Corporate governance and risk identification in global media companies / Juan P. Artero

Public ISBD Titre : Corporate governance and risk identification in global media companies Type de document : texte imprimé Auteurs : Juan P. Artero, Auteur Editeur : Pamplona : Universidad de Navarra Année de publication : 2009 Collection : Media markets monographs num. 10 Importance : 142 p. Format : 21,5 cm ISBN/ISSN/EAN : 84-8084-058-0 Prix : 25,-€ Note générale : "Juan P. Artero es an Assistant Professor of Media Management and Structure of Media Industries at the School of Communication of University of Navarra (Pamplona, Spain). He holds a BA in Audiovisual Communication and a PhD in Public Communication from this institution; as well as an MSc in Management from Cass Business School, City University, London. He has been a visiting scholar at the Institute for Media and Entertainment and Fordham University, in New York City." Source : http://mediamarkets.wordpress.com/media-markets-monographs - Consulté le 11/10/2011 Langues : Anglais Catégories : ECONOMIE - Aspects Généraux MEDIAS Tags : médias  aspect économique  gouvernance  régulation Index. décimale : 011.37 médias visuels et audiovisuels Résumé : "Since the beginning of the new 21st century, several corporate scandals have taken place in western countries, such as those controversies involving American companies like Enron, Arthur Andersen, Worldcom, Adelphia and Tyco. Essentially, Europe has not been different, taking into account diverse failures regarding corporations like Maxwell, Parmalat, Kirch, Vivendi or Royal Dutch Shell. Reasons behind such events have ranged from accounting frauds to use of insider information in stock markets, as well as simple irresponsible mismanagement of corporate assets. Main consequences have been the loss of jobs, wealth, and corporate credibility. But several groups in the international community, from politicians to judges, civic activists and the media, have blamed the lack of good corporate governance in the companies involved. Additionally, economic crisis in 2002 and 2008 has also helped to generate a situation of public opinion in which corporate governance in terms of academic interest, professional development, and political regulation. This piece of work tries to point out how global media firms meet basic governance standards, particularly regarding risk identification, in ther annual reports. The risk transparency aspect has shown especially important in the last few years of economic downturn. In particular, rules and regulations coming from American institutions such as the Securities and Exchange Commision (SEC) and the New York Stock Exchange (NYSE) have become global governance standards for most media conglomerates." Source : http://mediamarkets.wordpress.com/media-markets-monographs - Consulté le 11/10/2011 Note de contenu : Table of contents : 1. INTRODUCTION 2. CASE STUDIES » 2.1. Time Warner » 2.2. News Corporation » 2.3. General Electric » 2.4. CBS » 2.5. Walt Disney » 2.6. Direct TV » 2.7. Gannet » 2.8. BSkyB » 2.9. Google » 2.10. Yahoo! » 2.11. Viacom » 2.12. Televisa 3. CONCLUSION Corporate governance and risk identification in global media companies [texte imprimé] / Juan P. Artero, Auteur . - Pamplona (Carretera del Sadar s/n, 31080) : Universidad de Navarra, 2009 . - 142 p. ; 21,5 cm. - (Media markets monographs; 10) . ISSN : 84-8084-058-0 : 25,-€ "Juan P. Artero es an Assistant Professor of Media Management and Structure of Media Industries at the School of Communication of University of Navarra (Pamplona, Spain). He holds a BA in Audiovisual Communication and a PhD in Public Communication from this institution; as well as an MSc in Management from Cass Business School, City University, London. He has been a visiting scholar at the Institute for Media and Entertainment and Fordham University, in New York City." Source : http://mediamarkets.wordpress.com/media-markets-monographs - Consulté le 11/10/2011 Langues : Anglais Catégories : ECONOMIE - Aspects Généraux MEDIAS Tags : médias  aspect économique  gouvernance  régulation Index. décimale : 011.37 médias visuels et audiovisuels Résumé : "Since the beginning of the new 21st century, several corporate scandals have taken place in western countries, such as those controversies involving American companies like Enron, Arthur Andersen, Worldcom, Adelphia and Tyco. Essentially, Europe has not been different, taking into account diverse failures regarding corporations like Maxwell, Parmalat, Kirch, Vivendi