Analyses the impact of digital content creation, distribution and use on value chains and business models of the film and video industry and explores the policy implications of these changes to identify how digital content may affect the function and position of participants in the industry.

Film and video products take a huge variety of forms from modest training or promotion audio-visuals to blockbuster feature films that earn very large amounts of money from worldwide distribution. Production and distribution for any film or video product involve an extremely wide array of commercial interests often with quite different strategies. The study focuses on commercial entertainment products and production and distribution of films and television programs. It analyses the impact of digital content creation, distribution and use on value chains and business models of the film and video industry and explores the policy implications of these changes to identify how digital content may affect the function and position of participants in the industry along the value chain. About the authors Graham Vickery is Head of the Information Economy Group, Directorate for Science, Technology and Industry, OECD. He has published extensively on the information economy, technology strategies, sector developments and government policies, and directs the bi-annual OECD Information Technology Outlook and OECD work on digital content. Dr. Richard Hawkins is Professor and Canada Research Chair in Science, Technology and Innovation Policy at the University of Calgary. He is also the Senior Fellow at The Centre for Innovation Studies and Associate Senior Scientist in the Innovation Policy Group at the Netherlands Organisation for Applied Scientific Research (TNO). He has authored numerous papers and policy reports on subjects related to digital content, electronic business, electronic services, standardisation, defence procurement and knowledge transfer.

Digital Media Worlds tracks the evolution of the media sector on its way toward a digital world. It focuses on core economic and management issues (cost structures, value network chain, business models) in industries such as book publishing, broadcasting, film, music, newspaper and video game.

Of all the job titles listed in the opening and closing screen credits, producer is certainly the most amorphous. There are businessmen (and women)-producers, writer-director- and movie-star-producers; producers who work for the studio; executive producers whose reputation and industry clout alone gets a project financed (though their day-to-day participation in the project may be negligible). The job title, regardless of the actual work involved, warrants a great deal of prestige in the film business; it is the credited producers, after all, who collect the Oscar for Best Picture. But what producers do and what they don’t or won’t do varies from project to project. Producing is the first book to provide a comprehensive overview of the roles that producers have played in Hollywood, from the dawn of the twentieth century to the present day. It introduces readers to the colorful figures who helped to define and reimagine the producer’s role, including inventors like Thomas Edison, moguls like Darryl F. Zanuck, entrepreneurs like Walt Disney, and mavericks like Roger Corman. Readers also get an inside look at the less glamorous jobs producers have often performed: shepherding projects through many years of development, securing financial backers, and supervising movie shoots. The latest book in the acclaimed Behind the Silver Screen series, Producing includes essays written by seven film scholars, each an expert in a different period of cinema history. Together, they give readers a full picture of how the art and business of producing films has changed over time—and how the producer’s myriad job duties continue to evolve in the digital era.

This volume examines how disruptive innovations are reshaping industry boundaries and challenging conventional business models and practices in the industries for film, video and photography.

Rapid technological advancements have the ability to positively or negatively impact corporate growth and success. Professional leaders and decision makers must consider such advancements when designing and implementing new policies in preparation for the sustainable future of the business environment. Developing Strategic Business Models and Competitive Advantage in the Digital Sector focuses on the application of preemptive planning in the media and entertainment industries to combat an increasingly uncertain future of innovation and competition. With research-based examples and analysis, this book is an essential reference source for academicians, researchers, and professionals interested in learning more about the impact of technology on industry success, including the changes and challenges created by the Internet and electronic media.

This book demonstrates how the creative industries are driving new sectoral and spatial dynamics in European cities, regions, and countries, and how these may be influenced by international and global dynamics. It takes a purposeful geographical approach to the study of the creative industries across various Western, Central and Eastern European contexts since the 2008-2009 recession. Despite the growing research looking at the development of the creative industries in the last 15 years, there are still gaps in the coverage of what is happening in Central and Eastern Europe compared to Western Europe. This book addresses these gaps in two parts focusing on particular geographical scales and creative processes: local interplay between sector and space and the role of the creative industries in regional and national economies after the crisis. The book presents original analyses of the post-crisis environment, and novel data on topics such as the role of institutions in the regulation of the fashion industry in global cities, the impact of clustering on film innovation, location patterns of art galleries, regional specialisations and paths of professional carriers in creative industries.