Word-of-Mouth in Contemporary Hollywood provides a unique insight into the potential for online communication to enable audiences to exert a greater impact on film industrial practices than ever before. In an overarching analysis of contemporary Hollywood film financing, marketing, distribution, and exhibition practices, Simon Hewitt recontextualises word-of-mouth in light of social media and examines the growing impact of audience participation.

Using a ‘Bourdieuconomic’ approach, he applies qualitative research methods to better understand the contemporary Hollywood film audience, the contemporary Hollywood film industry, and the mechanisms that connect the two. The book explores new film financing mechanisms that incorporate fans into the packages used to secure production funds. It assesses the role of ‘Grassroots Intermediaries’ in contemporary film marketing campaigns. It critiques ‘democratic’ crowdsourced methods of film distribution, and finally, it considers the possible future of Hollywood film exhibition.

By helping to bridge the gap between the gift economy and commodity culture, this book will appeal to students and scholars of media industry studies, media finance and economics, fan and audience studies, film studies, film history, and media marketing.

Word-of-Mouth in Contemporary Hollywood provides a unique insight into the potential for online communication to enable audiences to exert a greater impact on film industrial practices than ever before. In an overarching analysis of contemporary Hollywood film financing, marketing, distribution, and exhibition practices, Simon Hewitt recontextualises word-of-mouth in light of social media and examines the growing impact of audience participation.

Using a ‘Bourdieuconomic’ approach, he applies qualitative research methods to better understand the contemporary Hollywood film audience, the contemporary Hollywood film industry, and the mechanisms that connect the two. The book explores new film financing mechanisms that incorporate fans into the packages used to secure production funds. It assesses the role of ‘Grassroots Intermediaries’ in contemporary film marketing campaigns. It critiques ‘democratic’ crowdsourced methods of film distribution, and finally, it considers the possible future of Hollywood film exhibition.

By helping to bridge the gap between the gift economy and commodity culture, this book will appeal to students and scholars of media industry studies, media finance and economics, fan and audience studies, film studies, film history, and media marketing.

This book is the first treatment at length of negative, or apophatic, theology within the analytic tradition. Apophatic theology holds that there is a significant sense in which we cannot say what God is. Important negative theological elements are present in a host of Christian thinkers, from Gregory of Nyssa to Aquinas, and yet apophaticism is neglected in philosophical theology as practiced within the analytic tradition. By contrast, Hewitt shows how apophatic theology is integral to how Christians have thought about God, and how it can be defended against standard attacks in the philosophical literature.

Hewitt diagnoses the unease with apophaticism amongst contempory philosophical theologicans as rooted in a certain picture of how language functions, here called referentialism. Arguing that this picture is not compulsory, an account of language which sits more comfortably with negative theology (originating from work of later Wittgenstein) is invoked, and appliedto key themes in philosophical theology including divine personhood, the Trinity, the Incarnation and the afterlife.

Word-of-Mouth in Contemporary Hollywood provides a unique insight into the potential for online communication to enable audiences to exert a greater impact on film industrial practices than ever before. In an overarching analysis of contemporary Hollywood film financing, marketing, distribution, and exhibition practices, Simon Hewitt recontextualises word-of-mouth in light of social media and examines the growing impact of audience participation.

Using a ‘Bourdieuconomic’ approach, he applies qualitative research methods to better understand the contemporary Hollywood film audience, the contemporary Hollywood film industry, and the mechanisms that connect the two. The book explores new film financing mechanisms that incorporate fans into the packages used to secure production funds. It assesses the role of ‘Grassroots Intermediaries’ in contemporary film marketing campaigns. It critiques ‘democratic’ crowdsourced methods of film distribution, and finally, it considers the possible future of Hollywood film exhibition.

By helping to bridge the gap between the gift economy and commodity culture, this book will appeal to students and scholars of media industry studies, media finance and economics, fan and audience studies, film studies, film history, and media marketing.

Word-of-Mouth in Contemporary Hollywood provides a unique insight into the potential for online communication to enable audiences to exert a greater impact on film industrial practices than ever before. In an overarching analysis of contemporary Hollywood film financing, marketing, distribution, and exhibition practices, Simon Hewitt recontextualises word-of-mouth in light of social media and examines the growing impact of audience participation.

Using a ‘Bourdieuconomic’ approach, he applies qualitative research methods to better understand the contemporary Hollywood film audience, the contemporary Hollywood film industry, and the mechanisms that connect the two. The book explores new film financing mechanisms that incorporate fans into the packages used to secure production funds. It assesses the role of ‘Grassroots Intermediaries’ in contemporary film marketing campaigns. It critiques ‘democratic’ crowdsourced methods of film distribution, and finally, it considers the possible future of Hollywood film exhibition.

By helping to bridge the gap between the gift economy and commodity culture, this book will appeal to students and scholars of media industry studies, media finance and economics, fan and audience studies, film studies, film history, and media marketing.

This book is the first treatment at length of negative, or apophatic, theology within the analytic tradition. Apophatic theology holds that there is a significant sense in which we cannot say what God is. Important negative theological elements are present in a host of Christian thinkers, from Gregory of Nyssa to Aquinas, and yet apophaticism is neglected in philosophical theology as practiced within the analytic tradition. By contrast, Hewitt shows how apophatic theology is integral to how Christians have thought about God, and how it can be defended against standard attacks in the philosophical literature.

Hewitt diagnoses the unease with apophaticism amongst contempory philosophical theologicans as rooted in a certain picture of how language functions, here called referentialism. Arguing that this picture is not compulsory, an account of language which sits more comfortably with negative theology (originating from work of later Wittgenstein) is invoked, and appliedto key themes in philosophical theology including divine personhood, the Trinity, the Incarnation and the afterlife.