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At the end of this study, students should analyze the re-orientation of innovation music business model strategy to create a new market using the Blue Ocean Strategy of Sun-Eater Records Company. Furthermore, they should be able to implement the business model transformation in the music industry in this digital media era based on data and technological capability. Students should analyze the digital content strategy that is relatable and relevant to music customers/users through content creation. Finally, they need to create the content strategy applicable to promotion and marketing innovatively in the music business.

This study analyzes how a Jakarta-based independent music company, Sun Eater Records, changed its strategy in response to the Covid-19 pandemic. The adverse effect of the pandemic on this company included a massive drop in sales of products and revenues from tours, festivals and outdoor music performances. Music industry stakeholders were confused and frustrated because of the restriction and the implementation of the social distancing policy, as most of their business models depended on live music showcases and selling records. The protagonist of this study, Kukuh Rizal Arfianto, is the director and co-founder of Sun Eater Records. Kukuh’s experience during the pandemic is used to capture the dilemma faced by the music industry players in Indonesia. This agile businessman transformed this music company by embracing digitalization. Inspired by the business models of Disney and 88 Rising (Music Management), Sun Eater Records developed various derivatives digital products. The company did not only sell music through digital content, it also developed several complementary products with music as their main theme. These innovative creations include mini-documentary, virtual concerts, compilation albums serial, digital comics, and Covid-19 Campaigns. The company is quite active in leveraging digitalization to survive in this business compared to other industry players. This study provides communication and design students opportunities to analyze how to draft an effective content strategy in the industry, in this case, the music industry.

This case is designed mainly for Management, Innovation, and Digital Communication course at the Bachelor's level program.

Teaching notes are available for educators only.

CSS 11: Strategy.

This paper aims to understand the changing landscape of media and entertainment industry, to understand the difference between display advertising and native advertising, to know the standing of BuzzFeed in the industry and to know the strategic actions of BuzzFeed under the current competitive business environment.

Founded in 2006 as a viral lab, by Jonah Peretti and John S. Johnson, with the aim of tracking viral content, it caused disruption in the market with its entry and grew very rapidly. It was valued at $1.5bn in 2015, having raised money from numerous investors. The revenue of BuzzFeed was driven by the concept of native advertising. Catchy headlined articles conveyed the sense that BuzzFeed might be charging advertisers on basis of clicks, but this was not entirely true. Instead, BuzzFeed charged a fee from its clients for creating custom content targeting the customer base of the client. However, the year 2015 went tough for BuzzFeed when, as per the reports by Financial Times, it fell short of achieving its targeted revenue of US$250m by US$80m. It forced the company to revise and lower its target revenues for the year 2016 as well. The combined worldwide traffic to BuzzFeed saw a decline of up to 14 per cent. As Claire marketing head looked out of the window and pondered over the slashed revenue projections and the content related issues, the question on her mind was would native advertising sustain BuzzFeed in the longer run? BuzzFeed was known for its viral content and native advertising would involve finding a balance between what is good for the advertisers' brand and what will become viral. Buzzfeed ran a risk of losing brands to other modes of advertisement if they felt that native advertisement, which disguises the product within the content, was not meeting their expectations.

The case is targeted at students of post-graduation and under-graduation programs in Business Administration.

Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.

Marketing

Although Google had a stellar performance in Web search, many of its other services, such as Google Video, were less successful. This case describes how YouTube came to dominate the video market for user-generated content (UGC), while Google Video tried various entry strategies and ultimately failed, ending with the acquisition of YouTube. It also reviews the various competitors in the UGC market, chronicles the entry of established and new players in the area of professionally generated content (PGC), and outlines the key challenges related to monetizing the acquisition of YouTube for Google.

The case discusses when and how to enter winner-take-all markets characterized by very strong network externalities. It focuses on the strategies of new entrants vs. those of incumbents in adjacent industries that seek to leverage their resources and skills. Further, it sheds light on how new industries are created, how convergence is changing competitive forces, how important it is to be a first or late mover in new markets, and how successful entrants may struggle to achieve profitability.

