NEW YORK UNIVERSITY Stern School of Business, Marketing Department Spring 2016 MKTG-UG.0046.(01) (02) GLOBALIZATION OF THE ENTERTAINMENT INDUSTRY Thursday (01) 4:45 – 6:10pm (02) 6:30 – 7:45pm Two Credits Toward the BEMT minor Adjunct Professor: Colin Brown Tel: 917-803-3957 Email: [email protected] | [email protected] | [email protected] TA: Greg Oxenberg ([email protected]) COURSE BACKGROUND This is an elective course for undergraduate students in the EMT program. It will provide students with a framework for understanding the dimensions of globalization achieved by Media and Entertainment companies and their methodology for expansion worldwide. The export growth of American leisure products and services have had a significant impact on the US economy for decades now; now Media and Entertainment companies in other regional superpowers, most visibily those in China, are playing similar roles in their own respective economies and the global market at large. This course examines the interplay of such globalization forces across the spectrum of industries competing for the world’s leisure time dollars and attention spans. Marketing of Entertainment Industries as a core course for the EMT initiative will be recommended. Within the framework of the sectors of the Entertainment, Media & Technology industries, the course will analyze the strategy of several of the leading multi- national EMT conglomerates and the development of various leisure time businesses within the five world economic zones, Europe, Pacific Rim, Latin America, Middle East, and North America. We will also examine a few emerging markets and potential entertainment giants that are likely to have to greater influence in the Century ahead. In doing so, we will selectively cover movies, home entertainment, TV broadcasting and cable, music, cable, live entertainment, legitimate theater, sports, theme parks and the new digital media outlets in their development worldwide. COURSE OBJECTIVES To provide students with an overview through case studies, lectures and readings of the importance of worldwide expansion for entertainment industries and businesses, and the opportunities for multinational EMT companies to export leisure products and services to a global consumer base. To examine multi-media companies’ international growth, the relationship of this development to the political, social and economic changes taking place in countries around the world (due to increased GNP’s, a rising middle class, and the growth of discretionary spending and leisure time). As an example of the far reaching influence of the emerging EMT multinationals, we will explore the Chinese entertainment industry, the new consumer for leisure time products, and the transition from a closed society with few rules, covering intellectual property distribution, to the expansion and change of the Chinese media and telecommunication industries necessary for world power status. Required Reading: Four HBS Cases purchased from the Graduate Book Store as a Course Packet, selections from articles and class assignments for each week. GUIDELINES FOR WRITTEN ASSIGNMENTS 1. All papers are to be typed double-spaced CASES: One and a half, up to two pages to be submitted and be prepared to discuss in the designated class. TERM PAPER: 15-20 pages plus appendix, charts, bibliography PRESENTATIONS: Team presentations of 15 minutes with Power Point- style slide decks or Overheads. Timing and the essence of the reports are essential. Eight slides maximum. 2. It is recommended that you follow a basic proposal or report format or a style-book to present your work in a polished and professional manner. 3. Please take time to organize your work so that it is clear and concise. Your opening statement should be an introduction, which states what your objective is and what you’re going to discuss. The main body should present your findings in a logical and straightforward way. Summarize your findings or recommendations at the end in a conclusion. Break up your work into subheadings. 4. Make sure that your work is proofread and edited. You should ask a friend, colleague, or co-worker to help you with this. Your final draft should be free of errors in spelling, punctuation, and grammar; having someone else proofread is the most effective way to do this. 5. Some of you may want to use your work as a tool to help you in your career planning. This can be a very persuasive “calling card”. It’s well worth your time to develop this assignment into something you can use beyond this course. 6. Your assignment is expected to reflect your understanding and comprehension of the material covered in this course. This includes all the readings, supplementary handouts, and the lectures. Most of the detailed information concerning the various aspects of the course is contained in the syllabus. Your assignment should represent the cumulative work product of this course and incorporate that information. 