1. G322: Institutions and Audience

2. The questions are very broad and can focus on one of the following areas: Media Ownership (Media Conglomerates) Synergy & Cross Media Convergence New Media Technologies The spread of technology Technological Convergence (media gadgets) Big industries targeting British audiences Your media consumption Marketing Production

3. LO: To explore the issues raised by ownership

4. Our Case Study: Disney Revenue: $48 billion
Operating income: $12 billion
Its assets are believed to be worth $84 billion

5. Disney
A MEDIA CONGLOMERATE

6. Disney
A media conglomerate, media group or media institution is a company that owns large numbers of companies in various mass media such as television, radio, publishing, movies, and the Internet. Media conglomerates strive for policies that facilitate their control of the markets across the globe.

7. Institution/Media Ownership Disney’s Assets
Walt Disney Studios
Buena Vista Home Entertainment
Walt Disney Motion Pictures Group:
Touchstone Pictures
Pixar Animation Studios
Lucasfilm Animation
ESPN
ABC Entertainment Group
Marvel Entertainment
Disney Music Group

8. Institution/Media Ownership Media Conglomerates
Massive multinational media companies who own:
Film Studios
TV Stations
Record Labels
Magazines
Newspapers
Books
Internet platforms

9. The media industry is dominated by the big 6

11. In 1983, fifty corporations dominated most of every mass medium
and the biggest media merger in history was a $340 million deal. …
[I]n 1987, the fifty companies had shrunk to twenty-nine. …
[I]n 1990, the twenty-nine had shrunk to twenty three. …
[I]n 1997, the biggest firms numbered ten and involved the $19 billion Disney-ABC deal, at the time the biggest media merger ever. … [In 2000] AOL Time Warner’s $350 billion
merged corporation [was] more than 1,000 times larger [than the biggest deal of 1983].
— Ben H. Bagdikian, The Media Monopoly, Sixth Edition, (Beacon Press, 2000),

12. Just how dominant are the big 6 studios?
Have a look at the highest grossing films of all time – can you spot any independents?

15. Gladiator
DreamWorks, Universal
A Beautiful Mind
DreamWorks, Universal, Imagine Entertainment
Chicago
Miramax
The Lord of the Rings: The Return of the King
New Line Cinema, Wingnut Films
Million Dollar Baby
Warner Bros., Malpaso
Crash
LionsGate,
The Departed
Warner Bros.
No Country for Old Men
Miramax, Paramount Vantage
Slumdog Millionaire[O]
Fox Searchlight, Warner Bros., Celador, Film4
The Hurt Locker
Summit Entertainment, Voltage Pictures, First Light Productions, Kingsgate Films
The King's Speech
The Weinstein Co., Momentum Pictures, UK Film Council, See-Saw Films, Bedlam Productions
The Artist
The Weinstein Co. (US/AUS), Warner Bros. (France),Entertainment Film Distributors (UK), La Petite Reine, ARP Sélection, Studio 37, La Class Americane, France 3 Cinema, U Film, Jouror Productions, JD Prod, Wild Bunch
Argo
Warner Bros., GK Films, Smokehouse Pictures
12 Years a Slave
Fox Searchlight, Regency Enterprises, River Road Entertainment, Plan B Entertainment, New Regency,Film4
Birdman or (The Unexpected Virtue of Ignorance)
Fox Searchlight, Regency Enterprises, Worldview Entertainment

16. Why might conglomerates be seen as a negative?

17. Global conglomerates can at times have a progressive impact on culture, especially when they enter nations that had been tightly controlled by corrupt crony media systems (as in much of Latin America) or nations that had significant state censorship over media (as in parts of Asia). The global commercial-media system is radical in that it will respect no tradition or custom, on balance, if it stands in the way of profits. But ultimately it is politically conservative, because the media giants are significant beneficiaries of the current social structure around the world, and any upheaval in property or social relations— particularly to the extent that it reduces the power of business—is not in their interest.— Robert W. McChesney, The New Global Media; It’s a Small World of Big Conglomerates, The Nation Magazine, November 29, 1999

18. Starter Homework due today.  New homework:
Choose an independent film and compare its commercial success to your film

