Download Streaming, Sharing, Stealing: Big Data and the Future of by Michael D. Smith PDF

By Michael D. Smith

ISBN-10: 0262034794

ISBN-13: 9780262034791

Conventional community tv programming has continually an analogous script: executives approve a pilot, order an ordeal variety of episodes, and broadcast them, waiting for audience to monitor a given exhibit on their tv units even as a week. yet then got here Netflix's House of Cards. Netflix gauged the show's capability from facts it had collected approximately subscribers' personal tastes, ordered seasons with no seeing a pilot, and uploaded the 1st 13 episodes abruptly for audience to observe every time they sought after at the units in their selection.

In this publication, Michael Smith and Rahul Telang, specialists on leisure analytics, express how the luck of House of Cards upended the movie and television industries -- and the way businesses like Amazon and Apple are altering the foundations in different leisure industries, particularly publishing and tune. we are dwelling via a interval of unparalleled technological disruption within the leisure industries. almost about every thing is affected: pricing, construction, distribution, piracy. Smith and Telang talk about area of interest items and the lengthy tail, product differentiation, rate discrimination, and incentives for clients to not scouse borrow content material. to outlive and prevail, companies need to adapt quickly and creatively. Smith and Telang clarify how.

How can businesses realize who their buyers are, what they need, and what kind of they're keen to pay for it? facts. The leisure industries, needs to learn how to play a bit "moneyball." the base line: stick to the information.

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Sample text

That was a big miscalculation, of course. Rock ’n’ roll took off. Small and nimble independent recording companies with little to lose stepped in. By 1962, forty-two different labels had records on the charts. The big companies finally woke up to their mistake and began playing catch-up by making big deals with rock ’n’ roll performers (RCA signed Elvis Presley and Decca signed Buddy Holly), but their moment of blindness proved costly: in the second half of the 1950s, 101 of the 147 records that made it into the Top Ten came from independent companies.

Rivkin and Gerrit Meier, BMG Entertainment, Case 701-003, Harvard Business School, 2000; Pekka Gronow and Ilpo Saunio, An International History of the Recording Industry (Cassell, 1998); and Geoffrey P.

We think his confidence is misplaced, and in part II of the book we will explain why. But before we do so, we will take up something that should be understood first: the economic characteristics of creative content itself, and how these characteristics drive pricing and marketing strategies that are fundamental to the entertainment industries’ business models. Notes 1. The historical discussion that follows derives primarily, and sometimes closely, from three sources: Jan W. Rivkin and Gerrit Meier, BMG Entertainment, Case 701-003, Harvard Business School, 2000; Pekka Gronow and Ilpo Saunio, An International History of the Recording Industry (Cassell, 1998); and Geoffrey P.

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