It also covers the commercial aspects of delivering film and television services to a customer base, including engaging with new content platforms, strategic agreements with content aggregators, protecting and exploiting intellectual property rights, data and consumer protection and payment, online marketing and advertising."--Jacket.

There is no area of business that is more dramatically affected by the explosion of web-based services delivered to computers, PDAs and mobile phones than the film and television industries. The web is creating radical new ways of marketing and delivering television and film content; one that draws in not simply traditional broadcasters and producers but a whole new range of organizations such as news organizations, web companies and mobile phone service providers. This companion volume to Andrew Sparrow's Music Distribution and the Internet: A Legal Guide for the Music Business focuses on the practical application of UK and EU law as it applies to the distribution of television and film through the internet. This includes terms of contract and copyright as they affect studios, broadcasters, sales agents, distributors, internet service providers, film financiers, and online film retailers; as well as areas such as the licensing of rights. It also covers the commercial aspects of delivering film and television services to a customer base, including engaging with new content platforms, strategic agreements with content aggregators, protecting and exploiting intellectual property rights, data and consumer protection, and payment, online marketing and advertising. The opportunities for companies operating in this area are extraordinary (as are the legal implications) and Andrew Sparrow's highly practical guide provides an excellent starting point for navigating through what is a complex area of regulation, contract, copyright and consumer law.

In this updated edition of the industry staple, veteran media executive Jeff Ulin relates business theory and practice across key global market segments—film, television, and online/digital—providing you with an insider’s perspective that can't be found anywhere else. Learn how an idea moves from concept to profit and how distribution dominates the bottom line: Hollywood stars may make the headlines, but marketing and distribution are the behind-the-scenes drivers converting content into cash. The third edition: Includes perspectives from key industry executives at studios, networks, agencies and online leaders, including Fox, Paramount, Lucasfilm, Endeavor, Tencent, MPAA, YouTube, Amazon, and many more; Explores the explosive growth of the Chinese market, including box office trends, participation in financing Hollywood feature films, and the surge in online usage; Illustrates how online streaming leaders like Netflix, Amazon, Apple, YouTube, Hulu and Facebook are changing the way TV content is distributed and consumed, and in cases how these services are moving into theatrical markets; Analyzes online influences and disruption throughout the distribution chain, and explains the risks and impact stemming from changing access points (e.g., stand-alone apps), delivery methods (over-the-top) and consumption patterns (e.g., binge watching); Breaks down historical film windows, the economic drivers behind them, and how online and digital delivery applications are changing the landscape. Ulin provides the virtual apprenticeship you need to demystify and manage the complicated media markets, understand how digital distribution has impacted the ecosystem, and glimpse into the future of how film and television content will be financed, distributed and watched. An online eResource contains further discussion on topics presented in the book.

Television audiences and its industry alike have been confused by the emergence of new ways to watch television. On one hand, the programs seem every bit like the television we've long known, while the way we can watch, what we can watch, and the business models supporting them differ significantly. Portals: A Treatise on Internet-Distributed Television pushes understandings of the business of television to keep pace with the considerable technological change of the last decade. It explains why shows such as Orange is the New Black or Transparent are indeed television despite coming to screens over internet connection and in exchange for a monthly fee. It explores how internet-distributed television is able to do new things - particularly, allow different people to watch different shows chosen from a library of possibilities. This technological ability allows new audience behaviors and new norms in making television. Portals are the "channels" of internet-distributed television, and Portals identifies how the task of curating a library of shows differs from channels' task of building a schedule. It explores the business model--subscriber funding--that supports many portals, and identifies the key differences from advertiser or direct purchase. Portals considers what we know about the future of television, even though we remain early in a process of transformative change.

Written by the insider who headed sales for Lucasfilm across distribution markets and managed the release of Star Wars Episode III, this is the first book to show how all related media distribution markets, including television, video and online, work together and independently to finance and maximize profits on productions. It demystifies how an idea moves from concept to profits and how distribution quietly dominates an industry otherwise grounded in high profile elements (production, marketing, creative, finance, law). The book provides a unique apprenticeship to the business, illuminating at a macro level how an idea can move from concept to generating $1 Billion, relating theory and practice in the context of the maturation of global market segments, and exposing the devil in the detail that impacts bottom line profits. Producers, media executives, and entertainment attorneys in specific niches will benefit from this wide-ranging look at the business across various distribution outlets, including theatrical, television, airlines, merchandising, cable, and home video.

Distribution Revolution is a collection of interviews with leading film and TV professionals concerning the many ways that digital delivery systems are transforming the entertainment business. These interviews provide lively insider accounts from studio executives, distribution professionals, and creative talent of the tumultuous transformation of film and TV in the digital era. The first section features interviews with top executives at major Hollywood studios, providing a window into the big-picture concerns of media conglomerates with respect to changing business models, revenue streams, and audience behaviors. The second focuses on innovative enterprises that are providing path-breaking models for new modes of content creation, curation, and distributionÑcreatively meshing the strategies and practices of Hollywood and Silicon Valley. And the final section offers insights from creative talent whose professional practices, compensation, and everyday working conditions have been transformed over the past ten years. Taken together, these interviews demonstrate that virtually every aspect of the film and television businesses is being affected by the digital distribution revolution, a revolution that has likely just begun. Interviewees include: ¥ Gary Newman, Chairman, 20th Century Fox Television ¥ Kelly Summers, Former Vice President, Global Business Development and New Media Strategy, Walt Disney Studios ¥ Thomas Gewecke, Chief Digital Officer and Executive Vice President, Strategy and Business Development, Warner Bros. Entertainment ¥ Ted Sarandos, Chief Content Officer, Netflix ¥ Felicia D. Henderson, Writer-Producer, Soul Food, Gossip Girl ¥ Dick Wolf, Executive Producer and Creator, Law & Order

The movie industry is changing rapidly, due in part to the adoption of digital technologies. Distributors now send films to theaters electronically. Consumers can purchase or rent movies instantly online and then watch them on their high-definition televisions, their laptops, or even their cell phones. Meanwhile, social media technologies allow independent filmmakers to raise money and sell their movies directly to the public. All of these changes contribute to an “on-demand culture,” a shift that is radically altering film culture and contributing to a much more personalized viewing experience. Chuck Tryon offers a compelling introduction to a world in which movies have become digital files. He navigates the complexities of digital delivery to show how new modes of access—online streaming services like YouTube or Netflix, digital downloads at iTunes, the popular Redbox DVD kiosks in grocery stores, and movie theaters offering digital projection of such 3-D movies as Avatar—are redefining how audiences obtain and consume motion picture entertainment. Tryon also tracks the reinvention of independent movies and film festivals by enterprising artists who have built their own fundraising and distribution models online. Unique in its focus on the effects of digital technologies on movie distribution, On-Demand Culture offers a corrective to address the rapid changes in the film industry now that movies are available at the click of a button.