The Shining (1980)

Film Matters ◽  
2021 ◽  
Vol 12 (1) ◽  
pp. 157-162
Author(s):  
Tylen Watts
Keyword(s):  
Home Entertainment

The Shining (1980)USADirector Stanley KubrickRuntime 144 minutesBlu-ray, 4K UHDUSA, 2019Distributed by Warner Bros. Home Entertainment Inc. (region A/B/C)

Effiziente und zuverlässige Ersatzteillieferung in vier Stunden

2019 ◽  
Vol 33 (01-02) ◽  
pp. 60-61
Author(s):  
Nicole Heymann
Keyword(s):  
Supply Chain ◽  
Home Entertainment

Ersatzteillogistik | Ob Mobilfunk, Festnetz, Internet oder Home-Entertainment – wenn ein Mobilfunkmast eines Netzbetreibers ausfällt, müssen Telekommunikationskunden mit massiven Einschränkungen rechnen. Damit potenzielle Störungen so schnell wie möglich behoben werden, hat Arvato SCM Solutions ein maßgeschneidertes Konzept für eine Techniker-Supply-Chain entwickelt, das die Versorgung mit Ersatzteilen binnen vier Stunden sicherstellt.

scholarly journals WHY DO (W)EEE HOARD? THE EFFECT OF CONSUMER BEHAVIOUR ON THE RELEASE OF HOME ENTERTAINMENT PRODUCTS INTO THE CIRCULAR ECONOMY

Detritus ◽  
2020 ◽  
pp. 18-33
Author(s):  
Ariadne Wilkinson ◽  
Ian D. Williams
Keyword(s):  
End Of Life ◽  
Circular Economy ◽  
Urban Areas ◽  
Consumer Behaviour ◽  
Critical Evaluation ◽  
Residual Value ◽  
Awareness Campaigns ◽  
Home Entertainment ◽  
Entertainment Products ◽  
Very High

Home entertainment (HE) products are particularly rich in metals and plastics and thus have enormous potential as a source of materials from within Distinct Urban Mines (DUMs). Consumers’ end-of-life (EoL) management decisions (i.e. stockpiling, hoarding, reusing, discarding of WEEE) strongly influence the exploitation potential of a DUM. This study aimed to assess the effect of consumer behaviour on the release of HE (W)EEE into the circular economy. A survey was undertaken in Southampton (Hampshire, UK) to assess perceptions and behaviours relating to the EoL management of HE (W)EEE. The study provides previously unavailable data and critical evaluation on the ownership, use and hoarding levels of HE EEE in a typical city DUM, and the reasons behind their hoarding. Results indicated that ownership levels were very high, with an average of 12 home entertainment items owned per household. This makes urban areas extremely plausible as DUMs; we estimate that there are over 1 million HE devices owned and ~440,000 HE devices hoarded in Southampton and >150 million HE EEE owned and ~61 million HE devices hoarded in UK households. Hoarding is common, especially for smaller or older equipment, due to their perceived residual value. HE product lifecycles averaged 4-5 years. The most common EoL routes were donating to relatives, friends or charities; hoarding; recycling; or discarding items in general refuse. To encourage the recovery of EoL HE equipment: i) convenient and accessible WEEE collection points should be established for regular (periodic) harvesting and ii) promoted via awareness campaigns and incentives.

scholarly journals Entrepreneurial orientation in a franchised home entertainment system

2014 ◽  
Vol 9 (1) ◽  
pp. 1-16 ◽  
Author(s):  
A Maritz ◽  
G Nieman
Keyword(s):  
Research Methodology ◽  
Entrepreneurial Orientation ◽  
Electronic Media ◽  
Future Research ◽  
Data Set ◽  
Franchise System ◽  
Factors Associated ◽  
Home Entertainment ◽  
Managerial Implications ◽  
Survey Approach

This paper fills the gap in the research undertaken into the entrepreneurial orientation of franchisees. The study identifies entrepreneurial orientation within a defined franchise system, using the entrepreneurial character theme matrix developed by Thompson (2002). Research methodology comprises the survey approach, using electronic media and Surveypro analysis (Dillman, 2000). Hypothesis tests highlight the absence of statistically significant entrepreneurial orientation in the franchise system, despite a significant orientation in a multiple-outlet proposition analysis. Conclusions and recommendations include mobilising and communicating the action factors associated with entrepreneurial orientation, involving all franchisees within the system. Managerial implications include the motivation of developing multiple-outlet franchise systems. Future research involves broadening the data set across industries and borders.  

The brave new world of online digital home entertainment

2005 ◽  
Vol 43 (5) ◽  
pp. 84-89 ◽  
Author(s):  
J. But ◽  
T.T.T. Nguyen ◽  
G. Armitage
Keyword(s):  
New World ◽  
Digital Home ◽  
Home Entertainment ◽  
Brave New World

Weekend and Cannibal Holocaust: Art, Ballyhoo and Remediation

2018 ◽  
pp. 63-87
Author(s):  
Simon Hobbs
Keyword(s):  
Detailed Analysis ◽  
Artificial Eye ◽  
Art Cinema ◽  
Home Entertainment ◽  
Art Film ◽  
Exploitation Film

This chapter starts with an assessment of Jean-Luc Godard’s auteur status, before focusing on Weekend, a film frequently overlooked in discussions of extreme art cinema. By drawing attention to the film’s depiction of cannibalism, rape and real animal slaughter, the chapter highlights the similarities it shares with other extreme texts, repositioning it within the boarder extreme art film tradition outlined throughout the book. To find out whether this reputation impacts the commercial identity of the film, the chapter moves on to explore the paratextuality of the film. Ultimately concluding that the film’s distributors (Artificial Eye) offer a hybridised object that flirts with extremity, the chapter then examines Ruggero Deodato’s Cannibal Holocaust. Noting similarities between the films, the chapter provides a detailed analysis of Shameless Screen Entertainment collectors’ edition DVD. Showing how the paratextual material re-constructs the film’s history, the analysis argues that Cannibal Holocaust’s remediation moves it away from an exploitation film ghetto by employing traditionally highbrow marketing techniques. By complicating existing ideas regarding the commercial function of extremity, the chapter illustrates the extent to which home entertainment objects obscure long-standing taste distinctions.

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