Eating the Big Fish: How Challenger Brands Can Compete by Adam Morgan

By Adam Morgan

Consuming the massive FISH : How Challenger manufacturers Can Compete opposed to model Leaders, moment variation, Revised and Expanded

The moment variation of the overseas bestseller, now revised and up-to-date for 2009, simply in time for the company demanding situations ahead.

It comprises over 25 new interviews and case histories, thoroughly new chapters, introduces a brand new typology of 12 other forms of Challengers, has broad updates of the most chapters, various new routines, provides weblinks to view interviews on-line and provides supplementary downloadable info.

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Extra resources for Eating the Big Fish: How Challenger Brands Can Compete Against Brand Leaders

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22 Media content on television was, after all, transparently simplistic, biased, and mindless – massaged by corporate barons to appeal to suggestible and passive audiences who already had so little control over their own lives that they were happy to escape into the mediated fantasies. The expanding media was a system pacifying and distracting consumers from the oppressive drudgery of their lives, the “bread and circuses” that kept contemporary workers blinded to their own exploitation. Adapting Marx’s thought to media analysis was not always easy or productive.

In part two, “Histories,” having established our theoretical orientation, we submit the development of interactive entertainment media to a critical historical analysis and, in so doing, clear away some of the smoke – and the sense of inevitability – that has muddled debates about the trajectory of digital media culture. Following Williams’s suggestion that critical analysis must discern the “intentionalities” that enable and constrain both cultural and technological possibility, we examine the video game industry’s technological innovations, digital design practices, and audience-building tactics as they emerged within particular historical moments and specific institutional constellations.

Interactivity, for example, may not only be empowerment and education but also loss and amputation, as digital aptitudes squeeze out or devalue other nonelectronic capabilities. McLuhan’s perceptions therefore seem crucial to understanding video gaming and virtual technologies. But as many critics have pointed out, there are major weaknesses in his work. His definition of media as prosthetics conflates technologies, media, and social forms, obscuring important differences in the social contexts and purposes in which media are developed and used.

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