19. Starter You will be shown a term, take turns testing your
partner on the meaning

20. Starter
Conglomerate

21. Starter
Monopoly

22. Starter
Merger

23. Starter
Dumbing down

24. Starter
Diversity

25. Starter
Cultural imperialism

26. Starter
Answers?

27. It is useful to remind ourselves that free expression is threatened not just blatantly by authoritarian governments and all those in the private sector who fear public exposure, but also more subtly by the handful of global media conglomerates
that have reduced meaningful diversity of expression in much of the globe.
— Gerald Caplan, Advancing Free Media, Open Markets, Open Media forum, November 1997

28. As Michael Eisner, CEO of Walt Disney Co. said in an internal memo:
We have no obligation to make history.
We have no obligation to make art.
We have no obligation to make a statement.
To make money is our only objective.
— Michael Eisner, CEO, The Walt Disney Co., (Internal Memo). Quoted from Mickey Mouse Monopoly-Disney, Childhood & Corporate Power

29. Mickey Mouse Monopoly: Disney Childhood Corporate Power
Mickey Mouse Monopoly: Disney Childhood Corporate Power

30. Independent film

31. Independent institutions
Most of the big 6 have an ‘independent’ style division
Because indie films are free from studio interference, filmmakers can write and direct the films they want to make
Lots of A list actors support indie film because it stretches them as actors
Independent institutions
Indies have their own Oscars -- the Spirit Awards. It celebrates difficult fare that fights for commercial viability in a mainstream marketplace.
Indies now form an industry that runs not so much against Hollywood as parallel to Hollywood. American culture has two legitimate film industries, mainstream and independent,
In the 1990s the vision of indies changed, some were being made for $1-3 million so profit was the primary concern

32. Indie success stories?
1. 'THE PASSION OF THE CHRIST‘ $611.9 million worldwide. Financed by Mel Gibson himself, without the safety net of a distributor in place, the film went on to become the highest-grossing indie of all time and the second-highest-grossing R-rated film of all time.
2. 'SLUMDOG MILLIONAIRE‘ – sort of
$377.9 million worldwide. Danny Boyle's eclectic adaptation of Vikas Swarup's novel Q & A garnered widespread critical acclaim, and went on to take home best picture, best director and best adapted screenplay at the 2009 Academy Awards.
3.  'MY BIG FAT GREEK WEDDING'
$368.7 million worldwide. Despite the fact that it never held the No. 1 spot on the box office charts, the Joel Zwick-directed romantic comedy, which reportedly cost $6 million to make, proved to be one of the most profitable films of all time and the second-highest- grossing romantic comedy of all time. 
4. 'SHAKESPEARE IN LOVE‘ ?
$289.3 million worldwide. Preproduction started way back in 1991 when the project was under the Universal banner, but when rising star Julia Roberts dropped out of the lead role of Juliet, Uni balked and dropped the project. Once in turnaround the other majors didn't touch it, but Harvey Weinstein's Miramax swooped in, bankrolled it, and ended up with the best picture statuette at the 71st Academy Awards.
5. 'THE BLAIR WITCH PROJECT‘ $248.6 million worldwide. Perhaps the most profitable film of all time, with a reported budget of $25,000, The Blair Witch Project popularized the now ubiquitous and hyperprofitable genre of "found footage" films.

33. The reality facing indie filmmakers…

34. Independents
The American
Film Industry

35. Institution/Media Ownership Dreamworks – an independent success story
31 feature films, including the franchises of Shrek, Madagascar, Kung Fu Panda, How to Train Your Dragon, Monsters vs. Aliens and The Croods. As of November 2014, its feature films have grossed $12.9 billion worldwide, with a $419 million average gross per film
Distribution:
Paramount
20th Century Fox

36. The problem of being an independent: Read the article and make notes:
Independents
The problem of being an independent:
Read the article and make notes:

37. Institution/Media Ownership – U.S.A Independents
‘Paranormal Activity’

38. Institution/Media Ownership Independents
US independent film maker Orin Peli made ‘Paranormal Activity’ for just $15,000. But he needed Paramount, a US major studio to distribute and remarket his film ($20 million). In doing so the film made over $190 million.
It does show though that there are exceptions to the rule that big budget films usually do best...

