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How long is a good story? Compressed narratives in British screen advertising since 1955
16 references·0 citing·35 second hop
How long is a good story? Compressed narratives in British screen advertising since 1955 (2023)How long is a good story? Compressed narr…Learning with the Lights Off: Educational Film in the United States. (2011)Learning with the Lights Off:…Access: Reflections on studying up in Hollywood (2010)Access: Reflections on studyi…Production Culture: Industrial Reflexivity and Critical Practice in Film and Television (2009)Production Culture: Industria…Films that Work : Industrial Film and the Productivity of Media (2009)Films that Work : Industrial …Production Culture: Industrial Reflexivity and Critical Practice in Film and Television (2008)Production Culture: Industria…Advertising and Creativity, a Governance Approach: A Case Study of Creative Agencies in London (2006)Advertising and Creativity, a…Advertising Cultures: Gender, Commerce, Creativity (2003)Advertising Cultures: Gender,…Ecologies of Creativity: The Village, the Group, and the Heterarchic Organisation of the British Advertising Industry (2001)Ecologies of Creativity: The …Creative Industries: Contracts between Art and Commerce (2001)Creative Industries: Contract…Buy This Book: Studies in Advertising and Consumption (1997)Buy This Book: Studies in Adv…Classical and Vignette Television Advertising Dramas: Structural Models, Formal Analysis, and Consumer Effects (1994)Classical and Vignette Televi…Who Talks Advertising? Literary Theory and Narrative “Point of View” (1991)Who Talks Advertising? Litera…The emergence of cinema: the American screen to 1907 (1991)The emergence of cinema: the …The Cinema of Attractions Early Film, Its Spectator and the Avant-Garde (1990)The Cinema of Attractions Ear…Television: Technology and Cultural Form (1978)Television: Technology and Cu…Television: Technology and Cultural Form (1974)Television: Technology and Cu…Outline of a Theory of Practice (1977)Exploration and Exploitation in Organizational Learning (1991)Communities of Practice (1998)The Project Ecology of Advertising: Tasks, Talents and Teams (2002)Entrepreneurship, Innovation and Industrial Development: Geography and the Creative Field Revisited (2006)Face-to-Face, Buzz, and Knowledge Bases: Sociospatial Implications for Learning, Innovation, and Innovation Policy (2007)The Interpretation of Cultures (1974)The Logic of Practice (1990)The Politics of Access in Fieldwork (2016)Distinction: A Social Critique of the Judgement of Taste* (2018)Theoretical and methodological pathways for research on elites (2018)How to study bureaucracies ethnographically? (2019)McQuail's mass communication theory (2000)A New Era of Minimal Effects? The Changing Foundations of Political Communication (2008)The Handbook of Journalism Studies (2009)“Tangible as Tissue”: Arnold Gesell, Infant Behavior, and Film Analysis (2011)Introduction: The era of management: a historical perspective on twentieth-century management (2014)Media archaeology as symptom (2016)Citizenship Excess (2016)Routledge Handbook of Interdisciplinary Research Methods (2018)The Fixers (2019)Building global knowledge pipelines: The role of temporary clusters (2006)Tourism, Creativity and Development (2007)Qualitative Research in Management: A Decade of Progress (2010)Life in the fast lane? Towards a sociology of technology and time (2008)The affective atmospheres of nationalism (2015)Exploring expert perceptions about the cyber security and privacy of Connected and Autonomous Vehicles: A thematic analysis approach (2020)The New Film History as Media Archaeology (2005)The Cinema of Attractions Reloaded (2006)Aesthetics as Philosophy of Perception (2016)Resource Partitioning, the Founding of Specialist Firms, and Innovation: The American Feature Film Industry, 1912–1929 (2000)Co-Evolution of Entrepreneurial Careers, Institutional Rules and Competitive Dynamics in American Film, 1895-1920 (2001)The Cambridge History of Modernism (2017)Academics, Cultural Workers and Critical Labour Studies (2013)House of Netflix: Streaming media and digital lore (2018)
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References

  • 1974Television: Technology and Cultural Form2,368 cited
  • 1990The Cinema of Attractions Early Film, Its Spectator and the Avant-Garde1,285 cited
  • 2001Creative Industries: Contracts between Art and Commerce1,210 cited
  • 1978Television: Technology and Cultural Form855 cited
  • 1991The emergence of cinema: the American screen to 1907513 cited
  • 2001Ecologies of Creativity: The Village, the Group, and the Heterarchic Organisation of the British Advertising Industry460 cited
  • 2008Production Culture: Industrial Reflexivity and Critical Practice in Film and Television379 cited
  • 2009Films that Work : Industrial Film and the Productivity of Media275 cited
  • 2009Production Culture: Industrial Reflexivity and Critical Practice in Film and Television268 cited
  • 2010Access: Reflections on studying up in Hollywood250 cited
  • 2003Advertising Cultures: Gender, Commerce, Creativity194 cited
  • 1994Classical and Vignette Television Advertising Dramas: Structural Models, Formal Analysis, and Consumer Effects190 cited
  • 1997Buy This Book: Studies in Advertising and Consumption169 cited
  • 2006Advertising and Creativity, a Governance Approach: A Case Study of Creative Agencies in London140 cited
  • 1991

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Who Talks Advertising? Literary Theory and Narrative “Point of View”
137 cited
  • 2011Learning with the Lights Off: Educational Film in the United States.121 cited
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