or Royal Dutch Shell. Reasons behind such events have ranged from accounting frauds to use of insider information in stock markets, as well as simple irresponsible mismanagement of corporate assets. Main consequences have been the loss of jobs, wealth, and corporate credibility. But several groups in the international community, from politicians to judges, civic activists and the media, have blamed the lack of good corporate governance in the companies involved. Additionally, economic crisis in 2002 and 2008 has also helped to generate a situation of public opinion in which corporate governance in terms of academic interest, professional development, and political regulation. This piece of work tries to point out how global media firms meet basic governance standards, particularly regarding risk identification, in ther annual reports. The risk transparency aspect has shown especially important in the last few years of economic downturn. In particular, rules and regulations coming from American institutions such as the Securities and Exchange Commision (SEC) and the New York Stock Exchange (NYSE) have become global governance standards for most media conglomerates." Source : http://mediamarkets.wordpress.com/media-markets-monographs - Consulté le 11/10/2011 Note de contenu : Table of contents : 1. INTRODUCTION 2. CASE STUDIES » 2.1. Time Warner » 2.2. News Corporation » 2.3. General Electric » 2.4. CBS » 2.5. Walt Disney » 2.6. Direct TV » 2.7. Gannet » 2.8. BSkyB » 2.9. Google » 2.10. Yahoo! » 2.11. Viacom » 2.12. Televisa 3. CONCLUSION

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European television production. Pluralism and concentration. / Mercedes Medina

Public ISBD Titre : European television production. Pluralism and concentration. Type de document : texte imprimé Auteurs : Mercedes Medina, Auteur Editeur : Pamplona : Universidad de Navarra Année de publication : 2004 Collection : Media markets monographs num. 5 Importance : 158 p. Format : 21,5 cm Prix : 25,-€ Langues : Anglais Catégories : EUROPE MEDIAS:AUDIOVISUEL: TELEVISION: Aspect économique Tags : Europe  télévision  pluralisme  aspect économique  concentration Index. décimale : 791.45 Télévision (Loisir) Résumé : "Pluralism and cultural diversity are basic values of public communication. The European Commision understands that the objectives of content regulations must ensure that they safeguard freedom of expression, pluralism, cultural and linguistic diversity, and consumer protection in general and especially for children. The research hypothesis of this book can be summed up as follows: in order to guarantee pluralism in the audiovisual field it is also necessary to look at the producers of television programming at prime time and the vertical integration between the producers of those programmes and the television channels or companies that broadcast them. European countries have adopted the EC regulations in favour of pluralism and diversity. In this sense, each country establishes measures to hinder market concentration and positions of dominance. Hence, the final aim will be to analyse whether ownership independence from production is enough to guarantee pluralism and to avoid dominant market power. In the European television market, it is necessary to pay attention to the crucial role that public channels play in the audiovisual market. In this research we want to verify, among other things, if the existence of public television has really contributed to the development of independent production and to pluralism in Europe." Source : http://mediamarkets.wordpress.com/media-markets-monographs - Consulté le 11/10/2011 Note de contenu : Table of contents : I - INTRODUCTION 1.1. Hypothesis 1.2. Literature review 1.3. Methodology II - REGULATION FRAMEWORK 2.1. Definition of independent producer 2.2. Independent production quotas 2.3. Audiovisual Authorities 2.4. Conclusions 3 - EUROPEAN PRODUCTION MARKET 3.1. Audience share of leading channels 3.2. Independent production in the European channels 3.3. Ownership of European producers and television channels 3.4. Independent producers and vertical integration 4. Prime time programming and production 4.1. PRODUCERS OF PUBLIC AND PRIVATE CHANNELS 4.2. General trends in public and private programme supply 4.3. Production of fiction 4.4. Some conclusions 5. SUMMARY FINDINGS 5.1. Conclusions 5.2. Discussion 5.3. Proposals European television production. Pluralism and concentration. [texte imprimé] / Mercedes Medina, Auteur . - Pamplona (Carretera del Sadar s/n, 31080) : Universidad de Navarra, 2004 . - 158 p. ; 21,5 cm. - (Media markets monographs; 5) . 