7. The assignments are due on the classes noted in blue in the syllabus, so please review carefully. Where possible, these will be submitted to me electronically through the NYU Classes website by the allotted date; if for whatever reason you are unable to make that deadline, you can submit to me in physical form in the relevant class or find another pre-arranged way to send to me directly. Class participation will be graded on the quality of the interaction and will be measured against these criteria: • preparedness of the comments • incorporation of current news articles and topical trends • extent of knowledge • listening skills • ability to get to the heart of the matter • opening new doors for investigation • statement of practical relevant experience • new insights • building on statements of others • evidence that you have gone above and beyond the core requirements REQUIRED READING: Available at the Professional Bookstore, HBS Course Case Pack: TARAN SWAN, Nickelodeon Latin America, ZEE TV, India, Microsoft XBOX, Korea, Google in China Handouts, Articles, Lecture Notes GRADING Cases 30% (15% + 15%) Class participation 20% Paper / Presentation 50% (30% / 20%) Total 100% WEEK 1 | January 28 | GLOBAL OVERVIEW OF ENTERTAINMENT & MEDIA • Introduction and Framework for Course • Definitions/Economic Factors • Trans National Media Companies • Student Teams/Projects WEEK 2 | February 4 | EUROPE I: UK & Ireland • An overview of the British media & entertainment market. • A look at how technology and competition has impacted UK media giants, old and new, such as the BBC, ITV, Granada, Rank, BT, Virgin and the new TV mini-majors such as Endemol UK, All3Media and Shine. • What’s been driving the massive consolidation wave among indie TV production companies? • The decentralization of the UK media market away from London. • A survey of London as the digital advertising capital of Europe. • The global strategies of news organizations such as The Guardian and The Economist • A look at Ireland as a distinct but parallel marketplace. • Discussion about The West End’s Live Theater sector. • How has the British music scene coped with Spotify and downloading? • How has Murdoch’s Sky empire changed the viewing habits of the European consumer? • Why have British TV shows such as Downton Abbey, Sherlock and Dr Who become successful US imports? • Are US movies and TV programs still a major part of British entertainment – or has that dynamic shifted as result of reality TV imports? • The UK Film Industry and its co-dependent/competitive relationship with Hollywood. • What is BAFTA? What is the BFI? • How much power and control over media & entertainment is vested in the Office of Communications (OFFCOM) WEEK 3 | February 11 | ASIA I: China & The Asian Media Market Class to be given by Liza Lin: China correspondent in the Shanghai Bureau of Bloomberg News & Editor, Yale Journal of International Affairs • Overview of China’s media & entertainment marketplace in the context of the country’s political and economic climate • What are the constraints of operating in one of the world’s toughest journalism environments? • What are the political considerations of operating a multinational company in China. • China’s market influence over the rest of Asia. • Censorship in China: this extends beyond just media to widespread public censorship as well, as seen in public forums, the internet etc. All this has shaped the Chinese media environment. • A look at the global media ambitions of the three giant “BAT” tech conglomerates: Baidu Alibaba and Tencent. • What will happen when they challenge Beijing’s power? • To what extent will social media become a game-changer in China? • A discussion of the Hollywood ambitions of Dalian Wanda Group, led by China’s richest man who wants to control 20% of the world’s film market by 2020. • China prides itself on its long history of inventions and creativity. But can it also compete on the global marketing stage with its creative output? WEEK 4 | February 18 | EUROPE II: France, Italy & Spain • A look at French media giants Canal Plus, TF1 & Vivendi (and its ill-fated acquisition of Universal Studios) • French cinema enjoys robust system of public subsidies and protection from Hollywood imports. Has this worked to French cinema’s advantage? • A look why France bans TV advertising of films and why it insists on the world’s strictest VOD release “window”. • Are we seeing a new generation of French “auteurs” able to find audiences, both domestically and outside France? • There is widening gap in state funding between poor-quality big-budget blockbusters and small art-house films. What happened to the middle – and has French cinema as a whole suffered from poor marketing? • Why did the Cannes Film Festival grow to be so important? • Does Luc Besson provide a studio blueprint for creating commercial global success outside Hollywood? • What are the mistakes Disney made with DisneyParis? • Why are French media giants now looking at Africa as their next big growth marketplace? • A look at Italy’s media landscape including the networks run by state broadcaster RAI, Sky Italia, and Mediaset, the media conglomerate founded by former Italian prime minister Silvio Berlusconi.