The document analyzes moviegoer data to identify groups that avoid blockbuster films and determine what types of films appeal to them. It finds that older female audiences prefer dramas while younger female audiences prefer comedies. These genres have average budgets of $20-33M but generate $73-191M globally on average. The document concludes studios could increase profits by targeting films more toward women.
There were 52 thriller films released in 2015, accounting for 6.9% of total films and 2.9% of total box office earnings that year. While thriller films are profitable, they are less popular than action films. Some of the most successful thriller films in 2015 were Taken 3, Mad Max: Fury Road, and Mission: Impossible - Rogue Nation. These films were highly successful due to their large budgets, franchise popularity from previous films, star power, and appeal to broad audiences as hybrid genres. Younger audiences, especially males ages 15-24, tend to be the primary viewers of thriller films.
The document analyzes movie market share data from 2010-2013, including 667 movies. A random effects logit model with a 10-week sliding window is used to estimate how characteristics like budget, distributor, release timing, and days in theaters impact weekly market share. Results show the random effects model produces more significant coefficients compared to a normal linear regression. Higher budget, release later in the year, and longer theater run are associated with higher market share. Actors are not included due to data limitations but other characteristics still have meaningful effects on box office performance.
The document discusses genres that could be used in a film opening to appeal to different audiences. It finds that the zombie genre incorporates elements of horror, disaster, and thriller genres. This means the film could appeal to an audience over 16 years old. Combining these three genres could reach 113% of the population interested in hybrid genres. However, zombies are considered a niche sub-genre, so specific data on audience preferences is not available. Preferences are linked to demographics, with the primary audience as males over 35 and females under 35. Including elements from different genres could create a successful opening, but disaster films have lower ratings in Britain so that genre requires careful use.
The document summarizes the results of an exit poll conducted after a screening of the film Insurgent. According to the poll:
- 80% of respondents were male and 20% were female, showing the film appealed more to males.
- 30% found out about the film from online trailers and TV ads, while most learned about it on the internet or through public advertisements.
- 60% said they would purchase the film on DVD when released, while 40% said they would not or maybe would.
- A large amount of respondents said they would recommend the film to close family or friends.
The document discusses different formats and pricing for physical and digital music releases. It also covers strengths, weaknesses, and various distribution methods for getting music to consumers, including streaming platforms, record labels, retail stores, direct mail, and viral or guerrilla marketing techniques. Strategic partnerships with companies like Café Press and Alibaba are also mentioned as potential distribution channels.
Retail Technology - The Need for a New ApproachOliver Guy
Retailers are struggling to compete, struggling to innovate, finding change difficult.
Like their counterparts in many industries, the set-up of their existing IT architecture is holding them back preventing them quickly adapting to new business models and exploiting opportunities.
A new approach is needed to re-establish market leadership.
The document analyzes the thriller genre film market in 2015. It finds that while 52 thriller films were released, generating £37.1 million at the box office, this only represented 6.9% of total sales that year. The most successful thriller was Taken 3, which grossed over £37.1m in the UK and $326.4m worldwide. Data on audience demographics for top thriller and action films suggests the genre appeals most to younger males aged 15-24 from lower social classes. Larger budgets are correlated with greater success due to larger marketing budgets and star power.
This document describes a movie recommendation system project that will use collaborative filtering techniques to predict movie ratings and recommend movies to users. The project will use the MovieLens dataset to identify user demographics and movie genres and classify them using different algorithms. Conditional inference trees and random forests will be implemented and evaluated on the MovieLens data, with the highest accuracy achieved using age, gender, occupation, and genre features. Exploratory data analysis of the MovieLens data found that most users are students aged 20-30 and most movies are from the 1990s across many genres.
There were 52 thriller films released in 2015, accounting for 6.9% of total films and 2.9% of total box office earnings that year. While thriller films are profitable, they are less popular than action films. Some of the most successful thriller films in 2015 were Taken 3, Mad Max: Fury Road, and Mission: Impossible - Rogue Nation. These films were highly successful due to their large budgets, franchise popularity from previous films, star power, and appeal to broad audiences as hybrid genres. Younger audiences, especially males ages 15-24, tend to be the primary viewers of thriller films.