After completing the case, students should be able to understand: the importance and uniqueness of the individual market and developing a suitable marketing strategy. The concept of value creation and learn the importance of developing the right value proposition to compete and succeed in a market. The target audience and how to create the right marketing mix. Competition in a digital landscape and the importance of developing an appropriate strategy to counter its rivals and position the brand effectively.

During his visit to India in December 2019, Netflix’s founder and chief executive officer Reed Hastings talked about a series of steps the company had taken in the recent past to successfully face stiff competition and move towards achieving its stated target of 100 million viewers. These steps involved significant changes in their marketing mix such as reworking their pricing, developing a rich portfolio of Indian content and building various partnerships. Since Netflix’s launch in India (December 2016), it faced fierce competition from players such as Hotstar and Amazon Prime, both of whom had developed a rich portfolio of Indian content and adopted a very aggressive pricing strategy thus, making these changes essential. At the time of their launch, Netflix had set a very ambitious target of gaining 100 million viewers within five years (by 2021) while adopting a premium pricing strategy and positioning themselves uniquely based on their international content. They quickly learned that they would have to reevaluate their approach if they wanted to achieve their target on time. The changes announced by Hastings were an effort in that direction. The moot question was whether these steps would help Netflix India reach its goal. This challenge was further compounded by an almost 40% hike in data tariffs by three major wireless carriers considering most Indians watched over-the-top media content on their mobile phones.

The case is designed for undergraduates, as well as for fundamental marketing courses in the Master of Business Administration and other graduate level programmes. It can be taught in the Principles of Marketing, Marketing Strategy and International Marketing courses. It is ideal for topics such as understanding the operation of a digital business in a new market, customer value creation and value drivers, brand and brand positioning, product promotion, strategies for business growth and expansion, fighting competition in a digital landscape.

Teaching Notes are available for educators only.

CSS 8: Marketing.

The SAVE framework introduced by Richard Ettenson, Eduardo Conrado and Jonathan Knowles can be used to address the problem of content saturation and to plan content strategies for the brand Nabhi Sutra. The framework focuses on the solution, access, value and education instead of the traditional four Ps of marketing.

The research methodology involved conducting structured interviews with the protagonist. The responses were recorded and analysed for the case development. The supplementary information was taken from the brand’s website “nabhisutra.com” and its Facebook and Instagram pages.

The case is classified in the category of a short case addressing the identification of the problem of content saturation and guidelines to avoid it. The case narrates the story of Nabhi Sutra, a health-care start-up that offers “Ayurveda” remedies in the form of oil to be applied to the navel to cure health issues. Ms Vakharia, the owner of Nabhi Sutra, mentioned that her social media posts and campaigns are not reaching the desired target audience.

The case can be used for teaching undergraduate, postgraduate as well as certificate and executive development programs to teach courses on digital marketing, content marketing and social media marketing to cover the concept of content saturation. The case can be of value addition to the entrepreneurship and digital marketing practitioners.

