Blockbuster: Looking Ahead in a Competitive Market Alex Shvartser
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Annual Report 2008
® Annual Report 2008 • Revised corporate mission: To provide convenient access to 2007 media entertainment • Announced decisive steps to strengthen the core rental business, enhance the company’s retail offering, and embrace digital content delivery • Positioned BLOCKBUSTER Total Access™ into a profi table and stable business • Completed Blu-ray Disc™ kiosk installation • Launched a new and improved blockbuster.com and integrated 2008 Movielink’s 10,000+ titles into the site • Improved studio relationships, with 80% of movie studios currently committed to revenue share arrangements • Enhanced approximately 600 domestic stores • Improved in-stock availability to 60% during the fi rst week a hot new release is available on DVD • Expanded entertainment related merchandise, including licensed memorabilia • Launched “Rock the Block” Concept in Reno, Dallas and New York City • Introduced consumer electronics, games and game merchandise in approximately 4,000 domestic stores • Launched new products and services nationally, including event ticketing through alliance with Live Nation • Continued to improve product assortment among confection and snack items • Launched BLOCKBUSTER® OnDemand through alliance with 2Wire® • Announced alliance with NCR Corporation to provide DVD vending 2009 • Teamed with Sonic Solutions® to provide consumers instant access to Blockbuster’s digital movie service across extensive range of home and portable devices • Began to gradually roll-out “Choose Your Terms” nationally • Announced pilot program to include online -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
BLOCKBUSTER INC. (Exact Name of Registrant As Specified in Its Charter)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K ⌧ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2005. OR TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File Number 001-15153 BLOCKBUSTER INC. (Exact name of registrant as specified in its charter) DELAWARE 52-1655102 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) Identification Number) 1201 Elm Street Dallas, Texas 75270 (214) 854-3000 (Address, including zip code, and telephone number, including area code, of registrant’s principal executive offices) Securities registered pursuant to Section 12(b) of the Act: Title of Each Class Name of Each Exchange on Which Registered Class A Common Stock, $.01 par value per share New York Stock Exchange Class B Common Stock, $.01 par value per share New York Stock Exchange Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes No ⌧ Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes No ⌧ Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
Recent Antitrust Issues in Distribution of Dvds
DISTRIBUTION THE NEWSLETTER OF THE DISTRIBUTION AND FRANCHISING COMMITTEE Antitrust Section — American Bar Association Vol. 15, No. 1 — January 2011 In this Issue Message from the Chair . 1 Mobile Advertising: An Economic Perspective . 3 Recent Antitrust Issues in Distribution of DVDs . 9 Online Distribution in the EU: The New Rules on Vertical Restraints and their Implications for Internet Retailing Across the Atlantic . 12 Distribution and Franchising Committee:• ABA•Section of Antitrust Law Recent Antitrust Issues in Distribution of DVDs Howard Marvel and Kivanc Kirgiz 1 Introduction continually attempting to protect their own window from being shortened, even as all but the first-release Motion picture studios have long supplied movies to theaters argue that the start date of their particular consumers through an elaborate system of distribution window should be moved earlier. “windows” in which consumers pay lower rates per viewing as the time from a movie’s initial release Traditionally, motion pictures were first released through increases. This system allows studios to charge different theaters, where the average price of admission was $7.85 prices to consumers through different distribution during the first three quarters of 2010. 2 Roughly four channels depending on their preferences for watching months after the theatrical release, the video-release movies close to their release date. Such legal price window opened with movies being made available for discrimination permits the studios to maximize the value sale or rental in DVD or Blu-ray Disc format. Still later, of their copyrighted content and provides financial movies were released to video on demand, “premium” incentives to produce and market new movies. -
