Search for ‘transmedia’ on its Google Books page.

47
Definition transmedia intertextuality:
“What I found [from recording Saturday morning children's TV] was a fairly consistent form of transmedia intertextuality, which positions young spectators (1) to recognize, distinguish, and combine different popular genres and their respective iconography that cut across movies, television, comic books, commercials, video games, and toys; (2) to observe the formal differences between television and its prior discourse of cinema, which it absorbs, parodies, and ultimately replaces as the dominant mode of image production; (3) to respond to and distinguish between the two basic modes of subject positioning associated respectively with television and cinema, being hailed in direct address by fictional characters or by offscreen voices, and being sutured into imaginary identification with fictional character and fictional space, frequently through the structure of the gaze and through the classical editing conventions of shot/reverse shot; and (4) to perceive both the dangers of obsolescence (as a potential threat to individuals, programs, genres, and media) and the values of compatibility with a larger system of intertextuality, whithin which formerly conflicting categories can be absorbed and restrictive boundaries erased.”

414f
Definition-public good
Definition-club good
Definition-private good

52
“a recent American Management Association study determined that no more than 10% of innovation investment at global companies is focused on developing new business models.”

52f
Definition-business model:
“A business model, from our point of view, consists of four interlocking elements that, taken together, create and deliver value. The most important to get right, by far, is the first.”

1. Customer value proposition (CVP). A successful company is one that has found a way to create value for customers – that is, a way to help customers get an important job done. By “job” we mean a fundamental problem in a given situation that needs a solution.
2. Profit formula. The profit formula is the blueprint that defines how the company creates value for itself while providing value to the customer.
3. Key resources. The key resources [not all, just the important ones] are assets such as the people, technology, products, facilities, equipment, channels, and brand required to deliver the value proposition to the targeted customer.
4. Key processes. Successful companies have operational and managerial processes that allow them to deliver value in a way they can successfully repeat and increase in scale.

53
“These four elements form the building blocks of any business. The customer value proposition and the profit formula define value for the customer and the company, respectively; key resources and key processes describe how that value will be delivered to both the customer and the company.”

54
“The most important attribute of a customer value proposition is its precision: how perfectly it nails the customer job to be done – and nothing else.”

56
“Rules, norms, and metrics are often the last element to emerge in a developing business model. They may not be fully envisioned until the new product or service has been road tested. Nor should they be. Business models need to have the flexibility to change in their early years.”

“Pursuing a new business model that’s not new or game-changing to your industry or market is a waste of time and money.”

58
“Creating a new model for a new business does not mean the current model is threatened or should be changed. A new model often reinforces and complements the core business [...].”

59
“Successful new businesses typically revise their business models four times or so on the road to profitability.”

“We recommend companies with new business models be patient for growth (to allow the market opportunity to unfold) but impatient for profit (as an early validation that the model works). A profitable business is the best early indication of a viable model.”

Bob Higgins: “”I think historically where we [venture capitalists] fail is when we back technology. Where we succeed is when we back new business models.”"

496
Definition-horizontal merger:
“A horizontal merger is one in which both firms are in the same product market. A vertical merger is one in which a firm acquires either a supplier or a customer firm. If there is no horizontal or vertical relation between two merging firms, then it is defined as a conglomerate merger. In practice, many mergers between diversified companies include elements of two or even all three of these classifications.”

1628
Definition-vertical integration:
“Vertical integration is a situation in which a single firm owns and controls portions of successive stages of production. The extent of integration, through its effect on firms’ costs and managerial incentives, is an important determinant of firms’ profitability and overall industry performance.”

1680
Definition-vertical integration:
“A vertically integrated chain represents a series of make or buy decisions made by firms, beginning with raw materials and manufacturing (backward integration) and moving forward to distribution and marketing (forward integration). To this end, a firm may build or buy a wholly owned subsidiary, secure a minority shareholding or join in a formal or informal strategic alliance to provide a specific segment of its value chain anywhere in the world where costs are lower and access to consumer markets are closer.”

First time he mentions transmedia storytelling, afaik.

93
Definition-transmedia storytelling:
“Media convergence also encourages transmedia storytelling, the development of content across multiple channels. As producers more fully exploit organic convergence, storytellers will use each channel to communicate different kinds and levels of narrative information, using each medium to do what it does best.”

