Entertainment Marketing COM CM 563E Spring Semester 2020 - UPDATED 1-17-2020

Instructor: Don Levy Telephone: 310-962-1102 Email: [email protected]

Course Description

Entertainment Marketing, Promotion and Advertising surveys the modern media landscape to explore strategy, tactics, techniques, communications, and emerging technologies employed in marketing entertainment. The course examines the organizations and people who conceive, create and distribute video, film, new technology product within the framework of the entertainment promotion landscape. The course explores how advertising, promotion, research, and marketing campaigns are created and how the business operations of various entertainment companies shape their focus and impact creative decisions.

The class size affords the opportunity to conduct the class in seminar fashion. As such, we’ll look at the principles, strategies and tactics of marketing entertainment through the lens of several leading companies. Doing so will reveal similarities, differences, and competitive advantages between companies.

Students and the instructor share and discuss current industry news reports to keep up to date on the latest developments and trends. Students read news stories and reports, and conduct basic research on current topics. Class time is a mixture of lecture, class discussion, and presentations.

Emphasis is on feature films and television programming, network and studio marketing, publicity and promotion organizations, and supporting businesses. This semester we will also explore some case studies on rising music artists and/or games. Discussion may also reference other entertainment and style related industries including fashion, and other creative industries but these are NOT the focus of the class. If the above is not your expectation or you have an interest in other areas, please speak to the professor at the beginning of the semester to see if and how your other interest(s) can be included.

PLEASE NOTE: IN CLASS PARTICIPATION by STUDENTS accounts for 65% of your grade. The entertainment industry and the marketing and promotion of entertainment product is changing dramatically. Even the most seasoned professional is learning new techniques and discovering new ways. Principles may continue to apply but the status quo is dead. This class is a partnership between students and faculty. The quality of your learning and that of your peers depends on your participation.

● Please come to class prepared, ask questions, and engage in discussion. ○ Students that do not participate in class will see their grades reduced ● Consider Professor Levy a resource to answer your questions and discuss your interests. ● If the class does not cover a topic as fully as you like or you have questions about any of the areas described or promised in this syllabus, please use class time to raise your questions or contact Professor Levy by email or phone anytime during the week. ○ If Professor Levy does not reply promptly to your email, please call him to be sure that he has received and seen your message. ● We will also relate your internship experiences into class discussion relevant to syllabus topics. ● Each student will have a chance and will be expected at least once during the semester to speak to the class about their internship and discuss marketing related aspects of it.

Course Objectives Students will: ● finish the class with working knowledge of entertainment marketing ● understand what it means to “know your audience” ● understand the relationship between content and marketing, ● understand the business relationships between marketers and content producers, creators and distributors. ● be aware of important resources, skills and knowledge necessary to develop and execute successful marketing campaigns. ● learn how to develop a marketing strategy and plan ● learn to recognize why and how media companies, such as the major networks, use content to deliver audiences to advertisers and what media companies do to attract audiences. ● Students will explore the challenges and opportunities presented by a fragmented, multiplatform marketplace and emerging technologies. ● learn how to think strategically, creatively and entrepreneurially ● observe current marketing activities and trends ● work together with other students as a team to prepare and present case studies and a final projects.

Course Schedule and Assignments

General Weekly class will take place at the Boston University in Los Angeles offices at 5700 Wilshire unless otherwise noted.

Class starts promptly at 7:30 and is scheduled to end at 10. You are welcome to eat in class.

The class sessions are divided into segments as follows (and subject to adjustment, as needed):

1. Outline evening’s work; professor’s weekly market observations (15 minutes) 2. Student market observations and Internship Discussion – students raise industry news for questions and/or discussion. Each week we also hear from at least 1 student describing their internship and we relate their work to topics in this course (15 minutes) 3. Main Topic Lecture and discussion (45-60 minutes)* 4. Break (10 minutes) 5. Discussion and activity 6. Open Questions – (10 minutes) 7. Wrap Up – (5-10 minutes)

*during case study weeks the majority of class will consist of student-led presentations

Total in-class time: 2.5 hours

Week 1 – January 22, 2020

Introduction to the Entertainment Marketing Landscape

This week we examine the entertainment industry with an emphasis on structure, segments, ownership, and media consolidation. In this context, we look at the role and value of promotion in entertainment and its importance on the other operating areas of entertainment companies.

