It’s Not TV, It’s Brand Management TV     By Denise Mann<br />The Collective Author(s) of the Lost Franchise<br />Presenta...
What is a Show-Runner?<br />Manage multi-platform “transmedia franchise”<br />Run the writer’s room<br />Oversee Post-Prod...
Lindelof and Cuse<br />Best Friends Forever<br />
A Show-Runner must have…<br />A high stress tolerance<br />Organizational/ Managing skills<br />A creative thought process...
Cultural Impacts on Production<br />Heightened Demand<br />Content vs. Promotion<br />Authorship<br />
Heightened Demand<br />Multiple Roles<br />Networks demand film quality series<br />Fan Interface<br />High cost of shows ...
Content vs. Promotion<br />Successfully create meaningful content that simultaneously tells a story and promotes both the ...
Multi-platforms of LOST<br />Four official tie-in novelizations<br />Fake Oceanic Airlines and Hanso Foundation websites<b...
Authorship<br />Media obscures authorship process<br />Cannot limit authorship to just writer, show-runner, director or ev...
Management of LOST<br />EP/co-creator/show-runner Lindelof<br />EP/show-runner Cuse<br />EP/co-creator Abrams<br />EP Brya...
Problems with Such<br />Abrams is usually given creative credit even though his biggest recent contribution was writing Se...
Live together, Die Alone<br />-Jack Shepherd, quoted by Cuse when talking about show-running<br />
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It's Not TV, It’s Brand Management TV

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Zach's presentation on Denise Mann's chapter in Production Studies.

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It's Not TV, It’s Brand Management TV

  1. 1. It’s Not TV, It’s Brand Management TV By Denise Mann<br />The Collective Author(s) of the Lost Franchise<br />Presentation by Zack Renschler<br />
  2. 2. What is a Show-Runner?<br />Manage multi-platform “transmedia franchise”<br />Run the writer’s room<br />Oversee Post-Production (editing, music)<br />Supervise web content<br />Deal with any other platform concerning characters and storyline<br />
  3. 3. Lindelof and Cuse<br />Best Friends Forever<br />
  4. 4. A Show-Runner must have…<br />A high stress tolerance<br />Organizational/ Managing skills<br />A creative thought process<br />“Implicit understanding of the corporate ethos inherent in creating and selling a successful multiplatform TV brand”<br />
  5. 5. Cultural Impacts on Production<br />Heightened Demand<br />Content vs. Promotion<br />Authorship<br />
  6. 6. Heightened Demand<br />Multiple Roles<br />Networks demand film quality series<br />Fan Interface<br />High cost of shows often pairs show-runners with inexperienced writers<br />
  7. 7. Content vs. Promotion<br />Successfully create meaningful content that simultaneously tells a story and promotes both the show and other products<br />Not only have brands in scripts but create a branded entertainment<br />“Stealth advertising disguised as a story”<br />
  8. 8. Multi-platforms of LOST<br />Four official tie-in novelizations<br />Fake Oceanic Airlines and Hanso Foundation websites<br />Lost Experience- Internet based game and Lost: Via Domus for consoles<br />Lost: Missing Pieces mobisodes<br />Mysteries of the Universe webisodes<br />
  9. 9. Authorship<br />Media obscures authorship process<br />Cannot limit authorship to just writer, show-runner, director or even Executive Producer<br />Horace Newcomb and Robert Alley gave writer-producer title of ‘creative artist’<br />“Six-pack of executive producers”<br />
  10. 10. Management of LOST<br />EP/co-creator/show-runner Lindelof<br />EP/show-runner Cuse<br />EP/co-creator Abrams<br />EP Bryan Burk<br />EP/director Stephen Williams<br />EP/co-creator Leiber<br />
  11. 11. Problems with Such<br />Abrams is usually given creative credit even though his biggest recent contribution was writing Season 3 premiere<br />Leiber is given credit and money for his original, yet unused pilot script<br />People play off each other and roles are switched<br />
  12. 12. Live together, Die Alone<br />-Jack Shepherd, quoted by Cuse when talking about show-running<br />

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