Managing in the Media Peter Block
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Managing in the Media Dedication: To Kalpana, Elinor and Ruth Managing in the Media Peter Block (Editor) William Houseley, Tom Nicholls and Ron Southwell Focal Press OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI Focal Press An imprint of Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 A division of Reed Educational and Professional Publishing Ltd A member of the Reed Elsevier plc group First published 2001 © Media Operations Management Ltd 2001 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 0LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data Managing in the media 1. Mass media – Management I. Block, Peter 302.2Ј3Ј068 Library of Congress Cataloguing in Publication Data A catalogue record for this book is available from the Library of Congress ISBN 0 240 51599 4 Composition by Genesis Typesetting, Laser Quay, Rochester, Kent Printed and bound in Great Britain Contents Preface xi Acknowledgements xiii Statement on reference sources xv Introduction xvii Part 1: The media environment 1 The media industry – into the millennium 3 1.1 Summary 3 1.2 Objectives and key issues 6 1.3 The audiovisual industry – past and present 7 1.4 The implications of the restructuring of British broadcasting 14 1.5 The global industry 15 1.6 The independents and the broadcasters – a new model of contractual relationships 16 1.7 The independent production sector (IPS) 17 1.8 The origins of the independent production sector (IPS) 19 1.9 Technology and legislation 21 1.10 The growth of the independent production sector (IPS) 24 1.11 The future – into the digital age 25 1.12 References 28 2 British public service broadcasting 30 2.1 Summary 30 2.2 Objectives and key issues 30 2.3 Introduction to policy as a critical concept and managerial tool 31 2.4 Introduction to key terms and definitions 32 v Contents 2.5 The concept of public service broadcasting in the UK and elsewhere 40 2.6 The history of British public service broadcasting 53 2.7 References 58 2.8 Further reading 59 3 British film policy 62 3.1 Summary 62 3.2 Objectives and key issues 62 3.3 British film policy 63 3.4 History of past measures 63 3.5 Recent developments 67 3.6 References 70 3.7 Further reading 71 4 European Union media policy 72 4.1 Summary 72 4.2 Objectives and key issues 72 4.3 History of the European Union 73 4.4 The structure of the EU 75 4.5 European Union media policy 77 4.6 Issues of co-production 82 4.7 MEDIA I and II programmes 84 4.8 References 85 4.9 Further reading 86 5 Mass media theory 88 5.1 Summary 88 5.2 Objectives and key issues 89 5.3 The mass media and society 90 5.4 Media theory and philosophy 93 5.5 The stratification of media products 97 5.6 Sociology and technology 102 5.7 Language and meaning 103 5.8 The auteur debate 108 5.9 References 116 5.10 Further reading 117 6 Media and its cultural implications 118 6.1 Summary 118 6.2 Objectives and key issues 118 vi Contents 6.3 The audience 119 6.4 The development of the Hollywood system 125 6.5 Realism 132 6.6 Modernism and the avant-garde in film 140 6.7 The age of fragmentation 151 6.8 References 156 6.9 Further reading 158 Part 2: Management theories and applications to the media industry 7 The growth of business in the audiovisual industry 161 7.1 Summary 161 7.2 Objectives and key issues 162 7.3 The independent industrial scene 162 7.4 The role of the entrepreneur 164 7.5 Greiner’s development model 166 7.6 The role of the SME in the industrial reorganisation of the UK film and television industry 169 7.7 The boundaries of the firm 170 7.8 The relationship between the supplier and buyer 171 7.9 References 173 7.10 Further reading 173 8 Behaviour in media organisations and organisational behaviour 174 8.1 Summary 174 8.2 Objectives and key issues 177 8.3 The employment landscape 179 8.4 Who wants to be in the media industry? 