How has and does the industry reinvent itself to survive and thrive? What specific adjustments do the creative and business sides of television and feature films make at a time of disruptive change? In this class we also provide an overview of the course and understand students’ interests.

Week 2 – January 29, 2020

How to “Sell” Entertainment – Principles of Entertainment Marketing

Lecture and discussion on how to market entertainment to broad and target audiences. Consumer advertising, publicity, promotion and marketing strategies will be discussed. Students will review and discuss marketing concepts. How to brainstorm effectively and begin the process of marketing a project.

The role and difference between franchises and one-off properties will be explored as well as the dynamics of marketing for television, movies, home entertainment and music. How do hits happen? Is their success calculated and assured? How do budgets and risk affect decision-making? How does blockbuster marketing differ from ordinary movies? Does television have blockbusters? What are they and what do they look like? We’ll look examples over time and look forward to upcoming releases.

Product integration and promotional partnerships are changing business models and creative execution within programming and the marketing of such. We examine unique and emerging partnership techniques that create promotional relationships between advertisers, networks and program producers. How partnerships can be used to generate incremental revenue, extend marketing reach and reinvent the marketing model. Analyzing promotional concepts to determine the overall value to the partners involved and the audience itself.

Campaigns are only effective when there is a complete understanding of the audience. How do you determine demographic segments, define and select target components; We provide an overview of research techniques from concept testing to tracking awareness. Importance of research in planning and executing effective campaigns; Connecting the targeting with the proper positioning.

Week 3 – February 5, 2020

Awards Campaigns, Film Festivals, and Markets

This time of year is Peak Awards Season. This is a good time to look at the state of the race and see how the contenders got to be where they are and where we think they may be later. We will also look at the Oscars Awards as they take place on Sunday, Feb 9. We will also study The Grammy Awards for Music and Emmy’s for Television as we understand the full spectrum of awards, awards campaigns, and their value.

Week 4 – February 12, 2020

Blurred Lines: Advertising, Publicity, Promotion, Social Media, Sponsorships, Talent Agencies, and Law Firms

There was a time when all of these interests were separate. No more. It has been several years now that public relations firms have expanded into embrace a broader marketing role. Corporate communications, press and publicity and the impact on marketing and promotion. Creating buzz using public relations techniques. The importance of PR in a marketing campaign. Managing good and bad buzz. How reviews impact awareness and intent to view and how PR is utilized as a key element of the campaigns. Crossover relationships between entertainment and consumer product companies, celebrities as brands. The rise of the Mega Agencies: CAA, WME, Paradigm, ICM, Gersh, UTA, and the role of law firms as dealmakers and brokers.

Week 5 – February 19, 2020

Creatively Speaking: How Are Campaigns Created and Who Creates Them- Trailers, Posters, Ads, and Digital Media

This week we explore the creative enterprise of selling entertainment. How are trailers and commercials made? What is a one-sheet? What goes into creating a poster? Designing billboards. Packaging. Websites. In theater versus online tools and techniques. What is a title treatment? What is Key Art? These are some of the topics that we will explore.

Week 6 – February 26, 2020 Media Strategy, Disruption and Emerging Technology

This class focuses on how to harness media resources and budgets to effectively and efficiently articulate a marketing campaign and communicate promotional messages. Understanding the use of key media platforms - including broadcast, cable, print, outdoor, radio, and digital and alternative media. How to understand effective media planning and creating the appropriate media mix to reach the target audience. Understanding the role of the media planning/buying agency. How to measure effectiveness. Integrating the message through multiple platforms. How media works with “creative” to generate more impact.

Emerging platforms and technology create new opportunities. I will share my observations and awareness of emerging tech and how I believe they may impact entertainment and its marketing. I may also ask students to present to the class a tactic, an app, a service, a product, a trend or anything that you see making an impact on the way entertainment is created, consumed, or marketed. Presentations are informal. It is always fascinating to learn from each other.

This week we will also look at Google and how this company has changed the media industry.

Week 7 – March 4, 2020

BEGIN CASE STUDY SERIES Each week we will look at look at major media companies to understand their business and their relationship to and with their audience. The hypothesis is that the relationship has already shifted dramatically and changed what companies market, the way companies market, and how these changes impact their strategies and tactics.