The document analyzes movie market share data from 2010-2013, including 667 movies. A random effects logit model with a 10-week sliding window is used to estimate how characteristics like budget, distributor, release timing, and days in theaters impact weekly market share. Results show the random effects model produces more significant coefficients compared to a normal linear regression. Higher budget, release later in the year, and longer theater run are associated with higher market share. Actors are not included due to data limitations but other characteristics still have meaningful effects on box office performance.
The document discusses genres that could be used in a film opening to appeal to different audiences. It finds that the zombie genre incorporates elements of horror, disaster, and thriller genres. This means the film could appeal to an audience over 16 years old. Combining these three genres could reach 113% of the population interested in hybrid genres. However, zombies are considered a niche sub-genre, so specific data on audience preferences is not available. Preferences are linked to demographics, with the primary audience as males over 35 and females under 35. Including elements from different genres could create a successful opening, but disaster films have lower ratings in Britain so that genre requires careful use.
The document summarizes the results of an exit poll conducted after a screening of the film Insurgent. According to the poll:
- 80% of respondents were male and 20% were female, showing the film appealed more to males.
- 30% found out about the film from online trailers and TV ads, while most learned about it on the internet or through public advertisements.
- 60% said they would purchase the film on DVD when released, while 40% said they would not or maybe would.
- A large amount of respondents said they would recommend the film to close family or friends.
The document discusses different formats and pricing for physical and digital music releases. It also covers strengths, weaknesses, and various distribution methods for getting music to consumers, including streaming platforms, record labels, retail stores, direct mail, and viral or guerrilla marketing techniques. Strategic partnerships with companies like Café Press and Alibaba are also mentioned as potential distribution channels.
Retail Technology - The Need for a New ApproachOliver Guy
Retailers are struggling to compete, struggling to innovate, finding change difficult.
Like their counterparts in many industries, the set-up of their existing IT architecture is holding them back preventing them quickly adapting to new business models and exploiting opportunities.
A new approach is needed to re-establish market leadership.
The document analyzes the thriller genre film market in 2015. It finds that while 52 thriller films were released, generating £37.1 million at the box office, this only represented 6.9% of total sales that year. The most successful thriller was Taken 3, which grossed over £37.1m in the UK and $326.4m worldwide. Data on audience demographics for top thriller and action films suggests the genre appeals most to younger males aged 15-24 from lower social classes. Larger budgets are correlated with greater success due to larger marketing budgets and star power.
This document describes a movie recommendation system project that will use collaborative filtering techniques to predict movie ratings and recommend movies to users. The project will use the MovieLens dataset to identify user demographics and movie genres and classify them using different algorithms. Conditional inference trees and random forests will be implemented and evaluated on the MovieLens data, with the highest accuracy achieved using age, gender, occupation, and genre features. Exploratory data analysis of the MovieLens data found that most users are students aged 20-30 and most movies are from the 1990s across many genres.
The influence of film trailers on consumer expectationsleannekgeorge
This document summarizes a research project investigating how film trailers influence consumer expectations. The researcher plans to conduct qualitative interviews and focus groups with filmgoers aged 10-55 in the UK to understand how their expectations change after viewing trailers. Quantitative questionnaires will also be used. Two artifacts will be created: 1) Testing audience perceptions of films with and without trailers 2) Re-editing existing trailers to test which elements impact expectations. Online technologies will help manage the project timeline. Quotes provide context on trailer marketing strategies and their role in the film industry.
Uncovering the dna of a successful summer movie trailerWayne Goodreau
This presentation showcases some of the results from a 45-minute Real-Time Large-Scale Focus Group™ run on March 26th at the Qual3670 Conference in Atlanta, GA to understand their pgeneral preferences and expectations regarding the films they watch, their thoughts on the upcoming summer movie season and their feedback on 1 of 2 trailers for the upcoming Avengers: Age of Ultron movie
In addition to asking general questions about the films they watch and the upcoming summer movie season, respondents were also randomly exposed to 1 of 2 different trailers for the upciming Avengers sequel and asked to use a Dialsmith Perception Analyzer to indicate interest on a moment-to-moment basis. Then these respondents were asked a series of questions to gain more depth. Results were also analyzed by age and gender to understand how this plays into attitudes and perceptions.
