy and self-expression. New Media & Society, 10(3): 393-411.

 

Andrejevic (2002) explores the work of being watched.

Andrejevic, M. (2008). Watching Television Without Pity The Productivity of Online Fans. Television & New Media, 9(1), 24-46.

 

Andrejevic (2008) considers the work of ranking, rating and expressing opinions.

Andrejevic, M. (2008). Watching Television Without Pity The Productivity of Online Fans. Television & New Media, 9(1), 24-46.

 

Martens (2011) discusses the work of creating content.

Martens, M. (2011). Transmedia teens: Affect, immaterial labor, and user-generated content. Convergence: The International Journal of Research into New Media Technologies, 17(1), 49-68.