185 8.5 Group behaviour 191 8.6 Innovation and creativity 196 8.7 The culture of the organisation 198 8.8 References 205 8.9 Further reading 206 9 Strategic management 207 9.1 Summary 207 9.2 Objectives and key issues 209 vii Contents 9.3 Introduction to strategic management 209 9.4 The company audit 214 9.5 Porter’s ‘five forces’ model 217 9.6 The value chain 220 9.7 The Boston Box 221 9.8 Forecasting and scenario planning in a chaotic environment 223 9.9 Choices and options 225 9.10 Mental models and business behaviour 227 9.11 Corporate finance and the media industry 228 9.12 The role of the manager 232 9.13 References 233 9.14 Further reading 233 10 Introduction to media law 234 10.1 Summary 234 10.2 Objectives and key issues 234 10.3 Introduction 235 10.4 The English legal system 235 10.5 A brief guide to commercial law 239 10.6 Further reading 242 11 Principles of media law 243 11.1 Summary 243 11.2 Objectives and key issues 243 11.3 Introduction 243 11.4 Broadcasting law 245 11.5 Other media: film and video law and the Internet 249 11.6 Blasphemy 251 11.7 Racial hatred and public order 252 11.8 Indecency 252 11.9 Protection of animals 252 11.10 Defamation 253 11.11 Libel 253 11.12 Privacy law 260 11.13 Contempt of court law 263 11.14 Intellectual property law 268 11.15 Copyright and related rights 272 11.16 Further reading 281 viii Contents 12 Media ethics 282 12.1 Summary 282 12.2 Objectives and key issues 284 12.3 Introduction to ethics 285 12.4 The underpinning debate 287 12.5 Personal and social responsibility 293 12.6 Business ethics 294 12.7 The media debates 296 12.8 References 297 12.9 Further reading 297 Part 3: Media management in action 13 Production 301 13.1 Summary 301 13.2 Objectives and key issues 302 13.3 Introduction 303 13.4 Production strategies 309 13.5 The characteristics of a project 311 13.6 The production project cycle (PPC) 314 13.7 Why bother with planning? 317 13.8 Project fatigue 318 13.9 References 320 14 Production project management in practice 321 14.1 Summary 321 14.2 Objectives and key issues 322 14.3 The PPC in practice: introduction 322 14.4 Initiation: ideas, evaluation and assessment 323 14.5 Pre-production 331 14.6 Production 345 14.7 Completion 354 14.8 References 358 14.9 Further reading 358 Glossary 359 Bibliography 363 Media time line 373 Index 383 ix This Page Intentionally Left Blank Preface I have a particular preoccupation with the production industry, both in television and film. I am anxious to ensure that we continue to produce first-class entertainment for domestic audiences. We have a pool of expertise that I want to see maintained. Is it really the case that another Brideshead will never be made? Do regulations in ownership restrictions make that rather gloomy prophecy more or less likely to be fulfilled? How is a strong production base best achieved? Is the independent producer quota system working? How independent is independent? National Heritage Secretary Peter Brooke, addressing the Media Society on Cross-Media Ownership, 17th January 1994 Two key themes are pursued in this book. The first is to look at the reality of the audiovisual industrial environment. The second is to offer some practical tools and techniques to the audiovisual manager who is trying to produce a quality product set against the need to survive in the highly competitive media market. Peter Block xi This Page Intentionally Left Blank Acknowledgements No text of this nature can be anything other than a collaborative effort. My thanks to Ron, Tom and William for their agreement to make their valuable contribution to this work, without which this eclectic set of writings would not have had the sense of the whole I was trying to achieve. The broad range of material encapsulated here is an amalgam of work and experience drawn from shared experiences from all our colleagues over many years. Much is owed to their knowledge. The chapters on production management would not have been as clearly expressed without Laure Vermeersch and Mark Iliff, with whom I have worked at PricewaterhouseCoopers for the past two years. Their knowledge and questioning of my own position has turned an intuitive set of actions into a method of producing high quality new media programmes. Special thanks go to Tony Coe, who offered comments and insights on the media management chapters, and to Dr Lesley Perman-Kerr, who reviewed Chapter 8, Organisational behaviour.