Streaming success: positioning Roku’s future in a hypercompetitive industry

Theoretical basis The theoretical basis for this case is a focus on strategic positioning as related to Porter’s Generic Strategies. The case accounts Roku’s journey in facing additional competition, highlighting the competitive dynamics at play. The case requires students to consider how Roku might revise its generic strategy based on the new competitive landscape in which it operates. Research methodology In writing this case, the research team used secondary research that was informed by interviews with Roku users. Resources such as IBIS World, MergentOnline, academic journals, trade magazines and websites were used to inform and verify information. Case overview/synopsis As the market disruptor of how media was consumed, Roku had been connecting customers, publishes and advertisers with its unique capabilities for over 10 years. With the belief that all TV content should be available through streaming, Roku had forever changed the traditional model of how media was distributed and consumed. By capitalizing on the previously untapped economic opportunity of TV streaming platforms, Roku had made itself the premier streaming broadcast service for users, content publishers and advertisers. The company was now faced with the difficult task of finding the best ways to keep innovation high and continue to grow. Complexity academic level This case could be taught at either the graduate or undergraduate level strategy course. At the undergraduate level, it would be best taught in a strategy course, when discussing industry life cycle or vertical integration. At the graduate level, MBAs could discuss the competitive dynamics and hypercompetition within the industry.

Paul Leni’s The Cat and the Canary: Adaptation into Genre

This chapter argues that Leni’s first film with Universal Pictures, The Cat and the Canary, created a visual and aural iconography that was essential for its cinematic progeny: namely, its remake in 1939, and the broader trend of ‘old spooky house’ narratives in Hollywood filmmaking. An early instalment in the horror-comedy genre, Leni’s 1927 film would later lend formal and affective shape to what trade magazines of the 1920s and 1930s called the thriller-chiller-comedy. Interweaving concurrent film reviews and memos between industry executives, Gordon’s chapter details Leni’s so-called “German” or “European” influence in reference to the film’s visual style and the effect of that style on its viewers. This chapter takes the position that The Cat and the Canary’s stylistic innovations became identifiable as parts of a pattern (or, indeed, a genre) by the 1930s, and, further, that Leni himself was responsible for developing an entirely new formula for Hollywood filmmaking.

Navigating the Landscape of the STEM Professoriate

In 1976, the challenges faced by women of color who pursue careers in science, technology, engineering, and mathematics (STEM) fields were first brought to national attention. Forty-two years later, the authors re-examine the challenges, barriers, and successes of women of color in STEM higher education. This chapter examines the landscape of the STEM professoriate through a literature review (journals, trade magazines, theses, and dissertations) and reflective shorts and quotes from women of color navigating the STEM professoriate. The literature review spans a 10-year period (2008-2018). Both the review and the reflections focus on the areas of STEM belonging, self-presentation, stereotyping, institutional racism, discrimination, and tokenism as challenges faced by women of color in the STEM professoriate. Additionally, mechanisms used by women of color to navigate and succeed despite these barriers, such as mentoring, are explored throughout.

Research in the Healthcare Design Practice: Design Practitioners’ Perspective

Objective This study explores design practitioners’ level of knowledge about research, their attitude toward research integration into the design practice, and the barriers to its application in the design process. Background Design practitioners tend to heavily rely on previous design experience and precedents rather than utilization and application of research. Research can facilitate the evaluation and creation of innovative design solutions. Integrating research has been a challenge for the design industry. Methodology The study utilized an online survey to solicit feedback from architects and interior designers in the healthcare sector through a snowball sampling approach. The survey comprised closed-ended and open-ended questions categorized into three distinct sections, each focusing on one of the study objectives. A total of 115 participants completed the questionnaire. Results Practitioners tend to integrate research into the early design phases and programming. It is recognized as a tool for design enhancement by 62%, while 7% considered it to be a hindrance to their creativity. Primary data collection methods include collaboration with colleagues and user groups rather than journals and trade magazines. Cost, time, and lack of expertise are the top three hurdles in applying research in practice. Conclusions Practitioners have a positive attitude toward research, perceive it as an impactful design enhancement tool, and use it to promote their credibility. Lack of research expertise hinders the use and conduct of research. According to design practitioners, research is costly and time-consuming and impedes their ability to fulfill clients’ goals and the project timeline.

