Term
|
Definition
| Selling international rights, merchandise (if applicable), streaming rights, home video rights, Bulgarian rights, forward rights. Sell me rights before the movie is made- I will give you money when the movie is made. |
|
|
Term
| Distribution pre-sales examples |
|
Definition
A distribution company buys your movie they are going to try and take the movie as far as they can.
HBO is/was the largest financer for independent movies. |
|
|
Term
|
Definition
| Adaptable property. The hard part is working with "established property"- you have to be careful as to who has ownership rights to the movies that have been around forever. |
|
|
Term
|
Definition
| Watchmen (Warners' and Fox were arguing who had rights to the movie). Basically succession of ownership |
|
|
Term
|
Definition
| ITunes allows to rent movies, but sells downloads in home video as well. Netflix streams videos in pay? Yes, movies come off of such places when they start to show on SPIKE, etc. |
|
|
Term
| Digital film projection bombshell |
|
Definition
| Netflix had a deal with Starz, Starz had a deal with the studios. The agreement lapsed, Netflix wanted to renegotiate and now Starz won't allow it. Not even to a 3 million dollar offer because it is not the best way to exploit their value. Netflix wants to blur the lines between cable and internet. |
|
|
Term
| Revenue sharing in home video |
|
Definition
| Studios take about 2/3 of profit off of video on demand. Better business model than theatrical and dvd models. Studios want to turn to this rather than other mediums. |
|
|
Term
| Revenue sharing Blockbuster |
|
Definition
| Since studios saw home video as a threat to their business, they made it harder to distribute rentals for companies like Blockbuster by making the rental tapes expensive. Revenue sharing is the idea of the studio discounting the tapes for those rental stores if they agree to give part of the rental profits to the studio. |
|
|
Term
| Why do studios favor on demand? |
|
Definition
| Because they take 3/4 of the profit since the movie is directly distributed to the viewer, they do not need to deal with rental stores. |
|
|
Term
| Music rights and licensing systems |
|
Definition
| Publishing and song rights belong to song writer. |
|
|
Term
| How a songwriter makes money off a song |
|
Definition
1. Mechanical License: recording the song in some kind of medium (audiorecording) Just recording the song. If someone wants a cover of a song, they need the mechanical if they want it on a CD. When you want to use that song on a CD or iTunes. Using the already recorded song, where Compulsory Right would be actually re-recording.
2. Performance License: when song gets played on radio or live songwriter gets a tiny cut
3. Synchronization License: when it gets played in a movie the songwriter also receives a tiny cut (audiovisual). |
|
|
Term
|
Definition
| If you want to re-record a song from a songwriter must pay a fee to them. Song writer can’t say no, and they (the songwriter) still gets some money. Set by government. They get money it’s just regulated. |
|
|
Term
|
Definition
Major produces & distributes minor artist for some kind of financial compensation.
- Variety of different structures from the deal
- Indie & Major have resource competencies- one has something the other does not and vice versa
- Can be viewed as negative because the indie label is viewed as a sell out
- Supposed to be more long term contracts(deal?)
Ex: Sony owns Columbia, RCA. |
|
|
Term
|
Definition
California Labor Law states that talent contracts can’t last more than 7 years. This is because the label or movie industry can’t take advantage of that one person. Named for Olivia Havilland (lol laura haviland worked on the underground railroad) This rule tries to strike a balance.
Music Industry gets a loop hole they get 7 record deals instead of 7 year contracts. This is a worse deal for musicians. |
|
|
Term
|
Definition
| The idea behind this structure is to defragment all of the revenue streams that artist generate (selling CDs, recording, live performance, live endorsement) and bring all the revenue together from 360 and manage them more efficiently. Live Nation has only been around for a few years and Live Nation gives huge advances to companies to manage their entire career,. And every decision and move is made between Live Nation, meaning that artists do not work with other companies. |
|
|
Term
| Problems with a live nation |
|
Definition
| They have to subcontract back to major labels on YouTube- More like the "275 Model" with this issue. |
|
|
Term
|
Definition
| Used CDs- higher profit margin on used CDs than on new CDs. Music retailers LOVE used CDs. Music Labels HATE used CDs because they destroy the value of new CDs. |
|
|
Term
| Hastings’ used CDs example |
|
Definition
Hastings selling used CDs- used CDs typically come in for no cost and can be sold back so it is pure profit
· Pricing Policies- you could not advertise CDs for less, but you could sell them for less.
