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Bulit mass production through vertical integration.
Diversified to other types of sauce.
Owned his distribution and sent out salesmen.
Distinguished his ketchup from bulk products. |
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Confronts local resistance before selling nationally.
Oligopolistic-High costs to enter market. |
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| Workers complete one simple task making them cheaper to hire. |
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| Wide selection especially in media sources. (Every movie's different). |
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| It's hard to predict how many people wiill watch a movie or read a book. |
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| How do you brand a product tha's not continually available? (Normally only consumed once). |
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Publishers battle over rights.
Author leaves original publisher for another.
Original publisher sue and wins (publisher has some rights).
Second publisher used markings and illustrations to similar to the original and was sued again.
Publisher has some claim to the brand of Old Sleuth. |
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| Work for hire provision in the 1909 Copyright Act |
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| Employees don't own creative works done for an employer. The employer owns the rights. |
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| Nationalizing radio and tv |
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Remove markers for the show to lovation a source of nationalization.
Don't base the show around a city. |
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Films serialized in order to brand the movie and build an audience.
Working with proven commodities is a way to successfully brand films.
Build on prior knowledge and interests. |
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| Breaking a big story in to smaller parts. |
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| Building off the success of the first film. |
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Not necessary until you go national.
You aren't attached to your audience like musicians and stage actors are. |
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| Rationalizing creative production |
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Labor can be divided.
Everyone has a job and they can easily be managed.
Production designer is like a film architect.
Director has story boards to choose from.
Director's authority isn't absolute anymore. |
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| Spatial organization of supply chains |
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Face to face contact and proximity lower transaction costs.
Producers need to meet with actors. |
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Formerly very localized, but this is being changed by fax machines and scanners.
Problems arise in preproduction-How do you decide who you want to work with and make the deal that are necessary?
Fesivals bring people together to help lower transaction costs. |
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Is there housing cheap enough for an artist to live?
Are there day jobs to support an artist while starting their music career?
Are there places to network with other artists?
Resources are brought together in one location. |
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Cities try to bring filming to location and become a film center.
Offer tax breaks for producers to shoot films on location.
Studio apartment complexes available. |
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Radio is willing to play local artists.
Great venues.
Support from record labels.
Government promoted in order to attract young entrepaneurs, establish a stable economy, and promote the music scene. |
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Niche audiences are often underserved.
More willing to pay higher prices.
Defined by the characteristics of the audience-demographics and psychographics. |
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| Rich or poor. The money to be made depends on the disposable income. |
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How specific is the niche audience?
Lifetime targets women, Celtic Pride targets proud Irish people. |
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| One single group targeted or bringing together different niches? |
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| You can try to leave your specific niche to reach a broader audience. Gay and straight TV crosses over well, but whites don't often watch black shows. |
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Ever changing.
Smaller audiences means less financing, but you can build a much stronger brand. |
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To get a film produced you must strongly relate to a quadrant.
Under 25 male or female.
Over 25 male or female.
Reaching in to more than one quadrant is the goal and Pixar is extremely successful at this. |
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| Demographics of primetime television |
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Must appeal to larger audiences.
1970s-TV programmers determine quality is better than quantity audiences. (More bang for the advertisers buck).
1980s-Broadcasting goes young and black. |
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A relation between producers and distributors.
Finance production occurs outside of major labels.
Done to promote originality and diversity. |
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| Early 1900s censorship boards often cut portions of films. |
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| Supreme Court says censorship is ok because of the unique effect film has on its audiences. Filmmakers weren't assured any of their films making it to the screen. |
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Set of codes agreed on by studios.
Helps films get produced.
Good must be rewarded, evil must be punished, and crimes can't be glamorized.
Give up creative freedom. |
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| Much more flexible than the production code where everything was Gl It is now the consumers decision waht to see rather than a censorship board. |
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Public opinion/advocacy
State regulation
Industry self regulation
Audience self regulation |
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Not about finding truths, it's about letting the system continue to work.
Figures calculated by clerk's estimates which weren't accurately reporting sales (especially country and older music). |
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Developed new system to feed figures on sales directly from store to Billboard.
Had to split charts between new and old because back catalog music was far more popular than once imagined. |
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| Audience time shifting and ad skipping |
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Neilson comes up with the number of live viewers and people that watch it same day using L0. This systems continues through L7 (viewing within 7 days of original airing).
Greatly affects advertising and how much they're willing to pay for those spots.
They agree to price on the L3 and C3 numbers to avoid constant conflict. |
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