The case study illustrated strategic, marketing, financial and operational challenges faced by Netflix in India's growing SVoD market. This case is appropriate in courses such as Strategic Management, Business Strategy, Marketing Management and International Marketing for postgraduate MBA students, other graduate-level management programs and undergraduate-level students. The case was developed to raise awareness among students, to understand the complex nature of the technology-driven industry, to survive in the highly competitive market, to set up a company that serves the huge Indian market. This case delves into the dynamics of marketing on the Indian market, characterized by unorganized players such as local cable television; torrent downloads and organized and established players, low digitalization rates, language barriers, low internet penetration, lack of infrastructure, price-sensitive consumers. Due to up-gradation in technology, internet penetration, an increase in smartphone users, and the market has undergone a notable amount of change, due to a lot on new entrants, competitions, substitutes. The case states various obstacles, for a multinational company while entering the market such as India and how they are required to strategize, mold their marketing mix, need to analyze en-cash their strength, overcome their weakness, take maximum advantage of opportunities and modify their strategies to face huge challenges. The specific learning outcome of the case will help students to understand the strategy that multinational companies can adopt to sustain, compete in emerging countries such as India and within that emerging market such as streaming videos on demand (SVoD). This case will help students to understand the importance of internal and external resources, which help multinational companies to make strategies based on these resources. The case study offers learners the opportunity to explore the strategy in a dynamic environment. This case also highlights the critical issues that should be addressed by multinational companies when entering into a foreign market. The case highlights the importance of analyzing the competitive environment in which it’s going to compete and sustain. It can be used to introduce Ansoff’s growth matrix, internal and external factor analysis and porter’s five forces in the delivery of course for both regular and executive programs. The case should be offered in the middle term periods of the course. Additionally, the case could be used in marketing courses to indicate the importance of scanning the business environment in marketing activities for any organization. The case illustrates the strategies that companies can undertake to expand the market, introduce new products, as per the requirement of business environment and concerns linked with innovating approaches to support the organization to satisfy a larger number of price-sensitive consumers from varied backgrounds.

Netflix has been optimistic about the potential growth of the Indian market. It will grow slowly and gradually and become profitable. The SVoD market in India has been price sensitive. There are no plans for cheaper prices. Netflix had a long way to go. The pricing model of Netflix was a hurdle in its growth, but the future of Netflix in India was bright. There have been numerous challenges in terms of government regulations, pricing structure and an increase in the number of competitive players on the market. Netflix believed that Indian audiences enjoyed “Bollywood” film productions but watched low-quality soap opera content on television. Television audiences were a massive untapped market for their brand of original, exclusively produced content. Can Netflix come up with a marketing and growth strategy, or else they might be looking to lose market share and revenue. Should a new product such as Amazon and MI fire stick be introduced in the existing market like their competitors? Should they enter the existing market with existing products, or should they seek a new market in India, such as the rural market, the Pyramid market, the Tier II market and the City III market? Should they diversify into a new market with new products? How Netflix should plan its market communication if it wants to launch a new product or if it wants to reposition its existing product. Netflix had to rethink its strategies and also needed to address these issues so that they could travel smoothly on Indian roads. High marketing budget and aggressive promotions helped Netflix India to make a profit in its first year.

Postgraduate MBA students, other graduate-level management programs and undergraduate-level students.

Teaching notes are available for educators only.

CSS 11: Strategy.

A secondary research method was used to collect data for this case. The authors have made use of newspaper articles and articles by experts published in the public domain.

This case discusses the dilemma faced by Amazon Prime Video in India regarding content. Amazon Prime Video attained success and rapid growth in India ever since its entry into the Indian over the top (OTT) market in 2016. However, the pursuit of attractive and bold content landed Amazon Prime Video in a legal tangle in India. Amazon Prime Video was accused of hurting the religious and political sentiments of Indians by broadcasting bold shows like Tandaav, Family Man, Mirzapur, Family Man 2, etc. Litigations against Amazon Prime Video were filed in the Indian courts by members of religious and political organizations. Protests and online campaigns on Twitter caught the attention of internet influencers in India. The key dilemma faced by the protagonist in this case is whether to continue streaming attractive content that may be controversial and may occasionally hurt the religious/political sentiments of some Indians or stream only safe content that may be deemed as boring by its young target audience.

Undergraduate and postgraduate students studying marketing management and international business courses in business management and commerce streams can use this case.

The learning outcomes of this study are as follows:1. Analyze the pricing strategy followed by Netflix in India;2. Examine the challenges faced by media companies, including over-the-top (OTT) service providers, in developing content for target consumers in emerging markets; and3. Evaluate the dynamics of the Indian OTT industry and understand the effect of external and internal factors on the growth of Netflix in India.

This case discusses the dilemma faced by Netflix in India regarding pricing and content. Netflix was accused of hurting the religious and political sentiments of Indians by broadcasting bold shows such as Sacred Games and A Suitable Boy. Netflix is caught in a dilemma between its pursuit to achieve its target of achieving 100 million subscribers from India versus continuing its profitable high pricing strategy. Another key dilemma is regarding the streaming of attractive bold content which may occasionally hurt the religious/political sentiments of some Indians or stream only safe content which may be deemed as boring by its young target audience.

