Tamu comm 345 final Exam with Questions And Answers 100% Verified

Tamu comm 345 final Exam with Questions And Answers 100% Verified The 360-degree deal - answerAn exclusive recording contract between the record label and artist where in addition to money from sales of the music, the label get portions of the money from touring and live performance, merchandise, endorsements, appearances in movies and TV, and if the artist writes songs, they also get money from publishing. They basically have financial interest in everything that the artist does in the entertainment business. Labels argue that when they invest in an artists career like paying in advance to producers, getting the music on the radio, securing invitations for the artists to perform on tv, etc, they have the right to demand significant sums from the live performances. All of the success they have wouldn't be possible without the labels efforts. Live Nation/Clear Channel Radio have 360 deals with the artists With the dis-integration of the studio system, the Hollywood studios retreated toward finance and distribution, no longer keeping production functions in-house, or necessarily in Hollywood. Why, nevertheless, does preproduction dealmaking remain largely Hollywood-based? Lab Quiz 3 - answerWith the dis-integration of the studio system, different functions travelled away from Hollywood to different extents, depending on different balances between efficiency and flexibility. Routinizable functions (like production itself) could travel without prohibitive spikes in transaction costs; with some nonroutinizable functions, higher transaction costs could be justified by gains in flexibility (you want the most advanced company to do your visual effects, and they might be in the Bay Area rather than LA); here, however, nonroutinizable, transaction-intensive functions like dealmaking tend to stay in LA, where face- to-face communication keeps transaction costs low (in an industry where talent ambiguously "circles" projects, you want to close the deal over lunch rather than over the phone). Early media industries tried to adapt Fordist strategies from manufacturing and packaged-goods industries, sometimes facing difficulties that followed from the specificity of making and marketing cultural products. Identify and briefly explain one such difficulty, and one way that early media industries tried to overcome it. Lab Quiz 3 - answerThere might be multiple ways around this one (though remember that we're looking at early media industries here). You can add a little more explanation, but for one direct example, short product life-cycles posed difficulties for branding, and thus demand uncertainties; studios responded with techniques like serialization, sequelization, and selling familiar stars. (Or, idiosyncrasies of creative production might frustrate product standardization and production rationalization, but the studios worked to limit the director's authority in different ways; national mass markets are achieved rather than natural, and the early radio and television industries self-consciously re-oriented themselves toward national markets, as in moving away from specific places and tastes.) Identify and briefly explain how unionization influences TWO problems in media-industry working conditions, economic rights, and/or creative rights, contrasting specific examples from unionized and nonunionized work. Lab Quiz 3 - answerThere might be multiple ways around this one, too, but for some direct examples (which you can explain just a little further): (1) working hours for SAG actors versus nonunionized IT workers; (2) heath insurance for any Hollywood workers versus workers in music or comics; (3) credit for DGA directors versus game designers. In actual or hypothetical examples and with brief explanations, first, imagine a media product that crosses over from a core psychographic niche, and second, imagine a media product that combines upmarket and downmarket niches. Lab Quiz 2 - answerAnswers might vary widely, but you might argue (with a little more explanation) that Walking Dead crosses over from a horror niche to a wider and more mainstream popularity, while a luxury-goods show might attract people rich enough to want to buy the goods as well as people poor enough to only want to buy them (assuming some kind of hole in the middle, perhaps). "Wringing out the old," "Ringing in the new," and "Keeping it real" represent different strategies for cable channel programming. Briefly identify and explain two of them, and evaluate their respective strengths and weaknesses. Lab Quiz 2 - answerWringing out the old (buying pre-existing properties, whether off- network syndication, theatrical movies, or so on) and Keeping it real (airing reality shows) are both very cost-effective, and can be effective for fitting programming to a brand (you get to pick the sit-com or reality show that fits your channel's brand identity, often at a bargain—e.g., Lifetime's Golden Girls). Wringing also builds in an established audience—we know this show is not an abject failure. But while both can draw viewers to a channel (Food Network's Iron Chef, back in the day?), they don't draw and brand and "tentpole" as strongly as scripted originals. Except in rare cases like MTV's My So Called Life or Kids in the Hall, we don't get excited to watch repeats, and it's a rare reality show, like Jersey Shore, that even approaches the tentpole status of Comedy Central's South Park or AMC's scripted originals. On the flipside, scripted originals are significantly more expensive, and much riskier (AMC's Rubicon!). Evaluate the economic strengths and weaknesses of one television program genre of your choice, other than reality television, soap opera, or "professional drama": In what ways, for example, does it engage what audiences, allowing for what kind of revenue streams to offset what kind of productions costs? (You should establish a working delineation of coherent boundaries for your genre, but you don't have to be scientifica