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Social Marketing, Entertainment Education Program.

Postgraduate program. Master in Strategic Marketing and Master in Business Administration.

In the midst of the many TV shows that do not provide enlightenment, Kick Andy TV Show appeared to provide answers to the public unrest. In the spirit of “Watch with Heart” Kick Andy serves Entertainment-Education and Social rarely glimpsed by the television station. Success of Kick Andy TV Show made this brand doing brand extension such as Kick Andy Foundation, Kick Andy Magazine, Kick Andy Enterprise and others. Challenge for this program is to maintain the right balance between social, entertainment and education.

This Case Study illustrates that Kick Andy TV Show filled the value gap that viewers experienced from existing TV show. This show is similar to the offer of Oprah Winfrey Show in the USA. Student is expected to understand social marketing primarily related to entertainment-education TV show.

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

A year into the launch of TiVo—the “revolutionary new personal TV service that lets you watch what you want, when you want”—John Tebona, VP of business development, was faced with important decisions about TiVo's revenue model and strategic alliances. With television's move from a network-based model to an interactive one, he had to decide what role TiVo would play in the emerging industry landscape. Would TiVo be just a set-top box or would it live up to the vision of revolutionizing the television viewing experience? What revenue streams should it emphasize to capture the most value? What strategic relationships must TiVo form in an environment where companies were cross-investing in multiple technologies across different industry segments? How could it expand its customer base and accelerate its revenues before competitors like Microsoft's WebTV became the default standard?

To understand that disruptive innovation from a value creation standpoint may not mean a profitable or viable business from a value capture standpoint; products are far easier to create than robust business architectures with solid profit engines; the future of interactivity is clouded by the conflicting visions of the varied players; and control over standards is a valuable choke point.

Business strategy and industrial economics.

This case may be used early on in a basic course on strategy in an MBA program or in a course in industrial economics. It can also be used in a session of an executive development program on strategy.

The TV Broadcasting industry, worldwide, has been moulded by frequent changes in technology and by regulatory interventions. So has been the case of India. The case begins with a general introduction to the technology of TV broadcasting and distribution and then moves on to a discussion of the technological changes in the Indian context. The evolving structure of the industry in India over three distinct periods is then described. The Industry consists of content producers, broadcasters, aggregators, direct-to-home distributors, multi-system operators and local cable operators. Over the three periods of time, changes in technology and regulation constantly impacted on the structure, the conduct and the performance of players in each segment.

The analysis of the case is expected to demonstrate the use of theoretical frameworks like the structure-conduct-performance model and Porter's five-force model in arriving at a prognosis of the structure of an industry in general, and that of the Indian TV broadcasting industry in particular.

Teaching notes are available, please consult your Librarian for access.

The case is structured to achieve the following learning objectives: ■ to assess how an intuitive response to social need can be complemented with a methodical approach to social entrepreneurship; ■ to analyse the importance of business model canvas from the social sector lens; ■ to evaluate the value created by a small NPO 17000 ft Foundation; ■ to analyse the core elements of a business model for success in the social sector; and ■ to assess and evaluate the options for an early-stage NPO to engage in scaling for a systemic impact.

17000 ft Foundation (hereafter referred to as 17000 ft) is a not-for-profit (NPO) organisation incepted in 2012 by Sujata Sahu, with the objective of supporting education of children living at high altitudes in remote villages of Ladakh, India. It is an effort that contributes toward objectives of clause 6.1 on educational inclusivity in the new National Education Policy 2020 of India. The case study is set in the context of Indian education, with all its challenges. It describes how Sujata Sahu was motivated to start the Foundation and how it developed to become a complex organisation working on different education-related projects simultaneously. The Foundation’s business model is interesting and unique. It leverages digital technologies to develop a network of interconnected activities, involves local communities and uses an extensive network of different kinds of stakeholders to impact a change in the quality of education in government schools in these remote villages. The case provides a solid basis for the discussion of the vital role of NPOs such as 17000 ft (in emerging economy) which is creating social and economic value for the remote villages of Ladakh, India. The new NEP 2020 argues for equity and inclusivity in education for all, but it failed to provide a blueprint for the implementation process. On the other hand, 17000 ft with its small team was invested and experimental in its approach. It had been working on the same cause of educational inclusivity. They had piloted a quality education business model for the harshest and remote Indian terrains and proven its positive impact. What were some of the core elements that had led them to success so far? The announcement of NEP 2020 provided a new ray of hope. How could they contribute and work together with the government to impact inclusive education and development in India? What collaborative mechanisms could possibly help them replicate their proven business model across the 1,000 schools of Ladakh and beyond? How could they scale for a systemic impact? After all, a nation as big as India required multiple strategies and multiple stakeholders from NPOs, private companies, government agencies, educational institutions, etc. to work collaboratively to bridge the inclusion and equity gaps in education.

The case can be used in graduate and executive education courses in entrepreneurship and strategic management. It can also be used for executive sessions at incubation centres for NPO start-ups and is aimed at early-phase social entrepreneurs.

Teaching notes are available for educators only.

CSS 3: Entrepreneurship.

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).

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.

The case describes how Radio Mirchi dealt with competition in the Bangalore FM radio market. Radio Mirchi's market share in Bangalore started declining within a few months of its successful launch, following the entry of new competitors in the market. The case discusses strategies adopted by the company to regain its market share and become the market leader. It describes the initial product offering of the channel, why it felt the need to redesign its product mix, and eventually how the company changed its product offering. The focus of the case is on the dilemma faced by the organization while shifting to a new product and service design in the face of emerging competition. The case highlights the importance of continuously monitoring the market environment and developing a keen understanding of the consumers' behaviour for an organization to gain and sustain its leadership position in the marketplace.

Marketing.

Post Graduate.

Rajiv Bapna and Pradeep Bapna co-founded Allied Electronics & Magnetics Limited (widely known as Amkette) in the year 1985 for the production of floppy diskettes in India. By the year 1995, Amkette was the largest selling floppy diskette brand in India. With the advent of new technology in storage media sale of floppy diskette observed a constant decline. By the end of year 2004, floppy diskettes completely vanished from the market. Amkette anticipated the changes in the computer peripherals market and introduced a wide range of products in storage media, wireless and wired peripherals, accessories and digital lifestyle products. After the launch of Evo TV on June 2012, Amkette was hopeful for a major success in digital lifestyle segment. Evo TV, a connected TV device, allowed consumers to use smart apps on their television sets and was a cost-effective substitute to Smart TVs. Amkette was betting very high on Evo TV for revenue generation and market development.

Following are the learning outcomes: to review the product life cycle of technology products, to understand evolving customers’ expectations and behavior, to assess the adoption process of innovative products and to explore the challenges associated with innovative products for market development.

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.

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 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.