Undergraduate and postgraduate students studying Marketing courses in Commerce and Business Management streams can use this case.

Teaching notes are available for educators only.

CSS 8: Marketing.

This case is intended to illustrate to readers the challenges faced in 2011–2013 by Amazon's CEO, Jeff Bezos, as he guided his company into the exploding tablet market. Faced with the tough decision between focusing on the e-reader market—which Amazon had come to dominate with its Kindle product line—and making a foray into tablets—for which it had no expertise—Bezos chose the latter. Amazon sought to combine platform assets to create an end-to-end experience that would let users find a “sweet spot” in the mix of features and services. This strategy involved critical decisions such as selecting a customer segment to target and a positioning for the new product, dubbed the Kindle Fire, as the tablet market rapidly evolved. The Kindle Fire was designed to put the full Amazon experience right into the laps of customers, and Bezos was betting that his customers would see the Kindle Fire as the physical manifestation of all things Amazon. To achieve this, Amazon was willing to heavily subsidize the Kindle Fire hardware device. The key assumption was that the superior end-to-end experience Amazon had carefully created would lead to incremental purchases of content as well as physical products and services, and the margins thus gained would outweigh the hardware subsidy.

• Position and define target segments for a new product relative to competition as well as to a company's own products

• Articulate a competitor's strategy and how to compete against an incumbent with a disruptive business model and a differentiated position

• Discuss selling an experience (as opposed to a product or device) and how to create a differentiated service experience

• Determine pricing, analyze business model, and calculate revenue/profit for a technology product

Position and define target segments for a new product relative to competition as well as to a company's own products

Articulate a competitor's strategy and how to compete against an incumbent with a disruptive business model and a differentiated position

Discuss selling an experience (as opposed to a product or device) and how to create a differentiated service experience

Determine pricing, analyze business model, and calculate revenue/profit for a technology product

Marketing, Sports marketing and Social media marketing.

Graduate level.

This case, based on field research and multiple secondary sources, documents the 12-month period since early 2014 during which Cricket South Africa (CSA) developed the Protea Fire brand for their national men’s cricket team, known as the Proteas. In mid-2014, Marc Jury, the Commercial and Marketing manager of CSA set up a project team to take the previously in-house Protea Fire brand public. With the 2015 Cricket World Cup in Australia and New Zealand less than a year away, Jury worked with a diverse project team of Proteas players, cricket brand managers and external consultants to build a public brand identity for the national team, to nurture greater fan affinity and to mobilize South Africans behind their team for the World Cup. The project team developed a range of Protea Fire multimedia content as the core of the campaign. These included video diaries, scripts which were written by the Proteas players themselves, player profile videos, motivational team-talk videos and good luck video messages featuring ordinary and famous South Africans. Having invested in creating this content, the project team faced the difficult task of allocating a limited media budget to broadcast and amplify the content. Another significant challenge was to ensure that the Proteas team values were authentically communicated across all content, including via the social media strategy using Twitter, Instagram and YouTube. As the World Cup tournament kicked off on February 14th 2015, South Africa was well placed to overcome their previous inability to reach a final, although Jury wondered whether another exit in the knockout round would weaken the strong and positive emotions the Protea Fire campaign had ignited. With the last two balls remaining in South Africa’s semi-final game against New Zealand on March 24th 2015, and the home team requiring just five runs to win, Jury joined 60 million South Africans hoping that Protea Fire was strong enough. The case concludes with South Africa losing the semi-final game and Jury turning his attention to how the #ProteaFire campaign should respond.

This study aimed to analyse the development of a sport team brand and a megaevent campaign; to assess the efficiency and effectiveness of a marketing campaign; and to consider appropriate brand responses to the team’s failure to deliver on expectations.

CSS 8: Marketing.