69 Arkansas beef producers’ age impacts educational method preference

In November 2017, leaders from each segment of the Arkansas beef industry were invited to participate in a nominal group technique to identify current strengths, weaknesses, and future opportunities of the industry. Results from the nominal group technique were used to develop surveys specifically for beef cattle segments. A total of 325 responses were received. One objective of the study was to evaluate educational preferences including methods for receiving information and group meeting participation. Participants identified with one of 5 age categories including < 31 yrs, 31 to 40 yrs, 41 to 50 yrs, 51 to 60 yrs, and > 60 yrs of age. Participants were also asked to rate methods for receiving information, based on preference where 1 = not preferred and 5 = highly preferred. A correlation between age and preferred method of receiving information could guide future efforts in educational information development. There was a negative correlation between age and social media as the preferred method for receiving information (r = -0.32, P = < .001). No other significant differences were detected between preferred method of receiving information and age. In an effort to be efficient with the educational materials that are produced, and reach as many clientele as possible using the preferred methods of receiving information, Extension specialists can focus on correlations between preferred methods of receiving information. Producers who prefer printed publications as a method of receiving information, also highly prefer display/poster, group meeting/workshop, experiment station field days, and on-farm field demonstrations. Participants whose preferred method of receiving information was a mobile device, also highly preferred social media, online web-based information, distance education, and trade magazines. Extension personnel could concentrate efforts in developing information using the methods listed above to reach larger groups of target clientele, by using highly preferred methods of receiving information.

Rap/Hip-Hop

Rap evolved as a vernacular term used among African Americans to define a stylized way of speaking. Over the years, black radio disc jockeys, musicians, literary figures, and 1960s political figures incorporated rap into their performances or way of speaking to appeal to black audiences. By the early 1970s, rap continued its development in the urban streets among “rhymin’ emcees” (MCs) accompanied by pre-recorded music, provided by a disc jockey on two turntables. This concept became associated with a youth arts movement driven and populated by black and Latino youth in New York City called hip-hop. Comprised of four elements—breakdancing (b-boying/b-girling), graffiti (writing), disc jockeying (DJing), and emceeing (MCing)—hip-hop also distinguishes a distinct form of dress, gesture, and language that embodies an urban street consciousness. By the late 1970s, the rhymin’ MC/DJ combination attracted music entrepreneurs who recognized the commercial potential with the release of the recording “Rapper’s Delight” by the Sugarhill Gang. Subsequently, music trade magazines such as Billboard contributed to popularizing the MC/DJ concept as rap music. Additionally, the production of hip-hop arts via the silver screen, advertising, and fashion industries further contributed to its rise to global prominence. Realizing its viability to a growing youth constituency, entrepreneurs placed significant value on certain elements of hip-hop believed to be more marketable to youth consumers in the popular music mainstream. For example, MCing and DJing became primary markets while breakdancing and graffiti served as hip-hop’s secondary markets. As such, rap music eventually eclipsed in popularity breakdancing and graffiti, thus solidifying this music category. Occasionally, critics and aficionados use rap music interchangeably with hip-hop. The sources herein will be used interchangeably as rap music/hip-hop along with their associates (breakdance and graffiti), and allied traditions. Similar to the burgeoning success of hip-hop culture in the mainstream popular culture, rap garnered the attention of academicians during the late 1980s, who perceived it as fertile ground for the study of popular youth culture. This is evident with a flurry of theses, articles, books, journalistic writings, and photo-essays leading to the establishment of hip-hop studies. Today, there are thousands of written sources on hip-hop. Rather than attempting to present all of these written sources, which would be beyond the scope of this bibliography, this article instead offers a survey of book sources and seminal journal articles that reflect the erudition, scholarly depth, and interdisciplinary scope of hip-hop studies.

