Search results

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.

“Driving Strategic Change at the Junior League (A)” describes a troubled organizational environment. Challenges included a dissatisfied membership, declining membership numbers, a large diversity among local leagues, and limited resources to meet the organization's overall objectives. The case describes a “participatory roadmap” approach, drawing on the insights of comprehensive research, and highlights a strategic-change approach that focuses on participation and local-level flexibility.

The (B) case examines how the Association of Junior Leagues International (AJLI) took initial steps to implement the participatory roadmap. Through a purposeful messaging strategy that involved many targets and various modes of communication, AJLI leaders sought to influence and inform active members, sustainers, and their local leaders. Further, through the use of design teams, AJLI gained deep insight into the ways that implementation might vary across local leagues. Finally, these design teams enabled AJLI to make initial gains in membership and develop a cross-league learning community.

After reading and analyzing the (A) case, students should be able to:

• Describe the challenges of leading organizational change in a federated membership nonprofit

• Appraise different forms of data to determine the types of changes needed in a large-scale nonprofit transformation

• Identify ways to unfreeze the organization, encouraging individual members' readiness for change

• Formulate a plan for collaborative, large-scale organizational transformation, as opposed to a coercive strategy

Describe the challenges of leading organizational change in a federated membership nonprofit

Appraise different forms of data to determine the types of changes needed in a large-scale nonprofit transformation

Identify ways to unfreeze the organization, encouraging individual members' readiness for change

Formulate a plan for collaborative, large-scale organizational transformation, as opposed to a coercive strategy

“Driving Strategic Change at the Junior League (A)” describes a troubled organizational environment. Challenges included a dissatisfied membership, declining membership numbers, a large diversity among local leagues, and limited resources to meet the organization's overall objectives. The case describes a “participatory roadmap” approach, drawing on the insights of comprehensive research, and highlights a strategic-change approach that focuses on participation and local-level flexibility.

The (B) case examines how the Association of Junior Leagues International (AJLI) took initial steps to implement the participatory roadmap. Through a purposeful messaging strategy that involved many targets and various modes of communication, AJLI leaders sought to influence and inform active members, sustainers, and their local leaders. Further, through the use of design teams, AJLI gained deep insight into the ways that implementation might vary across local leagues. Finally, these design teams enabled AJLI to make initial gains in membership and develop a cross-league learning community.

After reading and analyzing the (B) case, students should be able to:

• Identify successful communication strategies for change

• Appraise the level of readiness for organizational change and design strategies to address that level of readiness

• Describe the three implementation strategies (i.e., normative-reeducative, power-coercive, empirical-rational) and the circumstances under which each would be appropriate

• Develop an interactive process for encouraging feedback on the change process

Identify successful communication strategies for change

Appraise the level of readiness for organizational change and design strategies to address that level of readiness

Describe the three implementation strategies (i.e., normative-reeducative, power-coercive, empirical-rational) and the circumstances under which each would be appropriate

Develop an interactive process for encouraging feedback on the change process

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.

Jim Keyes, CEO of Dallas-based Blockbuster Inc., was facing the biggest challenge of his career. In March 2010 Keyes was meeting with Hollywood studios in an effort to negotiate better terms for the $1 billion worth of merchandise Blockbuster had purchased the year before. In recent years, Blockbuster's share of the video rental market had been sharply decreasing in the face of competitors such as the low-cost, convenient Redbox vending machines and mail-order and video-on-demand service Netflix. While Blockbuster's market capitalization had dropped 47 percent to $62 million in 2009, Netflix's had shot up 55 percent to $3.9 billion that year. The only hope for Blockbuster, as Keyes saw it, was to shift its business model from primarily brick-and-mortar physical DVD rentals to increased digital and mail-order video delivery. In Keyes's favor, the studios were more than willing to provide him with that help. Hollywood wanted to see Blockbuster win the video-rental wars. Consumers still made frequent purchases of DVDs at its store—purchases which were much more profitable for studios than the rentals that remained Blockbuster's primary business. Blockbuster had made efforts at making its business model more nimble, but the results had been disappointing, and its debt continued to skyrocket. By the end of 2009, the company's debt had climbed to $856 million, its share of the $6.5 billion video rental business had fallen to 27 percent, and its revenues had tumbled 23 percent to $4.1 billion.

