Windows into the future: How lessons from Hollywood will shape the music industry

Bhatia, Gayatri; Honey, W. Ross

doi:10.1002/dir.10055

Cited by 19 publications

(12 citation statements)

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“…This is especially true of Webcasters that have offline counterparts. Webcasts have become another window for traditional media (Bhatia et al, 2003). When Webcasters simulcast offline content, they are actually reaching an audience that otherwise would not be able to use the content.…”

Section: Resultsmentioning

confidence: 99%

“…Yet many view Webcasting as a complement or a companion to broadcast media (Stacy, 2001). Some think it is an opportunity or a new window for traditional media such as record labels to expand additional revenue sources (Bhatia, Krishan, & Honey, 2003). For those at work, Webcasting is an important substitute for TV viewing and radio listening.…”

Section: Cannibalization Of Media Consumptionmentioning

confidence: 99%

See 1 more Smart Citation

Webcasting Business Models of Clicks-and-Bricks and Pure-Play Media: A Comparative Study of Leading Webcasters in South Korea and the United States

Ha¹,

Ganahl²

2004

International Journal on Media Management

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This article identifies the business models of leading Webcasters in the United States and South Korea and proposes a cross-cultural framework to analyze the determinants of business models. The file transmission methods, content strategies, and revenue sources of clicks-and-bricks and pure-play Webcasters were compared in the study. After analyzing the business practices of 48 leading Webcasters-using a content analysis of their sites-we found that the content aggregator model and the branded content model are the 2 most commonly used business models of leading Webcasters in the United States and South Korea. Although clicks-and-bricks and pure-play Webcasters in both countries have a similar reliance on advertising as their major source of revenue, they employ different content strategies to their own media's advantages. KoreanWebcasters are more likely to use pay-per-view as a revenue source than U.S. Webcasters.

show abstract

Section: Resultsmentioning

confidence: 99%

Section: Cannibalization Of Media Consumptionmentioning

confidence: 99%

Webcasting Business Models of Clicks-and-Bricks and Pure-Play Media: A Comparative Study of Leading Webcasters in South Korea and the United States

Ha¹,

Ganahl²

2004

International Journal on Media Management

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“…But it could of course also go the other way. The motion picture industry is closely watching how file sharing is affecting online music and the music industry (Bhatia, Gay, and Honey 2003). While DVD encryption provides an initial line of defense, bandwidth and file storage limitations are the main reason online movie sharing has not yet reached Napsterlike dimensions.…”

Section: Resultsmentioning

confidence: 99%

The Double Punch of Law and Technology: Fighting Music Piracy or Remaking Copyright in a Digital Age?

Bach

2004

Bus. polit.

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The battle between the recording industry and those illegal sharing music over the Internet has gripped headlines over the last few years like few others related to the digital age. At its core, it is a battle about the meaning of property and thus a battle over the heart of the emerging information economy. This article critically examines the double punch of law and technology – the simultaneous and interwoven deployment of legal and electronic measures to protect digital content – and asks whether it is merely a defense strategy against piracy, as the industry asserts, or rather an attempt to fundamentally redefine the producer-consumer relationship. Based on some initial evidence for the latter proposition, the article analyzes reasons for concern, outlines the current politics of copyright policymaking that have given producers the upper hand, and sketches elements of a strategy to fight music piracy that does not infringe on basic consumer rights.

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“…Industries that rely on distribution windowing could tailor our framework and empirical approach to their context. For example, the major record label Sony BMG recently introduced sequential distribution to the music industry, a strategy that Booz Allen Hamilton consultants recommended (Bhatia, Gay, and Honey 2001). Other entertainment goods producers that already employ windowing, such as book publishers and computer game developers, may benefit financially from examining the general characteristics we derived herein to gain insights into how to refine their distribution models and increase revenues.…”

Section: Implications For Research and The Motion Picture Industrymentioning

confidence: 93%

The Last Picture Show? Timing and Order of Movie Distribution Channels

Hennig‐Thurau

Henning

Sattler

et al. 2007

Journal of Marketing

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Movies and other media goods are traditionally distributed across distinct sequential channels (e.g., theaters, home video, video on demand). The optimality of the currently employed timing and order of channel openings has become a matter of contentious debate among both industry experts and marketing scholars. In this article, the authors present a model of revenue generation across four sequential distribution channels, combining choicebased conjoint data with other information. Drawing on stratified random samples for three major markets-namely, the United States, Japan, and Germany-and a total of 1770 consumers, the empirical results suggest that the studios that produce motion pictures can increase their revenues by up to 16.2% through sequential distribution chain timing and order changes when applying a common distribution model for all movies in a country and that revenue-optimizing structures differ strongly among countries. Under the conditions of the study, the authors find that the simultaneous release of movies in theaters and on rental home video generates maximum revenues for movie studios in the United States but has devastating effects on other players, such as theater chains. The authors discuss different scenarios and their implications for movie studios and other industry players, and barriers for the implementation of the revenue-maximizing distribution models are critically reflected.

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Windows into the future: How lessons from Hollywood will shape the music industry

Cited by 19 publications

References 0 publications

Webcasting Business Models of Clicks-and-Bricks and Pure-Play Media: A Comparative Study of Leading Webcasters in South Korea and the United States

Webcasting Business Models of Clicks-and-Bricks and Pure-Play Media: A Comparative Study of Leading Webcasters in South Korea and the United States

The Double Punch of Law and Technology: Fighting Music Piracy or Remaking Copyright in a Digital Age?

The Last Picture Show? Timing and Order of Movie Distribution Channels

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