THE DEVELOPMENT OF MARKETING IN TOURISM INDUSTRY

The purpose of this paper is how the marketing development and changing the tourism industry in the world.Tourism marketing is the business discipline of attracting visitors to a specific location. Hotels, cities, states, consumer attractions, convention centers and other sites and locations associated with consumer and business travel all apply basic marketing strategies to specific techniques designed to increase visits.In the tourism industry, marketing includes determining the unique selling benefit or benefits one area has over its competition. A destination might offer people looking to combine business and pleasure ease of travel to and from the area, ample convention halls and hotels, interesting nightlife, and activities for adult partners and children.The tourism marketing uses a wide variety of communications strategies and techniques to promote areas and destinations. A convention center might purchase advertisements in trade magazines for meeting planners and send direct mail materials to corporations that hold events. They might place ads in tennis or golf magazines to attract those consumers. The tourism destinations build websites and place ads in consumer publications read by their target customers. Chambers of commerce are involved in promoting their areas generally and the businesses within their areas specifically. This often includes offering potential visitors packets filled with brochures, discount coupons and other materials.

Den norske videobutikken: 1979–2017

De første norske videobutikkene åpnet dørene i 1979 og de siste stengte i 2017. I løpet av denne tidsperioden rakk de å bryte NRKs monopol på film og tv-serier i hjemmet, de ble utskjelt, de ble en av de viktigste kulturinstitusjonene i landet og de tilbød et relativt stort utvalg i film. Ved å studere bransjeblader, annonser, lokalaviser og kommunale arkiver tegner denne artikkelen et bilde av de norske videobutikkenes historie på nasjonalt plan og utdyper dette med en lokal case.The first Norwegian video-stores opened its doors in 1979 and the last ones closed in 2017. During this time, they were the first to break the state monopoly on filmed home entertainment. The video-stores became notorious, but they also established themselves as some of the most important cultural institutions in the country, with a relatively wide selection of films to offer customers. By studying trade magazines, advertisements, local newspapers and local council archives, this article traces the history of the Norwegian video-stores on a national level and, through the use of one case example, on a local level.

Navigating the Landscape of the STEM Professoriate

In 1976, the challenges faced by women of color who pursue careers in science, technology, engineering, and mathematics (STEM) fields were first brought to national attention. Forty-two years later, the authors re-examine the challenges, barriers, and successes of women of color in STEM higher education. This chapter examines the landscape of the STEM professoriate through a literature review (journals, trade magazines, theses, and dissertations) and reflective shorts and quotes from women of color navigating the STEM professoriate. The literature review spans a 10-year period (2008-2018). Both the review and the reflections focus on the areas of STEM belonging, self-presentation, stereotyping, institutional racism, discrimination, and tokenism as challenges faced by women of color in the STEM professoriate. Additionally, mechanisms used by women of color to navigate and succeed despite these barriers, such as mentoring, are explored throughout.

From Permanent Positions to Visiting Jobs

ABSTRACTThe transition to a freelance employment policy from permanent working contracts has had various repercussions on artistic practices in Finnish theatres. This article examines the changes that have taken place in the working culture of statutory funded institutional theatre since the early 1990s, focusing on the shifting roles and positions of directors, dramaturges, producers, and artistic managers. The research material consists of theatre statistics, interviews, and public discussions in the theatre field presented mainly in trade magazines and seminar minutes. Although the theatres still have a significant number of permanently employed artists, the percentage of short-term visits has steadily increased. This goes especially for directors and dramaturges, who mainly focus only on their own productions and do not participate in the long-term development of the theatres’ repertoires or artistic strategies as a whole. It is hard to create ongoing ensemble work and a spirit of a working community when a significant part of the artistic staff keeps constantly changing. In small and medium-sized theatres, the managers are now responsible for the artistic leadership without any collegial support of permanently engaged directors and dramaturges. They usually have to direct plays or undertake dramaturgical work without compensation, even if they do not have a proper education or experience in that field. In the changing economic conditions, the role of a producer has gained importance in planning and leading theatre activities and production work. This puts more emphasis on organizational, financial, and marketing issues than previously. Current priorities are now focussed on a high standard of artistic programming and the nurturing of public interest.