The objective of this case is to discuss how different business models and supply chain structures impact the financials of the firms in the DVD rental business. In particular, the goal is to convey that the characteristics of the movie (recent/big hit or old/eclectic) affect whether it is best rented from a centralized or decentralized model. In addition, as streaming gains market share, the impact will be different for movie types and business models.

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.

This case illustrates the tax implications of a movie produced in a foreign country that resulted in a loss. Teaching opportunities include the application of tax rules to a Schedule C business loss and a resulting net operating loss (NOL) deduction, the consideration of hobby and passive activity losses, the tax treatment of funds received in a divorce settlement, and how an individual might handle a possible IRS examination. Students are asked to prepare a revised Form 1040 for the movie business loss and the individual NOL deduction based on evidence provided in the case. Sufficient information is provided in the case to identify audit “red flags” in a tax return. Using the tale of an actual movie production in a foreign country and its consequent tax implications can provide an attractive alternative to teaching tax accounting rules that are often considered by students as “dry”.

International business or International marketing.

The case is recommended for undergraduate and graduate courses in the fields of international business and international marketing. The aim is to show students the problems that a family business in the animation industry faces while growing and internationalizing. Specifically, the case discusses the entry mode selection and market selection challenges faced by an emerging market company in the comic book and animation industry to operate overseas and compete with entertainment giants such as Disney and DC Comics. The case enables the instructor to discuss international market selection theories and evaluate entry modes. For graduate students, the international market selection can be further developed by using more robust concepts such as psychic and cultural distance.

This case examines the trajectory of a pioneering company in the comic book and animation industries, and in the licensing of trademarks in Brazil. Mauricio de Sousa Productions was founded in 1959 and is considered to be one of the most successful cultural producers in the country. According to a leading Brazilian public opinion research agency, 97 per cent of Brazilian children and 96 per cent of their parents are familiar with the Monica and Friends characters. As one of the main players in the publishing market, with 86 per cent of market share, Mauricio de Sousa Productions has a product portfolio that goes beyond Monica and Friends comic strips: the company’s show on the Cartoon Network ranks third in audience viewing in the country and the company has produced animated movies, books, shows and games. However, despite its experience in publishing comic books in several countries, Mauricio de Sousa Productions (MSP)’s worldwide operations have not been as profitable and sustainable as expected. Aiming at expanding its global presence, MSP’s top management decided in 2014 to review the company’s internationalization strategy and operations to enhance the firm’s performance.

The case highlights the key factors facing firms when expanding from an emerging markets. Students are expected to discuss and evaluate options, thus developing their knowledge and decision processes related to family-owned business challenges and opportunities, international market selection theories and international market entry mode. Developing strategies to face challenges as those presented by competitors such as Disney should bring opportunities to students to think outside models and weigh risks. Finally, the case gives students opportunity to base their decision processes and evaluations on logistics problems as well as psychic and cultural distances. It also compels the students to appreciate the various challenges involved in exploiting international market with animation content and intellectual properties as a service.

Company presentation to use in the discussion introduction can be found in: www.monicaandfriends.com/content/video.php

CSS 5: International business.

Target Corporation is concerned that the company might be left out of one of its most lucrative and attractive product categories, video games and game players, as these products increasingly migrate to digital distribution models. What steps should the company take to maintain its relevance and build sustainable competitive advantage as these trends play out? What are the implications for the company's multi-channel online and offline format portfolio going forward?

Students will develop a keen understanding of the challenges faced by contemporary retailers as consumer needs change, new product innovations emerge, market structures evolve, and format pressures escalate.

Wall Street hedge fund manager Kim Meyer is considering investing in an SFA (slate financing arrangement) in Hollywood. Dave Griffith, a Hollywood producer, is pitching for the investment and has conducted a broad analysis of recent movie data to determine the important drivers of a movie’s success. In order to convince Meyer to invest in an SFA, Griffith must anticipate possible questions to maximize his persuasiveness.

Students will analyze the factors driving a movie’s revenue using various statistical methods, including calculating point estimates, computing confidence intervals, conducting hypothesis tests, and developing regression models (in which they must both choose the relevant set of independent variables as well as determine an appropriate functional form for the regression equation). The case also requires the interpretation of the quantitative findings in the context of the application.