Disney: Fox, Marvel, Lucasfilm, Pixar, ABC, ESPN, Theme Parks, and More

March 11, 2020 NO CLASS - SPRING BREAK

Week 8 – March 18, 2020 Warner Bros and ATT; Universal and Comcast

Week 9 – March 25, 2020 BULA EVENT #2 -- Mandatory attendance for students. No Entertainment Marketing Class Meeting this week

Week 10 – April 1, 2020

Streaming - The Rise of Direct to Consumer YouTube; Netflix, Amazon, and Hulu

Week 11 – April 8, 2020 The newest streaming players - the rise of competition Disney+, Peacock, and Quibi

Week 12 – April 15, 2020 Sony; Paramount, Major Independents (example: A24)

Week 13 – April 22, 2020 Reserved for Guest Speaker or field trip Or Music and Game Marketing (continued on next page) Possible Music Case Studies Tash Sultana - From Busker to Big Time; Clairo - Catching Red Bull Attention Rufus Del Sol; X-Ambassadors - recent article

Week 14 – April 29, 2019 FINAL PROJECT PRESENTATIONS, evaluations and course wrap-up. Details of the Final Project Assignment, the development of a marketing plan based on an assigned video will be provided in class by April 1.

GENERAL TOPICS TO BE COVERED THROUGHOUT SEMESTER These elements will be visited throughout the semester and addressed within the context of the various companies and projects we explore.

Publicity Corporate communications, press and publicity and the impact on marketing and promotion. Creating buzz using public relations techniques. The importance of PR in a marketing campaign. Managing good and bad buzz. How reviews impact awareness and intent to view and how PR is utilized as a key element of the campaign

Awards, Festivals and Recognition Awards season for Television is underway and Academy Award campaigning will begin in the Fall. We’ll look at both and analyze, major moments, examine the strategies, explore how the various studios and distributors integrate recognition and awards positioning into their marketing strategy and then handicap the race.

The Anatomy of Creative What is covered by the word ‘creative” in the context of marketing. The basic elements of developing creative for marketing entertainment product. How are television promos, print ads and other forms of creative developed? The thinking process required to build compelling creative that will drive viewing. Functions of editing, writing, producing, music, voice-over and graphics discussed. Examples of what works and what doesn’t.

Branding & Design Cable television introduced the notion of a television “brand” with specific programming directed at targeted audiences. This examines how both cable and broadcast networks use branding to develop loyal audiences and drive sampling of their programming. Brand campaigns can heighten awareness for a channel and will be studied in this class as well, in addition to how these brands have extended to media platforms beyond traditional television. How design is an integral part of the marketing process and how it works within the industry. To no one’s surprise, Social Media is a vital element of all marketing. How to effectively navigate and work effectively to bring entertainment to market will be explored. We’ll also want to look at successful efforts as well as failures to learn lessons from both.

Feature Film Marketing Marketing feature films is a high stakes game where opening weekends – even opening afternoons – make or break a movie. Let’s understand the dynamics of the marketplace, in the U.S. and overseas. How are marketing budgets determined? What is different about major studio releases and independents? What are the different marketing elements brought into play? What is the timeline of marketing activity?

Television Marketing Marketing television is dynamic, complex and varied. Talent rivals and often exceeds feature films. Series and characters become indelible aspects of modern culture. The proliferation of channels has spawned hours upon hours of original programming. This week we will take a look at what is happening in television and how it is changing. We’ll explore how networks and content creators target their audience and market to them.

Media Strategy How to harness media resources and budgets to effectively and efficiently articulate a marketing campaign and communicate promotional messages. Understanding the use of key media platforms - including broadcast, cable, print, outdoor, radio, and digital and alternative media. How to understand effective media planning and creating the appropriate media mix to reach the target audience. Understanding the role of the media planning/buying agency. How to measure effectiveness. Integrating the message through multiple platforms. How media works with “creative” to generate more impact.