John Palys William Hetfield Ariana Schuster April 20, 2005
John Palys William Hetfield Ariana Schuster April 20, 2005 Blockbuster Inc. Table of Contents Executive Summary .......................................................................... 3 Company History .............................................................................. 4 Competitive Analysis ........................................................................ 7 Industry...................................................................................................7 Entry ........................................................................................................8 Substitutes and Complements..................................................................8 Buyer and Supplier Power........................................................................9 Financial Analysis ........................................................................... 11 Key Issues and Solutions................................................................ 14 Conclusion ...................................................................................... 17 References ..................................................................................... 18 SageGroup, LLP 2 Blockbuster Inc. Executive Summary Blockbuster Inc. thrived throughout the 1990’s as the video rental industry grew, with VHS tapes the dominant format and VCR’s in the majority of American households. The introduction and spread of new technologies, however, has in recent years caused the rental industry to stagnate and even recently contract. The DVD format -
In Re: Coinstar, Inc. Securities Litigation 11-CV-00133-Plaintiffs
Case 2:11-cv-00133-MJP Document 86 Filed 07/15/11 Page 1 of 37 1 THE HONORABLE MARSHA J. PECHMAN 2 3 4 5 6 7 8 UNITED STATES DISTRICT COURT 9 WESTERN DISTRICT OF WASHINGTON 10 AT SEATTLE 11 12 In re COINSTAR, INC., SHAREHOLDER Lead Case No. 2:11-cv-00133-MJP DERIVATIVE LITIGATION 13 PLAINTIFFS' CONSOLIDATED VERIFIED SHAREHOLDER DERIVATIVE 14 This Document Relates To: COMPLAINT FOR BREACH OF FIDUCIARY DUTY, ABUSE OF 15 ALL ACTIONS. CONTROL, GROSS MISMANAGEMENT AND UNJUST ENRICHMENT 16 DEMAND FOR JURY TRIAL 17 18 19 20 21 22 23 24 25 26 637051_1 II PLAINTIFFS' CONSOLIDATED VERIFIED ROBBINS GELLER RUDMAN & DOWD LLP 655 West Broadway, Suite 1900, San Diego, California 92101 SHAREHOLDER DERIVATIVE COMPLAINT Telephone: 619/231-1058 • Fax: 619/231-7423 (2:11-CV-00133-MJP) Case 2:11-cv-00133-MJP Document 86 Filed 07/15/11 Page 2 of 37 1 OVERVIEW OF THE ACTION 2 1. This is a shareholders derivative action on behalf of nominal defendant Coinstar Inc. 3 ("Coinstar" or the "Company") against its Board of Directors (Arik A. Ahitov, David M. Eskenazy, 4 Robert D. Sznewajs, Ronald B. Woodard, Deborah L. Bevier and Paul D. Davis), one former 5 member of its Board of Directors (Daniel W. O'Connor), and certain top officers (Paul D. Davis, 6 Gregg A. Kaplan, Galen Smith and J. Scott Di Valerio) for breach of fiduciary duty, abuse of 1 7 control, gross mismanagement and unjust enrichment. 8 2. Coinstar operates two core businesses: Redbox, which provides self-service digital 9 video disc ("DVD") kiosks for the rental and purchase of DVDs by consumers, and Coinstar coin- 10 counting machines ("Coin Services"), which provide self-service kiosks that enable consumers to 11 convert currency in coins to bills. -
Bass Ackwards
Selling Your Film Without Selling Your Soul presented by Prescreen: Case Studies in Hybrid, DIY and P2P Independent Distribution By The Film Collaborative (Orly Ravid & Jeffrey Winter), Jon Reiss, Sheri Candler Published by The Film Collaborative, 3405 Cazador Street, Los Angeles, CA 90065, www.thefilmcollaborative.org All Rights Reserved. Production Manager: David Averbach Video Editor: Samuael Topiary Trailer Editor: Gene Merker Cover and Interior Design by: David Averbach Copyeditor: Susan Lynn Camera: Jon Reiss, Jon Kendall Winter Copyright © 2011 by The Film Collaborative, Jon Reiss and Sheri Candler ISBN 978-0-9838229-8-1 [PDF Edition] www.sellingyourfilm.com Table of Contents Acknowledgments Foreword Introduction Bass Ackwards A New Path to Engage Film Audiences and Create Careers: An Introduction Ride the Divide Note by Note The Best and the Brightest Adventures of Power American: The Bill Hicks Story How do Niche Films find their Audiences? Using Peer to Peer (P2P) Methods to Distribute Film? List of Questions Given to Participating Filmmakers About the Authors Acknowledgments The Film Collaborative (TFC) is grateful to Sheri and Jon for their delightful collaboration. Many thanks to all our sponsors for their support and to all our case study subjects for their diligent and transparent participation: Ari Gold, Anne Bernstein, Paul Thomas, Matt Harlock, Tom Gustafson, Casper Andreas, Javier Fuentes, Daniel Karslake, and Thomas Woodrow. Thanks to New Video for offering numbers for Bass Ackwards. Gravitas for their help with Casper Andreas’ films and American: The Bill Hicks Story. Wolfe for their help with Undertow and Were the World Mine. Ted Hope for everything. David Averbach for over-delivering as usual. -