3
“Why do human beings, across a range of different cultures and historical periods, seek out and enjoy the experience of entertainment? Why do they select and create certain types of situations – and not others – to entertain themselves? Why do they seek entertainment so often, fur such long periods of time, and in so many different situations and settings? To ask these questions is to adopt the perspective that entertainment is a response to a certain set of opportunities rather than a feature of a particular media product itself.”

vi
“In fact, entertainment offerings obtrusively dominate media content and are bound to do so in the foreseeable future. This circumstance, together with the apparent growing public demand on entertainment provisions, lend equal justification to characterizing the present times as the ‘entertainment age.’”

vif
“More systematic inquiry is necessary to determine what it is that people deem gratifying and that brings about desired experiential states. The entertainment needs of vastly diverse audiences with vastly diverse intellectual, aesthetic, and emotional interests will have to be explored with increasing care and rigor. Most importantly, however, more attention, in terms of both theory and research, must be directed at understanding the basic mechanisms of enlightenment from, and emotional involvement with, the various forms of entertainment. As yet to be comprehended fully are, for instance, the means of making people laugh and cry, feel the sadness and happiness of others, share their terror and triumph, or simply, of generating calming or thrilling sensations and experiences of serenity or elation. It is astounding, in fact, how little genuine scholarship and basic research has addressed questions as fundamental as exactly what it is that gives comedy the power to make people laugh and tragedy the power to make them cry. It is also far from clear how it can be possible that mere spectators feel triumphant or depressed when seeing athletic competition between others go one way or the other, or, what empowers music to make listeners shudder or feel glorious.”

vii
“Fortunately, a more systematic exploration of media entertainment is beginning. Psychologists, sociologists, and communication scholars, in particular, have begun to replace speculations with meticulous assessments of the content and usage of many forms of entertainment and their effects on different types of people, ultimately, of their consequences for society. For the first time, the primary function of media entertainment – namely, attainment of gratification – takes center stage in this exploration. Specific theories have been proposed to elucidate issues of emotionality and enjoyment, and numerous research demonstrations have been published to clarify the appeal of all conceivable genres and subgenres of media offerings.”

128
Definition-entertainment:
“Dieses Verharren der Unterhaltung in der Schwebe von Ernst und Unernst möchte ich als Zweideutigkeit fassen. Ästhetisch wird diese Zweideutigkeit genannt, weil es bei Unterhaltung nicht nur auf sinnliche Wahrnehmung ankommt, sondern weil die Wahrnehmung durch Formensprache strukturiert ist. Der Unterhaltungswert eines Fußballspiels z.B. hängt von der Qualität des Spiels ab, für die die Zuschauer Blick und Maß haben.”
-> An entertainer does not pretend it is real (it is clear that it’s all fiction), but he acts as if it were real. An audience member knows it is not real, but pretends he believes it is. Zweideutig, because entertainment at any point in time is sending out two messages: what you see is real AND what you see is not real.

138
“Solche Unterhaltung gehört nicht schon immer zur menschlichen Kultur.”

“Jedenfalls läßt sich nicht von einem allgemeinen menschlichen Zug zur Unterhaltung sprechen, aus dem historisch-spezifische Erkenntnisse abzuleiten wären.”

“Folgt man dem hier vorgeschlagenen Begriff von Unterhaltung, fallen alle Genres des Unterhaltsamen, die dominant zur Vergewisserung sozialer Identität genutzt werden oder deren Produzenten, wie die ‘fahrenden Leute’ im Mittelalter, sozial diskriminiert waren, aus der Geschichte der Unterhaltung heraus. Denn das Verständnis von Unterhaltung als ästhetisch zweideutigem Vorgang setzt ihre Emanzipation voraus. Zu den Voraussetzungen von Unterhaltung zählen daher neben der sozialen Gleichberechtigung der Unterhaltungskünstler vor allem noch die Entstehung einer populären Kultur – deren Teilnahme nicht mehr auf die Herstellung sozialer Identität ausgerichtet ist – und die Entwicklung von Medien, die Unterhaltung im Sinne von Günter Anders Welt als Phantom zur Erfahrung bringen. Daß die historische Epoche der Unterhaltung mit dem Aufkommen der Familienzeitschriften 1850 beginnt, dafür spricht, wie ich an anderer Stelle dargelegt habe (Hügel 1992), einiges. Wann die Epoche der Unterhaltung endet? – Wir werden es noch erleben.“