Emerging Technology and Disruption Emerging platforms and technology – such as augmented, virtual and mixed reality, streaming networks, mobile platforms, and more – create new opportunities and may marginalize incumbents. I share my observations and awareness of emerging tech and how I believe they may impact entertainment and its marketing. Students are invited to present to the class a tactic, an app, a service, a product, a trend or anything that you see making an impact on the way entertainment is created, consumed, or marketed. NECESSARY INFORMATION FOR THIS COURSE

Course grade will be based on the following:

1. Grades are earned. The expectation is that every student performs at or is capable of performing at a B level. It will take high quality work plus consistent participation and engagement to earn an A. In the same way that superior work will be recognized, students who do not present quality work, demonstrate their knowledge, or participate and contribute can expect to be graded lower than a B. 2. Attendance is mandatory; if a class must be missed because of an internship related conflict the student is responsible for getting notes from a classmate and writing a brief report on the internship work they did that night. Classes are long and start on time. If you miss class and do not do the make-up assignment, you will not be eligible for course credit. 3. As noted above Class Participation is a critical component and will be measured on the quality of comments and questions. Brainstorming and discussion of relevant and topical matters will take place on a regular basis for 65% of course grade. If you have any questions about the work, do not understand something or simply want to question why a given topic matters, please ask. If you are shy and reserved, please speak to Professor Levy so he can work with you to facilitate your contribution. As professionals, you must be able to ask questions and articulate ideas. Class is a great place to practice. 4. Following each class and due by Sunday at noon, you are asked to write a short (1 page or less - bullet points are fine) summarizing key ideas covered. This assignment enables you to reflect on the evening’s topic and provides the instructor with a reading on whether or not the intended material was understood. Grades for these assignments will be part of the 65% class participation (see above) since the acts of reflection and writing are helpful to learning. Your summaries will be graded on grammar, writing skills, style and substance. You will not lose points if you don’t understand something, since one purpose of the assignment is to help the professor determine whether or not topics were communicated to the class effectively. 5. Midterm written report. Time will be allowed in class to write a mid-term report that will explore the new entertainment audience and/or innovation. Details of the assignment will be provided in class. Research is expected to be done outside of class. 10% of your grade. 6. Final Project. Your final project is to develop a marketing plan. It will be based on a short film that will be shown to you in class earlier in the semester. There will be opportunities throughout the semester to consider or build elements of the plan. TEAMWORK IS ESSENTIAL. 25% of your grade.All written assignments will be graded as follows:

Style- Marketing is often about image and presentation. The look and feel and organization of the work 10%. Grammar, punctuation, writing skills 10%

Substance- Use of research 20% Content analysis 25% Marketing sensibility 20% Creativity 15%

BOSTON UNIVERSITY STATEMENT ON PLAGIARISM

Academic dishonesty of any kind will not be tolerated. Any kind of academic misconduct (cheating, plagiarism, etc.) will result in the filing of academic misconduct charges. Any suspicious act/material/ etc. will be investigated to the fullest extent possible and those found guilty will be punished accordingly. BE SURE TO READ AND COMPLY WITH BOSTON UNIVERSITY'S UNIVERSAL ACADEMIC CONDUCT CODE. It is available at: bu.edu/academics.

Readings (None required except current news articles specifically assigned and distributed (free) during semester)

● Marich, Robert. Marketing to Moviegoers: A Handbook of Strategies Used by Major Studios and Independents. Second Revised Edition. University of Chicago Press

● Sernovitz, Andy. Word of Mouth Marketing: How Smart Companies Get People Talking. New York: Kaplan Publishing,

Additional Resources ● Chris Anderson, The Long Tail, Hyperion, 2006, 256 pages, $24.95 ● B. Joseph Pine and James H. Gilmore, The Experience Economy, HBS Press, 1999 – a new second edition has recently been published ● Henry Jenkins, Spreadable Media: Creating Value and Meaning in a Networked Culture, NYU Press, 2013,

It is also suggested students keep up with trends and business developments to excel in the class. Reading these trade publications (online and in print) will help- ● McKinsey Quarterly ● BoxOfficeMojo.com ● PRWeek ● Advertising Age ● Daily Variety and/or Hollywood Reporter ● Deadline Hollywood ● The Wrap ● IndieWire ● Brandweek ● Television Week or Broadcasting & Cable ● New York Times Advertising Column ● Some influential music blogs o https://artistdevelopmentandproduction.com/the-top-100-most-influe ntial-music-blogs-of-2018/

● Seth Godin’s Blog: http://sethgodin.typepad.com/ ● Variety, Hollywood Reporter, Deadline Hollywood and/or The Wrap email headlines ● Convince and Convert - Jay Baer - https://www.convinceandconvert.com/blog/

Revised 01/17/2020