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Principles of Management, in particular, the topics of planning, organizing, leading, controlling, human resource management, and operations management.

The case will be helpful to undergraduate and graduate business school students for learning the subject, Principles of Management.

Vikas Jha, the newly appointed executive producer and CEO of Magic Films, is a troubled man today. At 29, he is also an unusually tired man to lead this social enterprise presently focussing on producing and distributing short films that carry a strong social message. A whole set of problems is plaguing this start up leaving Vikas totally clueless about the future course of action! The case dwells on the challenges of a film production start-up and provides an opportunity for readers to explore creative solutions to management problems.

Critical thinking, creative thinking, communication skills and leadership ability are some of the liberal arts outcomes that the case study attempts to deliver. In addition, it enables students to apply their knowledge and understanding of key principles of management in solving the case problems. Thus, the case also provides transfer ability as an important learning outcome.

Teaching notes. Additional material with respect to film production can be helpful to the students in appreciating the finer aspects of this case, which deals with filmmaking. In this direction, helpful links to useful resources are mentioned in the case study.

Teaching objectives: to help students review entertainment service and its ecosystem; to discuss leadership anxiety during change management and organizational development; to understand organizational diagnosis while initiating change management exercise; and to compare various strategic alternatives and the implications of selecting an option.

This case narrates dilemma of Krishna Goenkar, a management consultant entrusted to revisit strategic orientations of Mahem Entertainment Society (MES). Mahem is a fictitious state in the west coast of India. MES had been created by the Government of Mahem as a regulatory body to promote the state as a world class destination for entertainment. Public interest guided the organization, as it was a government instituted body. Hence, Goenkar had twin challenges. Firstly, what strategic initiatives should he propose to scale up the operations in spite of the given organizational constraints? Secondly, how to scale up and diversify if required, with minimal resistance? The case would help students get familiarized with entertainment domain, service ecosystem and challenges of driving strategic change in public utilities, especially in Indian and emerging market context.

This case is suitable for graduate-level programme in marketing management.

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

CSS 8: Marketing.

The learning outcomes of this paper are as follows: to critically assess and analyse public and private funding options and determine which private option is best suited to a company (finance – decision-making). To calculate the internal rate of return (IRR) of a project (finance – analytical). To critically assess the underlying structures of traditional and new industries (Strategy/BMI – analytical). To analyse the challenges and disruption potential of intermediated industries (Strategy/BMI – analytical).

The Triggerfish case looks at how films are funded in South Africa. The company is currently funding films mostly through government channels, but CEO Stuart Forrest would prefer to independently and privately fund their projects. The case looks at what returns can be expected by investors in film through the “recoupment waterfall” – the means whereby the producers and investors of a film recoup their investments and earn returns. The investment horizons of select private lenders (bank, mezzanine financiers, risk financers and venture capital firms) and public funders are explored. The case also explores the impact that video-on-demand platforms, such as Netflix and Disney+, is having on the traditional models of filmmaking.

This teaching case is aimed at postgraduate business students such as Master’s degrees in Business Administration degrees, postgraduate diplomas, executive education or specialist Master’s degrees.

Teaching notes are available for educators only.

CSS 3: Entrepreneurship.

After the successful release of the first Hunger Games film in 2012, the film's distributor, Lionsgate, was preparing to release the next movie in the series, Hunger Games: Catching Fire. Fan expectations had grown after the success of the first film, and Lionsgate faced the challenge of keeping moviegoers interested and engaged in another Hunger Games movie. In an era marked by the rising popularity of digital and social media, Lionsgate knew that attracting fans to a sequel meant pushing the boundaries of traditional marketing tactics.

Digital brand storytelling is about using digital media in a holistic way to tell a brand story and build excitement for an audience. Brand storytelling seeks to make a connection with the audience by giving them an emotional experience that resonates with them. While Lionsgate was aware that traditional marketing would need to be blended with a digital campaign to bring in moviegoers, it also needed to strike a careful balance between the two and choose the appropriate platforms to tell a cohesive story. Should Lionsgate launch a brand storytelling campaign to appeal to fans? Lionsgate's comparatively small marketing team gathered to brainstorm about how to execute such a campaign and position the film for another big success.

Strategy.

This case can be used on a strategic management course in the second year of an MBA programme, any special elective course on the media and entertainment industry and in executive education programmes to demonstrate the application of strategic management concepts and frameworks.

The Indian film industry was the largest in the world and the seventh largest in terms of revenue. Significant number of movies were made in languages such as Bengali, Marathi, Telugu, Tamil, Malayalam and Kannada, with Hindi commanding the highest number. The film industry in Karnataka made movies in the Kannada language. The industry was plagued by a host of issues with the industry contributing just 2 per cent of the revenues and box office success rate at just around 25 per cent. The state government had set up Karnataka Chalanachitra Academy with the objective of promotion and development of the movie industry in Karnataka. The Chairman of the academy, Shailesh Singh, was extremely concerned about the poor success rate of Kannada movies and was contemplating various options of reviving the ailing Kannada movie industry.

