The three theoretical maxims on contemporary entertainment

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As expounded by Chatterton and Hollands, the three theoretical maxims of contemporary entertainment are production, control, and consumption. In an ideal urban nightlife, these premises portray the happenings. This essay would concentrate on how the article by Grazian maps the theoretical structure outlined by Chatterton and Hollands.
To meet the expectations of the 21st century, Grazian has delved into the rapidly shifting picture of urban entertainment. Entertainment joints are constantly being remodeled in his post. The urban playground has grown considerably to make the industry more professional in order to draw clients with ever growing aspirations. Moreover, now establishing exemplary brands to sell out their products is possible; hence, resonates with the production aspect said by Chatterton and Hollands, where multinationals assemble resources to establish profitable brands. These brands have established a chain of entertainment outlets to cater for diverse entertainment needs. The joints offer succinct iconoclastic high-end pizzas for people to eat, drink, dance, and entertain themselves (Chatterton and Hollands).

However, Grazian recognizes the dangers which come with such transformations. In his article, the emergence of street-savvy individuals ready to pounce on unsuspecting clienteles and mint their hard earned money amongst other valuables is cited (Grazian). He, therefore, brings the concept of regulation which is a tenable tenet in Chatterton and Hollands’ theoretical framework. Thus, Chatterton and Hollands did underscore the role of bouncers, and CCTV in the regulation of social disorder as Grazian.

Consumption is another key element in Chatterton and Hollands’ framework. However, Grazian points out the key pivotal element on the whole business circle; whereas Chatterton and Hollands recognize consumer diversity, Grazian views this from the angle of human resources involved in facilitating consumption. He points to the role which bartenders play in consumption. Nonetheless, Chatterton and Hollands’ framework entirely embodies Grazian’s concept of urban nightlife.

Works Cited

Grazian, David. “New York’s New Edge: Contemporary Art, the High Line, and Urban Megaprojects on the Far West Side, by David Halle and Elisabeth Tiso. Chicago: University of Chicago Press, 2014. ISBN: 978‐0‐22603‐240‐5; 432 pp. $45 Cloth, $27 Paper.” City & Community 14.4 (2015): 439-441.

Chatterton, Paul & Hollands, Robert. “8 Understanding nightlife identities and divisions through the subculture/post-subculture debate.” The Subcultural Imagination: Theory, Research and Reflexivity in Contemporary Youth Cultures (2016): 125.

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