This document discusses how advanced statistical analysis techniques like factor analysis, cluster analysis, and CHAID analysis can be used to gain insights from market segmentation data. The analyses were applied to data about cinema-goers to identify 3 distinct segments - Word of Mouth, Critically Acclaimed, and Hollywood. Factor analysis reduced 32 attributes to 4 factors. Cluster analysis grouped individuals into the 3 segments based on these factors. CHAID analysis further profiled each segment by modeling variables to predict outcomes and find typical characteristics of individuals in each segment.
This report presents the key findings of the Comprehensive Annenberg Report on Diversity (CARD) which assesses inclusion on screen and behind the camera across major media companies. The report found that females represent only 33.5% of all speaking characters and fill 28.7% of roles in films. It also found that women make up only 15.2% of directors and 28.9% of writers. Additionally, roughly 20% of corporate boards and executives at media companies are women. The presence of more women behind the camera is correlated with a greater percentage of female characters on screen.
This report summarizes the key findings of the Comprehensive Annenberg Report on Diversity (CARD) regarding gender and racial/ethnic diversity in popular media across film, television, and digital content from 10 major media companies. The report found that female characters make up only 33.5% of speaking roles, with a ratio of 2 male characters for every 1 female character. It also found low levels of racial/ethnic diversity both on screen and behind the camera. The report provides company and media platform-specific data on representation and inclusion to evaluate diversity in the media landscape.
- The rise of on-demand video and social media has changed how people consume television and movies, allowing them to watch anywhere and anytime. This has forced marketers to adapt by using precise viewership data and online platforms.
- Social media marketing campaigns that identify influencers to promote movies on platforms like YouTube and Instagram can reach hundreds of millions of people. Data from these online viewing behaviors allows for highly targeted advertising.
- Streaming services like Netflix use micro-genre categorization and viewership data to inform marketing, production, and recommendation decisions for both movies and television in a way that was not possible before this new era of online consumption.
The target audience for the media product is females under 35 and males under 35, based on data from the UK Film Council. This group tends to enjoy horror films. Research also found that psychological horror films typically receive a 15 rating from the BBFC due to violent and scary content. To effectively reach the target audience, the film would need to be advertised on social media and released in major cinemas to achieve mainstream success. An example target audience member profile supported that horror fans appreciate original plots, suspense, and jump scares but dislike gore and cliches.
This document summarizes a study on the effect of online film piracy on international box office sales. The study finds that longer release windows between a film's US release and international release are associated with decreased box office returns internationally. This relationship is stronger after the adoption of BitTorrent, which facilitated faster sharing of movie files. The study estimates that international box office returns were at least 7% lower than they would have been without pre-release piracy enabled by delays in international releases.
The document summarizes the results of a questionnaire conducted to gather information from teenagers about their preferences and interests related to horror films. The questionnaire asked about respondents' age, favorite horror films, preferred horror sub-genres, fears, how often they watch horror films, if trailers and posters influence viewing decisions, and what elements make for effective horror trailers. The results will help the document's authors create compelling marketing materials for a slasher film project by highlighting elements shown to appeal to their target demographic.
The document provides quantitative audience research data collected through an online survey about preferences for horror films.
The survey results show that the target audience is primarily 17-19 year old males who prefer slasher films like Halloween and Friday the 13th. Popular slasher film villains like Freddy Krueger and settings like neighborhoods are favored. Most audience members access films through streaming and would prefer to see a slasher film in spring to avoid competition. Common weapons like knives are preferred to use in the film.
The document discusses distribution strategies for a crime film produced in the UK. It compares the film to "The Hateful Eight" which was distributed by The Weinstein Company, noting similarities in genre and plot elements involving bounty hunters. The target audience for the UK film is identified as 18-24 year olds of both sexes. Marketing strategies discussed include releasing a trailer online, conducting press interviews, and creating an interactive social media presence. Release strategies consider crafting a customized plan based on goals such as profit, career advancement, or building a fan base. Exhibition options note targeting the 18-25 demographic during the opening weekend through heavy promotion.
