Licensing Entertainment

Novels have been a respectable component of culture for so long that it is difficult for twentieth-century observers to grasp the unease produced by novel reading in the eighteenth century. William Warner shows how the earliest novels in Britain, published in small-format print media, provoked early instances of the modern anxiety about the effects of new media on consumers. Warner uncovers a buried and neglected history of the way in which the idea of the novel was shaped in response to a newly vigorous market in popular narratives. In order to rein in the sexy and egotistical novel of amorous intrigue, novelists and critics redefined the novel as morally respectable, largely masculine in authorship, national in character, realistic in its claims, and finally, literary. Warner considers early novelists in their role as entertainers and media workers, and shows how the short, erotic, plot-driven novels written by Behn, Manley, and Haywood came to be absorbed and overwritten by the popular novels of Defoe, Richardson, and Fielding. Considering these novels as entertainment as well as literature, Warner traces a different story—one that redefines the terms within which the British novel is to be understood and replaces the literary history of the rise of the novel with a more inclusive cultural history.

This book examines the creative impact of licensing on the entertainment industry, how licensing practitioners’ occupational disposition is formed, and the role licensing professionals play in managing the circulation of intellectual property. Offering a study of the spatial logics and fantasies employed by the licensing field via its annual trade show, the Licensing Expo, this volume investigates how space and place are instrumental in both fortifying and exposing the political-economic, infrastructural, as well as ideological structures that constrain and enable participation in the licensing field. Further supplemented by participant observation and interviews with 23 industry professionals, the book explores how the licensing field understands its increasingly central role in the entertainment industry’s operations, and how it responds to changes in retail environments, digital platforms, and international markets, phenomena which have required a recalibration of the field’s occupational identity. An exploration of an understudied aspect of the entertainment industry, this book will primarily appeal to scholars within media studies, and those studying media industries, media franchises, and media work cultures. It will also be of interest to people studying consumer culture, brand culture, advertising, organizational communication, as well as fan cultures.

The draft Legislative Reform (Entertainment Licensing) Order 2014 and Explanatory Document were laid before Parliament on 8 July 2014 by the Department for Culture, Media and Sport. The draft Order would amend Schedule 1 to and section 177A and Schedule 1 of the Licensing Act 2003 to deregulate certain types of regulated entertainment in defined circumstances. The areas of regulated entertainment covered by the draft order are as follows: the provision of entertainment by and on behalf of local authorities, health care providers or schools on their own defined premises, live music in relevant alcohol licensed premises and workplaces, recorded music in relevant alcohol licensed premises, live and recorded music exemptions, travelling circuses, Greco-Roman and freestyle wrestling and incidental film.

Providing comprehensive and up-to-date coverage of the licensing legislation in England and Wales, this title is a suitable text for both professionals and students.

This report examines the operation and impact of the Licensing Act 2003. In conclusion the Committee makes several recommendations. These include: that the Government should, together with local authorities, licence applicants and other stakeholders, evaluate the licensing forms with the aim of making them more user friendly; that in the case of not for profit clubs only the bar area should be taking into account when assessing the rateable value of the premises; that sports clubs should be placed in a fee band based on 20 per cent of their rateable value; that a national database of licence holders be implanted and that the allowable period for transferring a personal licence due to death should be increased to 21 days; increasing the limit of Temporary Events Notices (TENs) to 15 per year whilst enhancing the ability to object to the granting of a TEN; that the density of venues in a particular area should always be taken into consideration when granting a premises licence; the exemption of venues with a capacity of 200 or less from the need to obtain a licence for the performance of live music and the reintroduction of the two in a bar exemption; the introduction of portable licences for circuses and possible exemption of certain low-risk small-scale travelling entertainments; the creation of a new category be created for adult clubs such as lap dancing clubs and that they be licensed, in accordance with Government proposals, under the Local Government (Miscellaneous Provisions) Act.

The second volume of the Basics of Licensing series, this book expands on the various licensing topics examined in the first, but from the contrasting perspective of the licensor or property owner. It provides a comprehensive overview of the unique considerations and steps a licensee should take in securing a license, developing a licensed product, and achieving distribution. The focal points addressed include selecting the right license for a product, best practices in product development, ethics and social compliance of licensing management, and more. In addition to the core commentary, this edition also features new administrative templates and licensing form agreements derived from actual transactions, tailored specifically for the licensee.

"This is an exciting and wholly original book. It is devilishly intelligent, formidable in its deployment of history and theory."—John Richetti, author of Popular Fiction before Richardson

This study interprets eighteenth-century satire’s famous typographical obsession as a fraught response to the Enlightenment’s "ocularcentric" epistemological paradigms, as well as to a print-cultural moment identified by book-historians as increasingly "visual" — a moment at which widespread attention was being paid, for the first time, to format, layout, and eye-catching advertising strategies. On the one hand, the Augustans were convinced of the ability of their elaborately printed texts to function as a kind of optical machinery rivaling that of the New Science, enhancing readers’ physical but also moral vision. On the other hand, they feared that an overly scrutinizing gaze might undermine the viewer’s natural faculty for candor and sympathy, delight and desire. In readings of Pope, Swift, and Montagu, Mannheimer shows how this distrust of the empirical gaze led to a reconsideration of the ethics, and most specifically the gender politics, of ocularcentrism. Whereas Montagu effected this reconsideration by directly satirizing both the era’s faith in the visual and its attendant publishing strategies, Pope and Swift pursued their critique via print itself: thus whether via facing-page translations, fictional editors, or disingenuous footnotes, these writers sought to ensure that typography never became either a mere tool of (or target for) the objectifying gaze, but rather that it remained a dynamic and interactive medium by which readers could learn both to see and to see themselves seeing.