39. Independents
The UK
Film Industry

40. Independent film British film
Often British productions are made by smaller outfits like Warp Films, working with Film 4 or the BBC to try to secure extra funding and help with distribution.
Often films made this way struggle to get more than £1 or £2 million budgets and consider a success to break even, with DVD after-sales included.

41. Industry Overview Institution/Media Ownership Budgets average $100m+
British Films, have low to modest budgets, make modest returns. British films - stuck in a rut…
Hollywood Studios
(US)
Working
Title (UK/US)
Indie
(UK)
The main British success story, Working Title now has US cash to finance its films.
Budgets average £1m
Budgets average $30m
Budgets average $100m+
US films out of Hollywood have massive budgets, which generate massive profits - a cycle of self-sustaining profit.

42. Institution/Media Ownership Working Title Films

43. Aardman: British animation
Aardman was founded in 1972 as a low-budget project
Creature Comforts, was the first Aardman production to win an Oscar
December 1997, Aardman and DreaWorks (later DreamWorks Animation) announced that their companies were teaming up to co-finance and distribute Chicken Run
The deal was officially terminated on 30 January 2007
April 2007, Aardman signed and in 2010 renewed a three-year deal with Sony Pictures Entertainment to finance, co-produce and distribute feature films
Kickstarter: The campaign has a target of £75,000 which will be used to fund 12 new one-minute episodes of Morph.

44. Institution/Media Ownership Independents
Some producers work outside of the major studies. Often British productions are made by smaller outfits like Warp Films, working in synergy with Film 4 or the BBC to try to secure extra funding and help with distribution. Often films made this way struggle to get more than £1 or £2 million budgets and consider a success to break even, with DVD after-sales included.

45. Institution/Media Ownership Independents: Four Lions
Theatrical Performance
Domestic Box Office
$310,007
International Box Office
$2,126,104
Worldwide Box Office
$2,436,111
The film premiered at the Sundance Film Festival.
Short-listed for the festival's World Cinema Narrative prize.
RELEASE: The UK première took place at the National Media Museum as part of Bradford International Film Festival as part of Bradford International Film Festival on 25 March 2010]
Nationwide release on 7 May.
DISTRIBUTION: Despite its acclaim at the Sundance Film Festival, Four Lions failed to find a distributor in the US for nine months, until the newly formed Drafthouse Films picked it up.
U.S RELEASE The film had a limited release in the US on 5 November 2010.

47. PRACTICE

48. Why might conglomerates be seen as a negative?
DISCUSS

49. What are the advantages of am indie film company?
DISCUSS

50. H/W
Find out about the institutions involved with the production, distribution, exhibition and marketing. What role did they play? Who spent what?

51. Types of questions you might encounter…

52. Discuss the issues raised by media ownership in the production and exchange of media texts in your chosen area

53. “Media production is dominated by global companies, which sell their products to national audiences”. To what extent do you agree with this statement?

54. What impact does media ownership have upon the range of products available to audiences in the media area you have studied?

55. L/O: To explore the production process of Disney films

56. Homework: Research the production of the film – what problems were there? What technology was used? Was there any synergy between institutions?

57. Production
Walt Disney Animation: History

58. Overview: The Production Cycle You are expected to know what happens in each of these 4 stages of a film’s life:
Choose genre, director, stars, SFX, & film it!
£1000 Film reels produced & sent to as many cinemas as possible
Get film into multiplexes & TV deals
Advertise the film as widely as possible (Synergy?)
Film Production
Film Distribution
Film Exhibition
Film Marketing

59. The Production Cycle What issues might film producers face
during the production cycle?

60. Production Walt Disney Animation
For a long time, Walt Disney was seen as the most innovative and successful animation institution.
1970s and 80s – downturn
1990s – renaissance thanks to new technology, A list actors, use of music and engaging narratives (for both adults and children)

61. Production The Importance of Innovation
The Little Mermaid (1989) was also the first to feature the use of Disney's Computer Animation Production System (CAPS).
Developed for Disney by Pixar