The marketing campaign will target teenagers aged 15-19 and young adults. Primary research found that this age group prefers to learn about new films on social media, YouTube, and through trailers. They are heavily influenced by their peers and enjoy genres like horror, action, and comedy. To attract this audience, the campaign will create social media profiles, trailers, and viral marketing stunts. It will also release products on YouTube since the target group spends 5-20 hours per week on the platform. The campaign aims to warn teenagers of the dangers of seeking out risk, so the dark and thrilling tone of the found footage horror film is well-suited to its message and audience.
The document provides an overview of the James Bond franchise and movie industry landscape. It discusses challenges faced by the Bond franchise in recent years, including keeping the brand relevant, accepting Daniel Craig as the new Bond, and addressing sexism. Research was conducted, including focus groups, to understand audience attitudes. Strategic recommendations are made, including targeting males aged 14-28 globally, addressing issues of sexism and diversity, casting Idris Elba as Bond, and releasing the next film in June 2020 with various promotional events. The team believes their thorough research and diverse focus groups provide Sony confidence in the revitalization plans.
The document analyzes target audience research data from various sources about the action genre film audience. It finds that the primary audience for action films is males aged 35 and under, especially those under 35, and the genre has widespread popularity across demographics. Action films are particularly mainstream and successful financially. The research establishes that an action film opening should be aimed mainly at younger males.
The document summarizes the results of a questionnaire conducted to inform the creation of a horror media package. Key findings include:
- The target audience is primarily 15-23 years old and enjoys slasher and supernatural films.
- Jumps scares and sound are most important in trailers.
- Film reviews and information about upcoming films would attract magazine purchases.
- Common fears like death and animals will be featured to increase scare factor.
- Trailers and posters are highly influential on viewers' decisions to see films.
The document discusses identifying the target audience for a film. It identifies several key demographic groups the film aims to appeal to:
- Teens, due to the teen protagonists and focus on social media.
- All genders and sexualities.
- English speaking countries only due to no translations.
It also discusses socio-economic groups A-C1 who would be interested in the dangers of social media. The film aims to draw in phone and laptop users who can relate to the protagonist. Psychographic profiling shows explorers and mainstreamers would be attracted due to new experiences and relating to the purpose of the film.
When surveyed about their preferred horror subgenre, the majority of respondents chose thriller. Examples of popular thriller films with these demographics are the Saw and Hostel series. These graphic films combine elements of horror and suspenseful action thrillers. The data also showed that this demographic learns about films from trailers and friends and is regularly engaged with visual media and social interactions related to film. Most people in this group research films online using sites like IMDb before watching. While online viewing is most common, high costs may prevent many from purchasing DVDs. In conclusion, this demographic is an active audience that learns about, researches, and often views films via online methods rather than physical purchases.
RobertA) Is there any value left in the big-screen movie experi.docxSUBHI7
Robert:
A) Is there any value left in the big-screen movie experience?
If you measure value by the ticket sales and what the movie grosses in theatres, then yes, there is still value left in the big screen movie experience. Box office hits continue to challenge movies of the past in what they gross in ticket sales (IMDb, 2016). If you measure value by the nostalgia of leaving the house; ordering your popcorn, soda, and maybe sneaking in a personal beverage of your own and then sharing the movie with strangers in a semi comfortable chair, that is all in the eye of the beholder. I appreciate on the rare occasion of escaping on a date night and enjoying the big screen movie experience.
B) Will online streaming video overtake the other motion-medias? Why or why not?
Online streaming has the potential to overtake other motion media. According to a survey from a consulting firm Deloitte, 56% of those surveyed now stream movies on a monthly basis. 72% of Millennials surveyed cited “streaming video as one of the most valuable services versus 58% who said the same for pay TV” (Spangler, 2015).
C) How can broadcast television change to remain competitive and can you cite any examples of programming changes that they have made to do so already? How does "free content" in television play into this?