The expected learning outcomes are as follows: application of strategic management frameworks in the context of the movie industry; analysis of industry issues from the long-term and short-term perspectives; study of different entities in the movie industry and the roles they play and their interdependence; applying learning to suggest survival strategies in an extremely competitive market; and insights into the role of government in the media/entertainment industry.

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

CSS 11: Strategy.

The case explores the similarities and differences between social media campaigns launched by Nissan and by Tata Motors to stimulate sales for models of their cars in India. The Nissan campaign allowed consumers to compete to star with Ranbir Kapoor, a Bollywood star and spokesman for the Nissan Micra, in a short film featuring the Micra as the hero. The Tata campaign launched India's first social streaming show, in which select teams of consumers participated in an Amazing Race-style road trip competition in different regions of the country. Both campaigns made extensive use of Facebook. Students are tasked with evaluating the two campaigns in terms of their fit with the communication objectives of each company and their effectiveness on a variety of metrics. The case includes links to advertisements and other video material. Although the case is written to be used independently, it also would work well in combination with the “Positioning the Tata Nano (A) and (B)” cases.

After analyzing the case, students will be able to:

• Align and design social media campaigns against a brand positioning

• Set clear consumer attitude or behavioral and strategic brand objectives for social media offerings

• Use objectives established in advance to create performance metrics for social media programs

Align and design social media campaigns against a brand positioning

Set clear consumer attitude or behavioral and strategic brand objectives for social media offerings

Use objectives established in advance to create performance metrics for social media programs

This case is set in the midst of the attempted takeover of Walt Disney Productions by the raider Saul Steinberg in June 1984. Disney's chief executive officer ponders whether to fight the takeover or to pay “greenmail”. One significant influence on the decision is the “true” value of the firm. The case offers, either directly or through analysis of it, several estimates of value. The valuation question invites a review of Disney's past performance and current competitive position. Other significant influences on the decision are the ethics and economics of paying greenmail. The rich range of issues raised in the case (strategy, valuation, performance measurement, and ethics) makes it an effective first case, review case, or final exam in a corporate-finance course. A student worksheet file is available for use with this case.

This case concerns the promotional activities of Nashua Photo, the nation's largest mail-order photofinishing firm. Discount-price mailers (inserted in local newspapers, for example) were used to generate new customers, but also allowed existing customers to pay a lower price. Students must evaluate not only the results of last quarter's 125 separate promotions in light of this “leakage,” but also the appropriateness of discount-price mailers within Nashua's marketing mix.

The case describes the popular Russian children's animated TV series named the Smeshariki, its parent company (Marmelad), the domestic animation industry, and the principal international rivals and their respective animated products and/or services. The series' success led to the organic growth of vertically and horizontally related business units. Marmelad's business units' scope included producing more than 200, six and one-half minute episodes of the Smeshariki, branded children's products (e.g. educational games), granting licenses to manufacturers, establishing a network of kindergartens, and licensing the Smeshariki animated series to exhibitors in international markets. Key issues the company faces include: brand management for the Smeshariki and Marmelad, domestic and international competition in the Russian animation industry, and the need for professional management. The case provides instructors with a range of options including a holistic marketing case, or one that concentrates on focused marketing issues (i.e. all or parts of the marketing mix, brand architecture, brand equity and brand management).

By 2009 Netflix had all but trounced its traditional bricks-and-mortar competitors in the video rental industry. Since its founding in the late 1990s, the company had changed the face of the industry and threatened the existence of such entrenched giants as Blockbuster, in large part because of its easy-to-understand subscription model, policy of no late fees, and use of analytics to leverage customer data to provide a superior customer experience and grow its e-commerce media platform. Netflix's investment in data collection, IT systems, and advanced analytics such as proprietary data mining techniques and algorithms for customer and product matching played a crucial role in both its strategy and success. However, the explosive growth of the digital media market presents a serious challenge for Netflix's business going forward. How will its analytics, customer data, and customer interaction models play a role in the future of the digital media space? Will it be able to stand up to competition from more seasoned players in the digital market, such as Amazon and Apple? What position must Netflix take in order to successfully compete in this digital arena?

To examine the benefits and risks of investment in analytical technology as a means for mining customer data for business insights. Students will develop a strategy position for Netflix's investment in technology and its digital media business. Students must also consider how new corporate partnerships and changes to the customer channel model will allow the company to prosper in the highly competitive digital space.