62. Production Little Mermaid (1989) Fact File Budget
$40,000,000 (estimated)
Box office: $211,343,479 (worldwide)
Rentals: $40,227,000 (USA)

63. Computer Animation Production System

64. Production The Lion King (1994)
Soundtrack:

65. Production
The Lion King Fact File
Budget
$45,000,000 (estimated)
Following a 3D re-release in 2011, with earnings of over US $987 million worldwide as of 2011, the film is the highest-grossing hand-drawn film in history,
The film has led to many derived works such as a Broadway show, two straight to video follow ups and two TV spin offs.

66. Film & New Media Technology
HOME CINEMA?
FILMS ON THE MOVE?
OR IMAX 3D?
Advances in new media technology have made it possible for anyone to make films and showcase them on the internet on sites like YouTube.
We can now also watch films on phones, games consoles, digital TV on demand.
We can also see state of the art SFX on giant screens in 3D.
Digital T.V
Satellite ( Sky)
Digital Terrestrial (Freeview)
Cable (NTL)

67. Media Convergence - Film

68. Technological Convergence
Gadgets to watch films on:
Smart-phones (iPhone etc)
MP4 players
Portable Games Consoles (PSP etc)
Laptops (Airbooks etc)
Multimedia devices, films at home:
Games Consoles (Xbox 360, PS3 etc)
PC (via DVD, BluRay, il/legal downloads)
Home Cinema (Plasma TV / Projector + digital TV)

69. Frozen (2013) Produced by Walt Disney Animation
Distributed by Walt Disney Pictures
A summary:

70. Production https://www.youtube.com/watch?v=-UZRqjUXbSM

71. ALL OF THE ABOVE NEED SPECIFIC EXAMPLES.
Essay Approaches.
The exam board want to know what you understand about:
Media Institutions: Hollywood Studios (20th Century Fox etc.), British Studios (Working Title + Warp Films etc).
Media Audiences: UK film viewers (either in cinemas, or via PC / TV / Phone etc)
Media Technology: Digital filmmaking (CGI, 3D, Imax, DV- Cams), Online Films (LoveFilm, iTunes, YouTube, piracy), Convergence (gadgets to watch films on)
Marketing Campaigns: How Studios advertise their films (Synergy, TV + Internet trailers, Print ads – newspapers, magazines, posters, Premieres, junkets, word of mouth, USP, merchandising etc).
ALL OF THE ABOVE NEED SPECIFIC EXAMPLES.

72. Past Questions for Q2. Section B: Institutions and Audiences
Answer the question below, making detailed reference to examples from your case study material to support points made in your answer.
Discuss the issues raised by an institution’s need to target specific audiences within a media industry which you have studied.

73. Past Questions for Q2. Section B: Institutions and Audiences
Answer the question below, making detailed reference to examples from your case study material to support points made in your answer.
Discuss the ways in which media products are produced and distributed to audiences, within a media area, that you have studied.

74. Past Questions for Q2. Section B: Institutions and Audiences
Answer the question below, making detailed reference to examples from your case study material to support points made in your answer.
“Media production is dominated by global institutions, which sell their services and products, to national audiences.” To what extent do you agree with this statement?

75. Past Questions for Q2 Section B: Institutions and Audiences
Answer the question below, making detailed reference to examples from your case study material to support the points made in your answer.
How important is technological convergence for institutions and audiences within a media area which you have studied?

76. Marking Grid for Qu2. Band / Grade Argument Examples Terminology
Level 1: U
Minimal understanding
& reference to study
(0-7)
Limited range and use of examples
Minimal use of terms. Inaccuracies
(0-3)
Low Level 2:
E > D
Basic understanding. Some relevant points.
(8-11)
Some relevant examples
Some terms used. Some inaccuracies
(4-5)
Upper Level 3:
C > B
Proficient argument, well supported.
(12-15)
Good range of examples
Mostly accurate terms
(6-7)
Level 4 : A
Excellent, relevant, sustained argument
(16-20)
Frequent use of relevant examples
Relevant and accurate terms
(8-10)