25,-€ Langues : Anglais Catégories : EUROPE MEDIAS:AUDIOVISUEL: TELEVISION: Aspect économique Tags : Europe  télévision  pluralisme  aspect économique  concentration Index. décimale : 791.45 Télévision (Loisir) Résumé : "Pluralism and cultural diversity are basic values of public communication. The European Commision understands that the objectives of content regulations must ensure that they safeguard freedom of expression, pluralism, cultural and linguistic diversity, and consumer protection in general and especially for children. The research hypothesis of this book can be summed up as follows: in order to guarantee pluralism in the audiovisual field it is also necessary to look at the producers of television programming at prime time and the vertical integration between the producers of those programmes and the television channels or companies that broadcast them. European countries have adopted the EC regulations in favour of pluralism and diversity. In this sense, each country establishes measures to hinder market concentration and positions of dominance. Hence, the final aim will be to analyse whether ownership independence from production is enough to guarantee pluralism and to avoid dominant market power. In the European television market, it is necessary to pay attention to the crucial role that public channels play in the audiovisual market. In this research we want to verify, among other things, if the existence of public television has really contributed to the development of independent production and to pluralism in Europe." Source : http://mediamarkets.wordpress.com/media-markets-monographs - Consulté le 11/10/2011 Note de contenu : Table of contents : I - INTRODUCTION 1.1. Hypothesis 1.2. Literature review 1.3. Methodology II - REGULATION FRAMEWORK 2.1. Definition of independent producer 2.2. Independent production quotas 2.3. Audiovisual Authorities 2.4. Conclusions 3 - EUROPEAN PRODUCTION MARKET 3.1. Audience share of leading channels 3.2. Independent production in the European channels 3.3. Ownership of European producers and television channels 3.4. Independent producers and vertical integration 4. Prime time programming and production 4.1. PRODUCERS OF PUBLIC AND PRIVATE CHANNELS 4.2. General trends in public and private programme supply 4.3. Production of fiction 4.4. Some conclusions 5. SUMMARY FINDINGS 5.1. Conclusions 5.2. Discussion 5.3. Proposals

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Media concentration in the European market. New trends and challenges / Alfonso Sanchez-Tabernero

Public ISBD Titre : Media concentration in the European market. New trends and challenges Type de document : texte imprimé Auteurs : Alfonso Sanchez-Tabernero, Auteur ; Miguel Carvajal, Auteur Editeur : Pamplona : Universidad de Navarra Année de publication : 2002 Collection : Media markets monographs num. 3 Importance : 162 p. Format : 21,5 cm ISBN/ISSN/EAN : 1695-310X Prix : 25,-€ Langues : Anglais Catégories : ECONOMIE - Aspects Généraux EUROPE MEDIAS Tags : médias  aspect économique  concurrence  Europe Index. décimale : 330 Economie Résumé : "The last years of the twentieth century have been witness to three moments of far-reaching consequences and great symbolic significance: in the political arena, the fall of the Berlin Wall spelt the end of the division of the world into two antagonistic blocs; in technology, the development of the Internet meant that information could be transmitted and interpersonal communication could be conducted instantaneously and cheaply between people of different countries and continents; and, from the economic viewpoint, the birth of the World Trade Organization heralded the arrival of a globalised world, with increasingly fewer economic barriers. The communication industry has been no stranger to that phenomenon, characterised by the creation of greater links between people who are not geographically close and by the competition of corporations in a global marketplace. The globalisation phenomenon has re-opened the debate on the concentration of media companies. Today new challenges and voices of alarm have been raised, fuelled by irrefutable figures as well as groundless fears. This research looks into the main trends in media concentration. The most relevant statistics on the media industry in Europe are shown. First, a comparison is made between current statistics and those