§ Example: Selling the CD for the same price as anywhere else, but perhaps including a freebee in a "bundle." |
|
|
Term
|
Definition
| iTunes would use "variable pricing" meaning sell new releases for more and old releases for less. If you buy an iPod at the Apple Store it will be the same price if you buy and iPod at Best Buy because it's the law, however when you buy an iPod at Best Buy they could give you a different brand printer for free. (This assumes that is cheaper but the iPod is the same price) |
|
|
Term
| Justifications for heightened regulation of broadcasting |
|
Definition
| the National Association of Broadcasters- trade group of broadcast stations to make sure there are certain broadcast responsibilities. |
|
|
Term
| Justifying broadcast regulation |
|
Definition
Scarcity- not everyone can speak on the air- it is a privilege granted by the government not a right- comes with responsibilities by the government- have to supply the community with certain information.
Public resource- airways are public and have governmentally controlled.
Intrusion/Impact- uniqueness- dangerous- comes into the home/car without us asking (signals come into your house whether you like it or not)- because of the impact that the radio can have on people even if they don’t want it to. |
|
|
Term
|
Definition
| Trains and chemical spills and that Clear Channel station that didn’t do anything about it. |
|
|
Term
| Pre-packaged radio formats |
|
Definition
| These formats can be found on the internet and the local radio station pays a certain amount to have access to these pre formatted shows. They include live djs who will incorporate sound clips from certain area. Can sell these formats to many different locations around the country. Depersonalizes radio for the viewer. |
|
|
Term
| Radio sound recording royalty |
|
Definition
A sound recording royalty- composers get paid when their song is on their radio.
And right now the radio does not pay a sound recording royalty.
The assumption is that radio helps out the recording industry.
- They actually have NEVER paid these to the labels- not paying for the music they are playing
Web radio does pay the sound recording loyalty- what if radios are forced to do the same?
- They kind of recognize that radio isn't doing what they thought they were doing
- The idea is still developing. |
|
|
Term
|
Definition
Major affected network.
Ex. Telemundo owned by Universal. |
|
|
Term
|
Definition
| Selling programs individually from market to market and then to stations. (Usually popular game shows, talk shows, cheap low budget shows, Xena, Star Trek, etc.) Four year cycles of syndication rights. |
|
|
Term
|
Definition
| Reruns of shows. (Friends at 11 pm, Andy Griffin at 6 am, Family Guy on both TBS and Fox) |
|
|
Term
| Reasons to maybe cut viewing of syndicated shows |
|
Definition
| (1.) Release DVD of show while airing. (2.) Showing on the Web. |
|
|
Term
|
Definition
Bargain with a cable system to get them to pay them as much money that they are willing to pay.
Run the risk of the cable company not wanting to pay that money.
This is how we will succeed in the new millennium.
Dead locks- causes channels to get drop when they don’t come to an agreement of how much to pay to carry fox. |
|
|
Term
| Economics of television WHAT |
|
Definition
| Shared conventions of content, form. |
|
|
Term
| Economics of television WHY |
|
Definition
Minimization of risk.
- We want to know what kind of show and market that people are watching.
- You want to let them know what they are in for.
- What pidgeonHOLE does this fit into.
- Making sense of different kinds of programming. |
|
|
Term
| Economics of television WHEN |
|
Definition
Innovation imitation/transformed, saturated.
- If there isn't enough transformation then the audience may get bored with it. |
|
|
Term
|
Definition
Friends: Really hits its target audience- the fans REALLY like it.
- Innovated for its time and now it is imitated the heck out of- and also transformed.
- How I met your Mother- the same kind of imitation from Friends but transformed and found its own niche. |
|
|
Term
|
Definition
Does the show or genre burn out?
- Does it offer new enjoyment to new pleasures?
- Not too many of us are watching real world type shows- why watch nobodies when we can watch some bodies- The Kardashians?
- How are these shows evolving to keep them interested- if not then saturation. |
|
|
Term
|
Definition
We are going to mix up this formula and include different things but not turn into any other show.
Procedural cop drama- successful but is drifting towards saturation
House is a transformation from these shows- not your traditionally ER and Grey's Anatomy. |
|
|
Term
| Economics of television HOW |
|
Definition
Textual- finding meaning behind genres.
Sociological- genres reflect certain things and ideas about society.
Economic- genres as an economic level. |
|
|
Term
|
Definition
Watch TV shows on the network- makes money for the network and producers- selling ads, etc.
Watch TV shows in syndication after the network run to get more people to watch
Sell the show on DVD- an increasing part of how shows can make money.
Read novels or comic books based on the TV show.
Might buy coffee cups or T-shirts based on TV shows.
Office T-shirts: Batman T-shirts
Web experience- networks websites. |
|
|
Term
| FCC sponsorship identification rules |
|
Definition
| When a broadcast licensee has received or been promised payment for the airing of program material, then, at the time of the airing, the station must disclose that fact and identify who paid for or promised to pay for the material. All sponsored material must be explicitly identified at the time of broadcast as paid for and by whom, except when it is clear that the mention of a product or service constitutes sponsorship identification. |
|
|
