A Structural Analysis of Media Convergence: Cross-Industry Mergers and Acquisitions in the Information Industries

Chon, Bum Soo; Choi, Jun‐Ho; Barnett, George A.; Danowski, James A.; Joo, Sung-Hee

doi:10.1207/s15327736me1603_1

Cited by 64 publications

(25 citation statements)

References 22 publications

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“…), and the level of horizontal integration is rising as entertainment conglomerates acquire and partner with companies from various cultural industries (Arsenault and Castells ; Chon et al . ).…”

Section: Industry Dynamicsmentioning

confidence: 97%

Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics

Peltoniemi

2014

Int J Management Reviews

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During the last decade cultural industries have grown in economic importance, and research interest in them has increased. Despite prolific research, there is a lack of a comprehensive view on the subject. The purpose of the present paper is to offer a reconceptualization of cultural industries by tracing their boundaries, their features and the dynamics that follow from these features. This is achieved through a review of 314 cultural industries studies, whereby a classification system of three main and six sub-categories is constructed. On the basis of the review, a framework for future research is presented. Most importantly, future research should examine selection criteria and selection performance, and explore the relationships between tastes, sales, diversity and quality. In this way, researchers might be able to create some order in the extreme uncertainty that cultural industries managers face. 2 INTRODUCTIONResearch on cultural industries has become increasingly popular. This has been motivated by the growth of the economic importance of such sectors (see e.g. United Nations 2010), by the introduction of cultural and creative industries policies (e.g. DCMS 2008), and perhaps also by researchers' passion for and interest in sectors like film, music and video games.Despite increasing popularity, we lack a comprehensive view of the subject. Some cultural industries researchers emphasize the selection system cultural goods need to pass through to reach audiences (e.g. Hirsch 1972), while others highlight the inherent uncertainty concerning the success potential of any cultural good when they do so (e.g. De Vany 2004). For yet others cultural goods are defined by their non-utilitarian value (e.g. , while many have expressed interest in the conflicts between artistically-motivated creatives and financiallymotivated managers (e.g. Eikhof and Haunschild 2007). Despite a vast and varied body of work, it remains unclear what characteristics make industries cultural, which industries belong under the cultural umbrella, and what phenomena are specific to them. The purpose of the present paper is to offer a reconceptualization of cultural industries by tracing their boundaries, their features and the dynamics that follow from these features. Based on this, a framework for future research is presented.Based on a review of 314 cultural industries studies we propose the following definition: Cultural industries are those that produce experience goods with considerable creative elements and aim these at the consumer market via mass distribution. The creative elements consist of stories and styles, and they serve the purposes of entertainment, identity-building and social display. Mass distribution refers to storage and delivery where economies of scale play an important role. On the basis of this definition, the activities belonging under the cultural 3 industries concept include film, music, book and magazine publishing, TV and radio, fashion and video games.There are two features that are specific to cultural...

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Section: Industry Dynamicsmentioning

confidence: 97%

Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics

Peltoniemi

2014

Int J Management Reviews

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“…In particular, the deregulation of the media and the telecommunication sectors, which is abundantly discussed in some of the chapters of this book, is the process that led to the removal of the existing barriers and the establishment of new comprehensive rules for competition in the emerging markets. These new rules, enacted in the US Telecommunications Act of 1996 and in the 1997 World Trade Organization Agreements, and supported by the 1997 EU Green Paper on Convergence, allowed corporations to own assets in different media and communication markets and to grow and expand their activities, not only domestically, but also internationally (Chon, Choi, Barnett, Danowski, & Joo, 2003;Jin, 2013). Moreover, the dominant social imaginary of market convergence has certainly been shaped by new giants, like Google, Facebook or, in former days, America Online (AOL), which quickly emerged as providers of new services based on the new technological opportunities.…”

Section: The Rationale For Market Convergencementioning

confidence: 99%

Media Convergence Meets Deconvergence

Peil

Sparviero

2017

Media Convergence and Deconvergence

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This introductory chapter explains that there is a widely shared understanding of the imperative nature of media convergence, which is based on different notions connecting positive goals such as efficiency, synergy, simplification, information abundance, participation, availability and multimodality. These social imaginaries of media convergence are powerful concepts that influence political agendas and legitimize policy decisions. In this book, these privileged meanings of media convergence are challenged by presenting alternative and mostly overlooked trends and theories defined under the umbrella term of media deconvergence. The perspective of deconvergence helps to shed light on sites of tension and the simultaneity of competing forces such as coalescence and drifting apart, or linearity and discontinuity. Two of these sites of tension are analyzed more carefully in this chapter: the user’s perspective and the (de)convergence of markets.

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“…That transformation is caused by the development and diffusion of technology integration (i.e. the integration of telecommunications, publishing, broadcasting, cable, film, computer software and data processing service industries) on one side, and, the deregulation policy that redesign the boundaries between industries (Chon et al 2003) on the other side.…”

Section: Convergent Mobile Phones and Utautmentioning

confidence: 99%