Trajce Cvetkovski Volgorde van de boeken

The book critically examines how health, safety, and wellbeing (HSW) issues are portrayed on a popular Australian reality TV show. It explores the potential trivialization of these important topics within the context of entertainment, highlighting the implications for public perception and awareness. Through analysis, the author seeks to understand the impact of media representation on societal attitudes toward HSW, questioning the balance between entertainment value and responsible messaging.

The book delves into the impact of new digital technologies on the popular music industry's organization, dominated by a few major firms controlling the majority of revenue. It investigates how these technologies challenge existing structures related to music creation and consumption. By examining both tangible and intangible aspects, it identifies significant recent changes and proposes four interconnected factors influencing the industry's concentrated status. The exploration aims to clarify the complexities of management and intellectual property exploitation in this evolving landscape.

Major firms currently dominate over 80% of global sound carrier and publishing revenue in the popular music industry, leading to disorganising effects. This investigation explores the impact of new technologies on the future organisation of the music industry, focusing on universally accessible digital technologies that challenge existing structures and processes related to music creation and consumption. The industry's complexity arises from sophisticated management and aggressive appropriation of intellectual property, particularly copyright, allowing for prolonged exploitation of music products. The book examines both the tangible and intangible aspects of how the industry organizes its offerings and identifies significant recent changes. Existing literature lacks clarity on these developments, and this work addresses that gap by proposing four interconnected factors influencing the concentrated status quo. Empirically grounded, it enhances understanding of industry methods and is framed within the political economy of music and popular culture. Targeted at students and individuals interested in the music industry, political economies in late capitalism, and related fields, the book adopts a multidisciplinary approach, engaging with political science, communications, sociology, law, and economics. It appeals to anyone intrigued by the music business.