of 1990; then the main growth strategies of media companies in the last decade are described. Finally, the book presents some recommendations both for policy makers and media managers." Source : http://mediamarkets.wordpress.com/media-markets-monographs - Consulté le 11/10/2011 Note de contenu : I. CONCEPTS - Main hypotheses in recent research - Industrial concentration and market concentration - The "control" of companies - Notion of "relevant market" - Typology of communications groups II. TRENDS IN THE EUROPEAN MARKET - The print media - Television companies - Radio groups - Internet, entertainment and advertising III. STRATEGIES - The risks of growth - Advantages of growth strategies - Vertical and horizontal integration - Multimedia and international diversification - The versatile organisation IV. LEGAL FRAMEWORK - Historical perspective - The legal framework of the European Union - Regulation in the Member States - Other measures for the promotion of pluralism V. CONCLUSIONS AND RECOMMENDATIONS BIBLIOGRAPHY ANNEX I - List of tables ANNEX II - National consultants Media concentration in the European market. New trends and challenges [texte imprimé] / Alfonso Sanchez-Tabernero, Auteur ; Miguel Carvajal, Auteur . - Pamplona (Carretera del Sadar s/n, 31080) : Universidad de Navarra, 2002 . - 162 p. ; 21,5 cm. - (Media markets monographs; 3) . ISSN : 1695-310X : 25,-€ Langues : Anglais Catégories : ECONOMIE - Aspects Généraux EUROPE MEDIAS Tags : médias  aspect économique  concurrence  Europe Index. décimale : 330 Economie Résumé : "The last years of the twentieth century have been witness to three moments of far-reaching consequences and great symbolic significance: in the political arena, the fall of the Berlin Wall spelt the end of the division of the world into two antagonistic blocs; in technology, the development of the Internet meant that information could be transmitted and interpersonal communication could be conducted instantaneously and cheaply between people of different countries and continents; and, from the economic viewpoint, the birth of the World Trade Organization heralded the arrival of a globalised world, with increasingly fewer economic barriers. The communication industry has been no stranger to that phenomenon, characterised by the creation of greater links between people who are not geographically close and by the competition of corporations in a global marketplace. The globalisation phenomenon has re-opened the debate on the concentration of media companies. Today new challenges and voices of alarm have been raised, fuelled by irrefutable figures as well as groundless fears. This research looks into the main trends in media concentration. The most relevant statistics on the media industry in Europe are shown. First, a comparison is made between current statistics and those of 1990; then the main growth strategies of media companies in the last decade are described. Finally, the book presents some recommendations both for policy makers and media managers." Source : http://mediamarkets.wordpress.com/media-markets-monographs - Consulté le 11/10/2011 Note de contenu : I. CONCEPTS - Main hypotheses in recent research - Industrial concentration and market concentration - The "control" of companies - Notion of "relevant market" - Typology of communications groups II. TRENDS IN THE EUROPEAN MARKET - The print media - Television companies - Radio groups - Internet, entertainment and advertising III. STRATEGIES - The risks of growth - Advantages of growth strategies - Vertical and horizontal integration - Multimedia and international diversification - The versatile organisation IV. LEGAL FRAMEWORK - Historical perspective - The legal framework of the European Union - Regulation in the Member States - Other measures for the promotion of pluralism V. CONCLUSIONS AND RECOMMENDATIONS BIBLIOGRAPHY ANNEX I - List of tables ANNEX II - National consultants

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Programming and direct viewer payment for television. The case of Canal Plus Spain. / Monica Herrero

