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In this newly revised book, Harold L. Vogel examines the business economics of the major entertainment enterprises: movies, music, television programming, broadcasting, cable, casino gambling and wagering, publishing, performing arts, sports, theme parks, and toys and games. The seventh edition has been further revised and broadened and differs from its predecessors by restructuring and repositioning the previous Internet chapter, including new material on the economics of networks and advertising, adding a new section on policy implications, and further expanding the section on recent theoretical work pertaining to box-office behaviour. The result is a comprehensive up-to-date reference guide on the economics, financing, production, and marketing of entertainment in the United States and overseas. Investors, business executives, accountants, lawyers, arts administrators, and general readers will find that the book offers an invaluable guide to how entertainment industries operate.
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The Knowledge you may collect is useful and the price for it is low for the trough vision you got of it
Excellent reference for understanding media business modelsReviewed by robert bleidt - streaming media executive, 2008-05-18
This book provides a thorough explanation of the business models of
most of the media and entertainment industries - music, radio, TV,
even casinos and theme parks. There is both a historical
perspective and a presentation of the current state. Most of this
information is not available in print or on the net
elsewhere.
For example, there's a flowchart that explains royalties in the
music industry that explained in one glance what would normally
require personal discussions with five or ten people to
uncover.
There is also information on valuation models and accounting
treatments of the industries studied.
Some reviewers called this book dry - but I think the writing is
compact, objective, and informative. Also, there are extensive
footnotes and references to other sources.
Academic rigor, an analyst's objectivity and practicality, and an
underlying enthusiasm for the subject - excellent.
No coverage of the live popular music concert industryReviewed by K. J. Lopez, 2008-01-24
Mr. Vogel has created a readable and informative book. The
introductory chapters are a comprehensive overview of economics,
leisure time, and media, and may be worth the discounted price of
the book on their own.
My complaint is that the section on The Music Industry is not up to
date. It is a treatise on the Recorded Music industry only, and
neglects the live music concert industry.
His coverage of live popular music entertainment is literally one
paragraph. The live concert industry is now one of the main revenue
sources for musical artists, in addition to licensing. The concert
industry generates over $10 Billion in revenues from live music
performance tickets alone. Live Nation and AEG Live dominate.
Madonna signed with Live Nation and not a traditional record label
because this is now the focal point of the music industry. Contrary
to Mr. Vogel's outdated assertion, recorded music is now often a
promotional tool used to get fans to buy concert tickets. This has
been the case for nearly a decade.
Entertainment Industry EconomicsReviewed by Ramon Antonio, 2005-07-28
A very clear explanation of the history, issues, rationale and economic flows of the entertainment industry. The book includes a comprehensive list of sources of information as well as details the sources for every bit of information it provides. This is very useful as it familiarizes the reader with the gathering of information in relation with the industry and the relative authority of the sources.
Insightful!Reviewed by Rolf Dobelli, 2004-10-25
Author and entertainment industry analyst Harold L. Vogel sheds valuable light on the growing importance of fun in the American economy. His book shows surprising versatility, sometimes reading like an economics textbook, and other times providing an engaging and easily readable overview of the entertainment business. Vogel provides exhaustive sources and an authoritative perspective, linking the entertainment industry's technology-driven increase in productivity to the public's increased expenditures on music, movies, sports, games, theme parks and other forms of entertainment. The relatively modest attention he pays to the performing arts reflects their unfortunate status as a poor stepchild we find this book's breadth and depth impressive, and strongly recommends it to analysts, scholars and students who seek a clear picture of the economic role of entertainment.
