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distribution in the sub-continent. Digital distribution in all its formats and routes to market will continue to grow as a percentage of the total market. Of course, India might buck the trend throughout the world for a while, but not forever. Given the technology expertise in India, it would be a terrible

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In: Logos

and starting (with two other graduates) the Irish operation. Email: eoin.purcell@gmail.com The value web DOI: 10.1163/095796511X604647 Introduction Digital distribution is changing the na- ture of the value chain in the trade pub- lishing industry—transforming it from a chain to something that more

In: Logos

production, digital distribution, and previously racially exclusive narrative genres, how have South Asian American creators addressed the legacies of brownface and brown voice through comedy? Nonetheless, Shilpa Davé does crucial critical work in diasporic visual culture that addresses tensions between pan

In: Asian Diasporic Visual Cultures and the Americas
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across different platforms and challenged the ability of the media industry to control digital distribution through digital rights management technologies. In effect, communications tech- nology vested great power in the aggregation of “individual sovereigns” to challenge public rules. II. The Mandate of

In: International Law FORUM du droit international

& New Media, no. 05(05): 1–17. https://doi.org/10.1177/15274764211014584. Kraidy,MarwanM. (2005).Hybridity or theCultural Logic of Globalization. Philadelphia: Temple University Press. Lobato, Ramon (2019). Netflix Nations: The Geography of Digital Distribution. NewYork: New York University Press

Globalization . Philadelphia : Temple University Press . Lobato , Ramon ( 2019 ). Netflix Nations: The Geography of Digital Distribution . New York : New York University Press . Lockman , Zachary ( 2016 ). Field Notes: The Making of Middle East Studies in the United

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In: Middle East Journal of Culture and Communication

. Parente (ed), Sulina, Porto Alegre, 2004, p. 31. 17 A. Hoskins, ‘The Digital Distribution of Memory’, 2009, viewed on 23rd January 2010, <http://www.inter-disciplinary.net/wp-content/uploads/2009/03/hoskins- paper.pdf>. 18 Viewed on 23rd January 2010, <http://wefeelfine.org>. 19 F. Veronesi and P

In: Navigating Landscapes of Mediated Memory

transferable digital formats such as mp3 ( Haring, 2000 ) and digital distribution channels ( Hardy, 2012 ), such as iTunes or Spotify. With broadband internet, copying and sharing music became even simpler ( Kretschmer et al., 2001 ). The creation of peer-to-peer sharing technology has also challenged

In: The Art of the Creative Commons
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through new methods such as digital distribution without the shackles of old media. The post-geek lies at the union of these subcultures, someone who feeds off both traditional and new media but who exists outside of the mainstream because they want to do what they love. In my opinion, therefore, film

In: Learning to See: The Meanings, Modes and Methods of Visual Literacy
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introduction of digital distribution channels as well as open development tools, video game hardware has been a firmly entrenched in its top-down delivery model. The hardware and peripherals available today are generally the products of R&D labs with large amounts of resources at their disposal. Even Guitar

In: Cultural Perspectives of Video Games: From Desiger to Player