Public ISBD Titre : Programming and direct viewer payment for television. The case of Canal Plus Spain. Type de document : texte imprimé Auteurs : Monica Herrero, Auteur Editeur : Pamplona : Universidad de Navarra Année de publication : 2003 Collection : Media markets monographs num. 4 Importance : 117 p. Format : 21,5 cm ISBN/ISSN/EAN : 1695-310X Prix : 25,-€ Langues : Anglais Catégories : EUROPE MEDIAS:AUDIOVISUEL: TELEVISION: Aspect économique Tags : médias  aspect économique  Europe  droit européen  Canal+  télévision  sport  publicité  financement Index. décimale : 791.45 Télévision (Loisir) Résumé : "The implementation of new technologies, the inminent establishment of the digital era and the proliferation of different systems of distribution have greatly altered the economics of commercial television. The introduction of direct viewer payment has also changed the concept of television as a public good. This work analyses the implications of direct viewer payment in the programming and the relationship with the audience. The study of the implications of direct viewer payment on the programming offer reveals the nature of the products by which people are eager to pay for: popular programming such as films and sport events. Thus, the television schedule of a pay television channel consists of exclusive programming, general programmes as commercial television ones and minority programmes. The relationship with the audience demands the distinction between potential subscribers and subscribers. The introduction of direct payment modifies both relationships. With the potential subscribers, the pay television channel starts new forms of promotion in the television market, such as sales promotion. Regarding subscribers, the contractual relationship opens a new environment of commercial relations addressed to the satisfaction with the product." Source : http://mediamarkets.wordpress.com/media-markets-monographs - Consulté le 11/10/2011 Note de contenu : Table of contents I - INTRODUCTION AND CONCEPTS 1.1. The broadcasting commodity 1.1.1. The immaterial character of the broadcasting commodity 1.1.2. The broadcasting commodity as a public good 1.1.3. The broadcasting commodity and its dimensions of content, form and logic 1.2. The relationship with the audience 1.2.1. Interpersonal relationship and commercial relationship 1.2.2. Direct payment, contract and subscription 2. ESSENTIALS OF DIRECT PAYMENT FOR TELEVISION 2.1. Pay television versus paying for television 2.1.1. The funding of public service broadcasting 2.1.2. The funding of commercial television 2.1.3. Duplication of contents 2.2. The pay-television channel: economic features 2.2.1. Are television products still public goods? 2.2.2. Subscription, adhesion and freedom 3. THE PROGRAMMING OF A PAY-TELEVISION CHANNEL 3.1. Making exclusive programming from popular programmes 3.1.1. Programmes and subscriptions: consumer surplus and monopoly 3.1.2. Films as a cornerstone: vertical integration 3.1.3. Football rights 3.2. Other programmes and the Peculiarities of Scheduling 3.2.1. Minorities and own programming 3.2.2. The special case of non-encrypted programming 3.2.3. Repetition and multiplexing techniques 4. THE RELATIONSHIP WITH THE AUDIENCE 4.1. The commercial relationship: promotion or looking for subscribers 4.1.1. The investment in advertising 4.1.2. Sales promotion activities 4.2. The relationship with the subscriber 4.2.1. Creating the necessary infrastructure to establish a relationship 4.2.2. Avoiding churning and recuperation activities Some conclusions. The pay television channel as a transition model to the multichannel offer. Bibliography Programming and direct viewer payment for television. The case of Canal Plus Spain. [texte imprimé] / Monica Herrero, Auteur . - Pamplona (Carretera del Sadar s/n, 31080) : Universidad de Navarra, 2003 . - 117 p. ; 21,5 cm. - (Media markets monographs; 4) . ISSN : 1695-310X : 25,-€ Langues : Anglais Catégories : EUROPE MEDIAS:AUDIOVISUEL: TELEVISION: Aspect économique Tags : médias  aspect économique  Europe  droit européen  Canal+  télévision  sport  publicité  financement Index. décimale : 791.45 Télévision (Loisir) Résumé : "The implementation of new technologies, the inminent establishment of the digital era and the proliferation of different systems of distribution have greatly altered the economics of commercial television. The introduction of direct viewer payment has also changed the concept of television as a public good. This work analyses the implications of direct viewer payment in the programming and the relationship with the audience. The study of the implications of direct viewer payment on the programming offer reveals the nature of the products by which people are eager to pay for: popular programming such as films and sport events. Thus, the television schedule of a pay television channel consists of exclusive programming, general programmes as commercial television ones and