With media experiencing a shift to using internet as a platform of the future, television network need to engage with the internet at a medium. Currently networks are already shifting to using the internet and streaming to reach its audience (Pisharody, 2013). A example would be the online and live streaming coverage of the 2016 Olympics in Rio by NBC.
D) After reading "21st Century Commuication: A Reference Handbook: Chapter 96: Radio and Television Programming," explain how cable TV was instrumental in leading to greater demassification (look it up if you don't know what it means) of media content.
In the 1980’s cable TV was able to broadcast a wide range of channels through use of satellites for programs like HBO, ESPN, Showtime, CNN, etc…Cable TV was also instrumental in changing media content by allowing programming directors to target niche audiences with multiple channels, versus having to target a wide range of views as broadcast networks had to do. This led to the FCC abolishing the fin-syn and allowing broadcast network to producing their own programing. (Gross, 2009)
Bibliography
Gross, L. S. (2009). Radio and Television Programming. In W. F. Eadie (Ed.), 21st Century Communication: A Reference Handbook (pp. 868-876). Thousand Oaks: SAGE Publications, Inc. doi:http://dx.doi.org/10.4135/9781412964005.n96
IMDb. (2016, September 7). All Time Box Office. Retrieved from Box Office Mojo: http://www.boxofficemojo.com/alltime/domestic.htm
Pisharody, A. (2013, May). The Future of Television: Will broadcast and cable television networks survive the emergence of online streaming? New York: Leonard N. Stern School of Business. Retrieved from http://www.stern.ny ...
The influence of film trailers on consumer expectationsleannekgeorge
This document summarizes a research project investigating how film trailers influence consumer expectations. The researcher plans to conduct qualitative interviews and focus groups with filmgoers aged 10-55 in the UK to understand how their expectations change after viewing trailers. Quantitative questionnaires will also be used. Two artifacts will be created: 1) Testing audience perceptions of films with and without trailers 2) Re-editing existing trailers to test which elements impact expectations. Online technologies will help manage the project timeline. Quotes provide context on trailer marketing strategies and their role in the film industry.
Uncovering the dna of a successful summer movie trailerWayne Goodreau
This presentation showcases some of the results from a 45-minute Real-Time Large-Scale Focus Group™ run on March 26th at the Qual3670 Conference in Atlanta, GA to understand their pgeneral preferences and expectations regarding the films they watch, their thoughts on the upcoming summer movie season and their feedback on 1 of 2 trailers for the upcoming Avengers: Age of Ultron movie
In addition to asking general questions about the films they watch and the upcoming summer movie season, respondents were also randomly exposed to 1 of 2 different trailers for the upciming Avengers sequel and asked to use a Dialsmith Perception Analyzer to indicate interest on a moment-to-moment basis. Then these respondents were asked a series of questions to gain more depth. Results were also analyzed by age and gender to understand how this plays into attitudes and perceptions.
This document discusses how advanced statistical analysis techniques like factor analysis, cluster analysis, and CHAID analysis can be used to gain insights from market segmentation data. The analyses were applied to data about cinema-goers to identify 3 distinct segments - Word of Mouth, Critically Acclaimed, and Hollywood. Factor analysis reduced 32 attributes to 4 factors. Cluster analysis grouped individuals into the 3 segments based on these factors. CHAID analysis further profiled each segment by modeling variables to predict outcomes and find typical characteristics of individuals in each segment.
This report presents the key findings of the Comprehensive Annenberg Report on Diversity (CARD) which assesses inclusion on screen and behind the camera across major media companies. The report found that females represent only 33.5% of all speaking characters and fill 28.7% of roles in films. It also found that women make up only 15.2% of directors and 28.9% of writers. Additionally, roughly 20% of corporate boards and executives at media companies are women. The presence of more women behind the camera is correlated with a greater percentage of female characters on screen.
This report summarizes the key findings of the Comprehensive Annenberg Report on Diversity (CARD) regarding gender and racial/ethnic diversity in popular media across film, television, and digital content from 10 major media companies. The report found that female characters make up only 33.5% of speaking roles, with a ratio of 2 male characters for every 1 female character. It also found low levels of racial/ethnic diversity both on screen and behind the camera. The report provides company and media platform-specific data on representation and inclusion to evaluate diversity in the media landscape.