Fighting the First Sale Doctrine: Strategies for a Struggling Film Industry Sage Vanden Heuvel University of Michigan Law School
Michigan Telecommunications and Technology Law Review Volume 18 | Issue 2 2012 Fighting the First Sale Doctrine: Strategies for a Struggling Film Industry Sage Vanden Heuvel University of Michigan Law School Follow this and additional works at: http://repository.law.umich.edu/mttlr Part of the Entertainment, Arts, and Sports Law Commons, Intellectual Property Law Commons, and the Internet Law Commons Recommended Citation Sage V. Heuvel, Fighting the First Sale Doctrine: Strategies for a Struggling Film Industry, 18 Mich. Telecomm. & Tech. L. Rev. 661 (2012). Available at: http://repository.law.umich.edu/mttlr/vol18/iss2/7 This Note is brought to you for free and open access by the Journals at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Michigan Telecommunications and Technology Law Review by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. NOTE FIGHTING THE FIRST SALE DOCTRINE: STRATEGIES FOR A STRUGGLING FILM INDUSTRY Sage Vanden Heuvel* Cite as: Sage Vanden Heuvel, Fighting the FirstSale Doctrine: Strategiesfor a Struggling Film Industry, 18 MICH. TELECOMM. TECH. L. REV. 661 (2012), availableat http://www.mttlr.org/voleighteen/vandenheuvel.pdf INTRODUCTION ...................................................... 661 1. THE FIRST SALE DOCTRINE, PAST AND PRESENT ....... ......... 663 A. History of the Doctrine............................663 B. Unexpected Repercussions: Netfiix and Redbox .................... 667 II. LEGISLATIVE REVISIONS TO THE FIRST SALE DOCTRINE...............669 A. Expanding the First Sale Doctrine to Encompass Digital Content .............................. .............. 670 B. Excluding Digital Works from First Sale Entirely .................. 672 C. A Video Rental Amendment ................... ..... 673 D. Mandatory Streaming Licenses ................. ..... 676 III. -
On-Demand Audiovisual Markets in the European Union
ON-DEMAND AUDIOVISUAL MARKETS IN THE EUROPEAN UNION FINAL REPORT A study prepared for the European Commission DG Communications Networks, Content & Technology by Digital Agenda for Europe This study was carried out for the European Commission by European Audiovisual Observatory, 76 Allée de la Robertsau, 67000 Strasbourg, France Authors: Director of publication: Susanne Nikoltchev, Executive Director, European Audiovisual Observatory Supervision: André Lange, Head of Department for Information on Markets and Financing, European Audiovisual Observatory Author: Christian Grece, Analyst at the European Audiovisual Observatory Preparatory notes: Lorenzo Principali, Analyst at the European Audiovisual Observatory Internal identification Contract number: 30-CE-0520606/00-86 SMART number: 2012/0026 DISCLAIMER By the European Commission, Directorate-General of Communications Networks, Content & Technology. The information and views set out in this publication are those of the author(s) and do not necessarily reflect the official opinion of the Commission nor of the European Audiovisual Observatory, its members or of the Council of Europe. The Commission does not guarantee the accuracy of the data included in this study. Data compiled by external sources are quoted for the purpose of information. The author of this report is not in a position to verify either their means of compilation or their pertinence. Neither the Commission nor any person acting on the Commission’s behalf may be held responsible for the use which may be made of the information contained therein.. ISBN 978-92-79-38425-7 DOI 10.2759/51823 © European Union, 2014. All rights reserved. Certain parts are licensed under conditions to the EU. Reproduction is authorised provided the source is acknowledged. -
Marketing Violent Entertainment to Children: a Review of Self-Regulation and Industry Practices in the Motion Picture, Music Recording & Electronic Game Industries