minority programmes. The relationship with the audience demands the distinction between potential subscribers and subscribers. The introduction of direct payment modifies both relationships. With the potential subscribers, the pay television channel starts new forms of promotion in the television market, such as sales promotion. Regarding subscribers, the contractual relationship opens a new environment of commercial relations addressed to the satisfaction with the product." Source : http://mediamarkets.wordpress.com/media-markets-monographs - Consulté le 11/10/2011 Note de contenu : Table of contents I - INTRODUCTION AND CONCEPTS 1.1. The broadcasting commodity 1.1.1. The immaterial character of the broadcasting commodity 1.1.2. The broadcasting commodity as a public good 1.1.3. The broadcasting commodity and its dimensions of content, form and logic 1.2. The relationship with the audience 1.2.1. Interpersonal relationship and commercial relationship 1.2.2. Direct payment, contract and subscription 2. ESSENTIALS OF DIRECT PAYMENT FOR TELEVISION 2.1. Pay television versus paying for television 2.1.1. The funding of public service broadcasting 2.1.2. The funding of commercial television 2.1.3. Duplication of contents 2.2. The pay-television channel: economic features 2.2.1. Are television products still public goods? 2.2.2. Subscription, adhesion and freedom 3. THE PROGRAMMING OF A PAY-TELEVISION CHANNEL 3.1. Making exclusive programming from popular programmes 3.1.1. Programmes and subscriptions: consumer surplus and monopoly 3.1.2. Films as a cornerstone: vertical integration 3.1.3. Football rights 3.2. Other programmes and the Peculiarities of Scheduling 3.2.1. Minorities and own programming 3.2.2. The special case of non-encrypted programming 3.2.3. Repetition and multiplexing techniques 4. THE RELATIONSHIP WITH THE AUDIENCE 4.1. The commercial relationship: promotion or looking for subscribers 4.1.1. The investment in advertising 4.1.2. Sales promotion activities 4.2. The relationship with the subscriber 4.2.1. Creating the necessary infrastructure to establish a relationship 4.2.2. Avoiding churning and recuperation activities Some conclusions. The pay television channel as a transition model to the multichannel offer. Bibliography

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The Europe-Hollywood coopetition : cooperation and competition in the global film industry / Alejandro Pardo

Public ISBD Titre : The Europe-Hollywood coopetition : cooperation and competition in the global film industry Type de document : texte imprimé Auteurs : Alejandro Pardo, Auteur Editeur : Pamplona : Universidad de Navarra Année de publication : 2007 Collection : Media markets monographs num. 8 Importance : 136 p. Format : 21,5 cm ISBN/ISSN/EAN : 978-84-8081-050-0 Prix : 25,-€ Note générale : "Alejandro Pardo is Chair of the Department of Film, TV & Digital Media and Professor of Production for Film & TV and Audiovisual Projects Management at the School of Communication (University of Navarra, Spain)." Source : http://mediamarkets.wordpress.com/media-markets-monographs - Consulté le 11/10/2011 Langues : Anglais Catégories : EUROPE MEDIAS:AUDIOVISUEL: TELEVISION: Aspect économique Tags : Europe  cinéma  aspect économique  Etats-Unis  concurrence  coopération Index. décimale : 791.45 Télévision (Loisir) Résumé : "The relationship between Europe and Hollywood has been one of ‘love’ and ‘hate’. Nowadays, thanks to the effects of globalization on the film production process it has become a ‘marriage of convenience’. In fact, this peculiar romance is sustained by paradoxical strategies of cooperation and competition —especially in the case of Europe. This book identifies these two series of cooperative and competitive strategies developed by Hollywood and the European film industries during the last decade, and attempts to figure out whether it could be considered a case of ‘coopetition’, as it is understood by the business management theory. Distribution partnerships, financial co-productions, runaway productions, European ‘blockbusters’, European public and private financial initiatives and the promotion of national or local cinema are just some of the tactics explored in these pages. Far from being balanced, these relationships between Europe and Hollywood are asymmetrically evolving on a global scenario, adopting new forms under the cooperation-competition dynamic. The quid of the question, of course, is to determine up to what point this ‘marriage of convenience’ is