KLS 3630 Film, Television and Digital Media
More than perhaps in any other industry, the film, TV and digital media industries are dependent on a balance and interplay between the creative and artistic aspects on the one hand and the economic and administrative aspects on the other. These industries are primarily project-based, and each project may demand significant resources, which again places a high demand on economic and administrative competences. Yet, such competences are of little value unless they also preserve the artistic and creative processes that are the basis for the industries' value creation.
The course takes a primarily strategic and economic perspective on the industry and contains three main sections: First, the industry value configuration system and its institutional environment are analyzed to provide a sectored overview over the players and their interactions. Attention is then turned to the markets, including the audience market, the markets between producers, distributors and retailers/outlets, as well as the industry labor markets. Finally, cash flow and financial project analysis is applied to create break-even estimates for specific films and to better understand the impact of and dependence on public subsidy and the risk-exposure of distributors, producers and investors.
While focus is primarily on the Norwegian industry, it is emphasized how what is seen in Norway is a case of how the industry works internationally, only in thsi case shaped by the particular institutional environment and market conditions under which the Norwegian industry operates.
The student will gain knowledge of the film, TV and digital media industries' value systems and organization, their economies and driving forces, as well as their institutional environment.
The student will develop skills to (a) carry out basic analyses of film, TV and digital media projects, (b) identify and analyze industry challenges, and (c) communicate his/her analyses and recommendations from a industry perspective through professional writing.
The course will promote respect, understanding and tolerance for both the artistic and commercial values governing the film, TV and digital media industries and for the dilemmas and tensions that may arise between these sets of values.
- Political perspective: The Norwegian and International Industries
- Business Structure and Organization
- Key Economic Characteristics
- Transactions and Rights Management
- Product and Cash Flows
- Project Financing
- Financial Project Analysis
- Relationships to other Creative Industries
The course includes lectures, as well as case work, presentations and discussions in class.
Re sit examination
Students that have not met the coursework requirements, must complete the exercises during the next scheduled course.
Students that have not passed the written examination or who wish to improve their grade may re take the examination in conjunction with this course's scheduled exam.
Higher Education Entrance Qualification.
No particular prerequisites.
|Mandatory coursework||Courseworks given||Courseworks required||Comment coursework|
|Mandatory||4||3||The course has 4 assignments which are due before they are discussed in class, and 3 of 4 must be approved for a student to participate in the examination.|
|Comment coursework:||The course has 4 assignments which are due before they are discussed in class, and 3 of 4 must be approved for a student to participate in the examination.|
|Exam category||Weight||Invigilation||Duration||Grouping||Comment exam|
Form of assessment:
Internal and external examiner
Examination every semester
|100||No||2 Week(s)||Group/Individual (1 - 4)|
|Form of assessment:||Written submission|
|Grouping (size):||Group/Individual (1-4)|
|Resit:||Examination every semester|
|Workload activity||Duration||Type of duration||Comment student effort|
|Review of assignments in plenary||3||Hour(s)||Feedback and discussions.|
|Prepare for teaching||16||Hour(s)|
|Workload activity:||Review of assignments in plenary|
|Comment:||Feedback and discussions.|
|Workload activity:||Prepare for teaching|
|Workload activity:||Self study|
A course of 1 ECTS credit corresponds to a workload of 26-30 hours. Therefore a course of 7,5 ECTS credit corresponds to a workload of at least 200 hours.
|Squire, Jason||2017||The Movie Business Book||4th ed.||Kapitler: 1, 2, 3, 5, 12, 17, 19, 22, 25, 26, 27, 29 og 33.|
|Helgesen, Thorleif; Gaustad, Terje||Medierettigheter||Medierettigheter||Kapittel 8. s. 129-160|
|Benjamin, Linda||Release Windows and Revenues Streams||Release Windows and Revenues Streams||Kapittel 25. s. 329-352|
|Haimoff, Ilan||Studio Accounting||Studio Accounting||Kapittel 26. s. 353-368|
|Owen, Bruce M.; Wildman, Steven S.||Windowing||Windowing||I Kapittel 2 : The Supply of Programming. s. 26-38|
|Berinato, Scott||2014-10-22||Cable Providers Win Even in an a La Carte World.|
|Chalaby, Jean K.||2016-02||Television and Globalization: The TV Content Global Value Chain|
|Chisholm, Darlene C.; Fernández-Blanco, Víctor; Abraham Ravid, S.; David Walls, W.||2015-2||Economics of motion pictures: the state of the art|
|Craig, C. Samuel; Greene, William H.; Versaci, Anthony||2015-03||E-Word of Mouth: Early Predictor Of Audience Engagement|
|Gaustad, Terje||2009-01-1||Sweetening the Deal|
|Gaustad, Terje||2009||Internett-basert piratkopiering av musikk og film|
|Terje Gaustad||2017/08/04||Det smale mangfoldet: kinomarkedet etter digitaliseringen|
|Terje Gaustad||2013/06/12||Opphavsrett som filmpolitisk virkemiddel|
|Grugulis, Irena; Stoyanova, Dimitrinka||2012-10||Social Capital and Networks in Film and TV: Jobs for the Boys?|
|Gunnar Iversen||2013/06/12||Fra kontroll til næringsutvikling – en introduksjon til norsk filmpolitikk 1913–2013|
|Musso, Juliet; Billier, Robert; Myrtle, Robert||2000||Tradecraft: Professional Writing as Problem Solving|
|Samit, Jay||2015||OTT Video Is Creating Cord-Extenders, Not Cord-Cutters.|
|Gaustad, T., M.G. Theie, I. Eidsvold-Tøien, Ø. Torp, A. Espelien og A-B. Gran||Utredning av pengestrømmene i verdikjeden for norske filmer og serier||Menon-Publikasjon nr. 5/2018||kap. 2 – 6.|
|Sundet, Vilde Schanke||«Det er bare du som kan føle det du føler» – emosjonell investering og engasjement i nettdramaet SKAM | 16:9 filmtidsskrift||«Det er bare du som kan føle det du føler» – emosjonell investering og engasjement i nettdramaet SKAM | 16:9 filmtidsskrift||Resource||16:9 filmtidsskrift|
|Finney, Angus; Triana, Eugenio||cop. 2015||The international film business: a market guide beyond Hollywood||2nd ed||Routledge|
|Caves, Richard E.||2000||Creative industries: contracts between art and commerce||Harvard University Press|
|Eberts, Jake; Ilott, Terry||1990||My indecision is final: the spectacular rise and fall of Goldcrest Films, the independent studio that challenged Hollywood||Atlantic Monthly Press|
|Elberse, Anita||2013||Blockbusters: hit-making, risk-taking, and the big business of entertainment||Henry Holt|
|Marich, Robert||2013||Marketing to moviegoers: a handbook of strategies and tactics||3rd ed||Southern Illinois University Press||Kap. 1 - 8|
|Puttnam, David; Watson, Neil||1997||The undeclared war: the struggle for control of the world's film industry||HarperCollinsPublisher||Utsolgt fra forlaget.|
No importance set
|Caves, Richard E.||The Nurture of Ten-Ton Turkeys||The Nurture of Ten-Ton Turkeys||Kapittel 8. s. 136-145|