Marketing Violent Entertainment to Children: A Fourth Follow-up Review of Industry Practices in the Motion Picture, Music Recording & Electronic Game Industries A Report to Congress Federal Trade Commission July 2004 FEDERAL TRADE COMMISSION Timothy J. Muris, Chairman Mozelle W. Thompson, Commissioner Orson Swindle, Commissioner Thomas B. Leary, Commissioner Pamela Jones Harbour, Commissioner Report Contributors Richard F. Kelly, Bureau of Consumer Protection, Division of Advertising Practices Elizabeth Delaney, Bureau of Consumer Protection, Division of Advertising Practices Kial Young, Bureau of Consumer Protection, Division of Advertising Practices Mark Eichorn, Bureau of Consumer Protection, Division of Advertising Practices Lesley A. Fair, Bureau of Consumer Protection, Division of Advertising Practices Mary K. Engle, Associate Director, Bureau of Consumer Protection, Division of Advertising Practices. Assistants Sallie Schools, Bureau of Consumer Protection, Division of Advertising Practices Katherine Zownir, Bureau of Consumer Protection, Division of Advertising Practices Kerry Constabile, Bureau of Consumer Protection Stefano Sciolli, Bureau of Economics Interns Chadwick Crutchfield, Bureau of Consumer Protection, Division of Advertising Practices Jamie Gentry, Bureau of Consumer Protection, Division of Advertising Practices Nicholas A. James, Bureau of Consumer Protection, Division of Advertising Practices Jonathan Longobardi, Bureau of Consumer Protection, Division of Advertising Practices Marketing Violent Entertainment to Children: -
2006 Annual Report
Netfl ix, Inc. 2006 Annual Report Netflix, Inc. • 100 Winchester Circle • Los Gatos, CA 95032 • www.netflix.com 2006 Annual Report CORPORATE DIRECTORY BOARD OF DIRECTORS CORPORATE HEADQUARTERS Reed Hastings Netfl ix, Inc. Chief Executive Offi cer, President, 100 Winchester Circle Chairman of the Board and Co-founder, Los Gatos, CA 95032 Netfl ix, Inc. Phone: (408) 540-3700 www.netfl ix.com Richard N. Barton3 Chief Executive Offi cer and TRANSFER AGENT Chairman of the Board, Computer Trust Company, N.A. <SbTZWfS\RSR $eWbV$![WZZW]\ Zillow, Inc. P.O. Box 43023 acPaQ`WPS`aOaSdS\gSO`Q][^]c\RO\\cOZ A. George (Skip) Battle Providence, RI 02940-3023 Former Executive Chairman, Ask Jeeves, Inc. Phone: (781) 575-2879 U`]ebV`ObS]T%'★ #&]TCAV]caSV]ZRaO`S www.computershare.com Timothy M. Haley1,2 Managing Director, Redpoint Ventures <SbTZWfacPaQ`WPS`a★ <SbTZWfVOaO^^`]fW[ObSZg ANNUAL MEETING %PWZZW]\[]dWS`ObW\UaT`][Wba[S[PS`a★ Jay Hoag2,3 The Annual Meeting of Shareholders will be held General Partner, May 17, 2007 at 3:00 PM <SbTZWf[S[PS`a`ObSOP]cb [WZZW]\[]dWSaOROg Technology Crossover Ventures at Netfl ix headquarters 100 Winchester Circle Michael N. Schuh1 ★ /^^`]fW[ObSZg$]T<SbTZWfacPaQ`WPS`aaSZSQb Los Gatos, CA 95032 Managing Member, Foundation Capital bVSW`[]dWSaPOaSR]\<SbTZWf`SQ][[S\RObW]\a★ Greg Stanger1 STOCK LISTING ;S[PS`aUWdS<SbTZWf`SQ][[S\RObW]\a"abO`a]dS` Venture Partner, Netfl ix, Inc. common stock trades on the Technology Crossover Ventures Nasdaq Stock Market under the symbol NFLX. %]TbVSbW[S★ 1][PW\SR<SbTZWfacPaQ`WPS`aORR 1 Audit Committee INVESTOR RELATIONS [WZZW]\[]dWSab]bVSW`_cScSaSdS`gROg★ <SbTZWfVOa 2 Compensation Committee 3 Nominating and Governance Committee For additional copies of this report or other aVW^^SR]dS`PWZZW]\2D2a★ =dS`']TOZZbWbZSaW\bVS fi nancial information: <SbTZWfZWP`O`gO`S`S\bSRSOQV_cO`bS`★ =\O\gUWdS\ SENIOR MANAGEMENT Email: ir@netfl ix.com Reed Hastings Investor Relations ROgOP]cb Chief Executive Offi cer, President, Netfl ix, Inc. -
Online Distribution and the Relocation of Specialised Film", University of Southampton, Faculty of Humanities, Phd Thesis, Pagination
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Elliott W. NiKdel (2017) "Online Distribution and the Relocation of Specialised Film", University of Southampton, Faculty of Humanities, PhD Thesis, pagination. UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Online Distribution and the Relocation of Specialised Film by Elliott W. Nikdel Thesis for the degree of Doctor of Philosophy June 2017 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy ONLINE DISTRIBUTION AND THE RELOCATION OF SPECIALISED FILM by Elliott W. Nikdel The recent advent of online film distribution has inspired a utopian vision of change and disruption. In particular, online distribution is believed to foster a new democratic dawn of content distribution, widening the range of choice and opening pathways to a plethora of cultural content. This is deemed to have a particularly enriching impact on the diversity of film culture by dragging specialised and niche films from the fringes of the marKet to the centre of cultural life.