really based on mutual reciprocity or if it could be described more like a kind of ‘sleeping with the enemy’ situation." Source : http://mediamarkets.wordpress.com/media-markets-monographs - Consulté le 11/10/2011 Note de contenu : Table of contents : 1.HISTORICAL BACKGROUND 2.FACE TO FACE : COMPARATIVE ANALYSIS BY SECTOR 2.1. Production 2.2. Distribution 2.3. Exhibition 3. FACTORS TO EXPLAIN HOLLYWOOD'S SUPREMACY 3.1. Hollywood’s Competitive Advantages 3.2. Europe’s Weaknesses 4. COOPETITION : THEORETICAL FRAMEWORK 4.1. Film Studies Approach 4.2. Geographical-Organizational Approach 4.3. Business Management Approach 4.4. Hollywood and Europe as Global Rivals 4.5. Hypotheses and Methodology 5. STRATEGIES OF COOPERATION 5.1. Distribution Partnerships 5.2. Financial Co-Productions 5.3. Exchange of Talent and Creativity (Remakes) 5.4. Runaway Productions and Foreign Service Production 6. STRATEGIES OF COMPETITION 6.1. European ‘Blockbusters’ 6.2. European English-Language Films 6.3. Emulating Hollywood: Sequels, Franchising, Comic Adaptations and Company Branding 6.4. Pan-European Public and Private Financial Initiatives 6.5. Pan-European Distribution Attempts 6.6. Promoting National / Local Cinema CONCLUSIONS AND DISCUSSION The Europe-Hollywood coopetition : cooperation and competition in the global film industry [texte imprimé] / Alejandro Pardo, Auteur . - Pamplona (Carretera del Sadar s/n, 31080) : Universidad de Navarra, 2007 . - 136 p. ; 21,5 cm. - (Media markets monographs; 8) . ISBN : 978-84-8081-050-0 : 25,-€ "Alejandro Pardo is Chair of the Department of Film, TV & Digital Media and Professor of Production for Film & TV and Audiovisual Projects Management at the School of Communication (University of Navarra, Spain)." Source : http://mediamarkets.wordpress.com/media-markets-monographs - Consulté le 11/10/2011 Langues : Anglais Catégories : EUROPE MEDIAS:AUDIOVISUEL: TELEVISION: Aspect économique Tags : Europe  cinéma  aspect économique  Etats-Unis  concurrence  coopération Index. décimale : 791.45 Télévision (Loisir) Résumé : "The relationship between Europe and Hollywood has been one of ‘love’ and ‘hate’. Nowadays, thanks to the effects of globalization on the film production process it has become a ‘marriage of convenience’. In fact, this peculiar romance is sustained by paradoxical strategies of cooperation and competition —especially in the case of Europe. This book identifies these two series of cooperative and competitive strategies developed by Hollywood and the European film industries during the last decade, and attempts to figure out whether it could be considered a case of ‘coopetition’, as it is understood by the business management theory. Distribution partnerships, financial co-productions, runaway productions, European ‘blockbusters’, European public and private financial initiatives and the promotion of national or local cinema are just some of the tactics explored in these pages. Far from being balanced, these relationships between Europe and Hollywood are asymmetrically evolving on a global scenario, adopting new forms under the cooperation-competition dynamic. The quid of the question, of course, is to determine up to what point this ‘marriage of convenience’ is really based on mutual reciprocity or if it could be described more like a kind of ‘sleeping with the enemy’ situation." Source : http://mediamarkets.wordpress.com/media-markets-monographs - Consulté le 11/10/2011 Note de contenu : Table of contents : 1.HISTORICAL BACKGROUND 2.FACE TO FACE : COMPARATIVE ANALYSIS BY SECTOR 2.1. Production 2.2. Distribution 2.3. Exhibition 3. FACTORS TO EXPLAIN HOLLYWOOD'S SUPREMACY 3.1. Hollywood’s Competitive Advantages 3.2. Europe’s Weaknesses 4. COOPETITION : THEORETICAL FRAMEWORK 4.1. Film Studies Approach 4.2. Geographical-Organizational Approach 4.3. Business Management Approach 4.4. Hollywood and Europe as Global Rivals 4.5. Hypotheses and Methodology 5. STRATEGIES OF COOPERATION 5.1. Distribution Partnerships 5.2. Financial Co-Productions 5.3. Exchange of Talent and Creativity (Remakes) 5.4. Runaway Productions and Foreign Service Production 6. STRATEGIES OF COMPETITION 6.1. European ‘Blockbusters’ 6.2. European English-Language Films 6.3. Emulating Hollywood: Sequels, Franchising, Comic Adaptations and Company Branding 6.4. Pan-European Public and Private Financial Initiatives 6.5. Pan-European Distribution Attempts 6.6. Promoting National / Local Cinema CONCLUSIONS AND DISCUSSION

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