- The rise of on-demand video and social media has changed how people consume television and movies, allowing them to watch anywhere and anytime. This has forced marketers to adapt by using precise viewership data and online platforms.
- Social media marketing campaigns that identify influencers to promote movies on platforms like YouTube and Instagram can reach hundreds of millions of people. Data from these online viewing behaviors allows for highly targeted advertising.
- Streaming services like Netflix use micro-genre categorization and viewership data to inform marketing, production, and recommendation decisions for both movies and television in a way that was not possible before this new era of online consumption.
The target audience for the media product is females under 35 and males under 35, based on data from the UK Film Council. This group tends to enjoy horror films. Research also found that psychological horror films typically receive a 15 rating from the BBFC due to violent and scary content. To effectively reach the target audience, the film would need to be advertised on social media and released in major cinemas to achieve mainstream success. An example target audience member profile supported that horror fans appreciate original plots, suspense, and jump scares but dislike gore and cliches.
This document summarizes a study on the effect of online film piracy on international box office sales. The study finds that longer release windows between a film's US release and international release are associated with decreased box office returns internationally. This relationship is stronger after the adoption of BitTorrent, which facilitated faster sharing of movie files. The study estimates that international box office returns were at least 7% lower than they would have been without pre-release piracy enabled by delays in international releases.
The document summarizes the results of a questionnaire conducted to gather information from teenagers about their preferences and interests related to horror films. The questionnaire asked about respondents' age, favorite horror films, preferred horror sub-genres, fears, how often they watch horror films, if trailers and posters influence viewing decisions, and what elements make for effective horror trailers. The results will help the document's authors create compelling marketing materials for a slasher film project by highlighting elements shown to appeal to their target demographic.
The document provides quantitative audience research data collected through an online survey about preferences for horror films.
The survey results show that the target audience is primarily 17-19 year old males who prefer slasher films like Halloween and Friday the 13th. Popular slasher film villains like Freddy Krueger and settings like neighborhoods are favored. Most audience members access films through streaming and would prefer to see a slasher film in spring to avoid competition. Common weapons like knives are preferred to use in the film.
The document discusses distribution strategies for a crime film produced in the UK. It compares the film to "The Hateful Eight" which was distributed by The Weinstein Company, noting similarities in genre and plot elements involving bounty hunters. The target audience for the UK film is identified as 18-24 year olds of both sexes. Marketing strategies discussed include releasing a trailer online, conducting press interviews, and creating an interactive social media presence. Release strategies consider crafting a customized plan based on goals such as profit, career advancement, or building a fan base. Exhibition options note targeting the 18-25 demographic during the opening weekend through heavy promotion.
The marketing campaign will target teenagers aged 15-19 and young adults. Primary research found that this age group prefers to learn about new films on social media, YouTube, and through trailers. They are heavily influenced by their peers and enjoy genres like horror, action, and comedy. To attract this audience, the campaign will create social media profiles, trailers, and viral marketing stunts. It will also release products on YouTube since the target group spends 5-20 hours per week on the platform. The campaign aims to warn teenagers of the dangers of seeking out risk, so the dark and thrilling tone of the found footage horror film is well-suited to its message and audience.
The document provides an overview of the James Bond franchise and movie industry landscape. It discusses challenges faced by the Bond franchise in recent years, including keeping the brand relevant, accepting Daniel Craig as the new Bond, and addressing sexism. Research was conducted, including focus groups, to understand audience attitudes. Strategic recommendations are made, including targeting males aged 14-28 globally, addressing issues of sexism and diversity, casting Idris Elba as Bond, and releasing the next film in June 2020 with various promotional events. The team believes their thorough research and diverse focus groups provide Sony confidence in the revitalization plans.
The document analyzes target audience research data from various sources about the action genre film audience. It finds that the primary audience for action films is males aged 35 and under, especially those under 35, and the genre has widespread popularity across demographics. Action films are particularly mainstream and successful financially. The research establishes that an action film opening should be aimed mainly at younger males.
The document summarizes the results of a questionnaire conducted to inform the creation of a horror media package. Key findings include:
- The target audience is primarily 15-23 years old and enjoys slasher and supernatural films.
- Jumps scares and sound are most important in trailers.
- Film reviews and information about upcoming films would attract magazine purchases.
- Common fears like death and animals will be featured to increase scare factor.
- Trailers and posters are highly influential on viewers' decisions to see films.
The document discusses identifying the target audience for a film. It identifies several key demographic groups the film aims to appeal to:
- Teens, due to the teen protagonists and focus on social media.
- All genders and sexualities.
- English speaking countries only due to no translations.
It also discusses socio-economic groups A-C1 who would be interested in the dangers of social media. The film aims to draw in phone and laptop users who can relate to the protagonist. Psychographic profiling shows explorers and mainstreamers would be attracted due to new experiences and relating to the purpose of the film.
When surveyed about their preferred horror subgenre, the majority of respondents chose thriller. Examples of popular thriller films with these demographics are the Saw and Hostel series. These graphic films combine elements of horror and suspenseful action thrillers. The data also showed that this demographic learns about films from trailers and friends and is regularly engaged with visual media and social interactions related to film. Most people in this group research films online using sites like IMDb before watching. While online viewing is most common, high costs may prevent many from purchasing DVDs. In conclusion, this demographic is an active audience that learns about, researches, and often views films via online methods rather than physical purchases.
RobertA) Is there any value left in the big-screen movie experi.docxSUBHI7
Robert:
A) Is there any value left in the big-screen movie experience?
If you measure value by the ticket sales and what the movie grosses in theatres, then yes, there is still value left in the big screen movie experience. Box office hits continue to challenge movies of the past in what they gross in ticket sales (IMDb, 2016). If you measure value by the nostalgia of leaving the house; ordering your popcorn, soda, and maybe sneaking in a personal beverage of your own and then sharing the movie with strangers in a semi comfortable chair, that is all in the eye of the beholder. I appreciate on the rare occasion of escaping on a date night and enjoying the big screen movie experience.
B) Will online streaming video overtake the other motion-medias? Why or why not?
Online streaming has the potential to overtake other motion media. According to a survey from a consulting firm Deloitte, 56% of those surveyed now stream movies on a monthly basis. 72% of Millennials surveyed cited “streaming video as one of the most valuable services versus 58% who said the same for pay TV” (Spangler, 2015).
C) How can broadcast television change to remain competitive and can you cite any examples of programming changes that they have made to do so already? How does "free content" in television play into this?
With media experiencing a shift to using internet as a platform of the future, television network need to engage with the internet at a medium. Currently networks are already shifting to using the internet and streaming to reach its audience (Pisharody, 2013). A example would be the online and live streaming coverage of the 2016 Olympics in Rio by NBC.
D) After reading "21st Century Commuication: A Reference Handbook: Chapter 96: Radio and Television Programming," explain how cable TV was instrumental in leading to greater demassification (look it up if you don't know what it means) of media content.
In the 1980’s cable TV was able to broadcast a wide range of channels through use of satellites for programs like HBO, ESPN, Showtime, CNN, etc…Cable TV was also instrumental in changing media content by allowing programming directors to target niche audiences with multiple channels, versus having to target a wide range of views as broadcast networks had to do. This led to the FCC abolishing the fin-syn and allowing broadcast network to producing their own programing. (Gross, 2009)
Bibliography
Gross, L. S. (2009). Radio and Television Programming. In W. F. Eadie (Ed.), 21st Century Communication: A Reference Handbook (pp. 868-876). Thousand Oaks: SAGE Publications, Inc. doi:http://dx.doi.org/10.4135/9781412964005.n96
IMDb. (2016, September 7). All Time Box Office. Retrieved from Box Office Mojo: http://www.boxofficemojo.com/alltime/domestic.htm
Pisharody, A. (2013, May). The Future of Television: Will broadcast and cable television networks survive the emergence of online streaming? New York: Leonard N. Stern School of Business. Retrieved from http://www.stern.ny ...
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