The course illustrates the structure, the operation and the functioning of the companies active in the production, distribution, theatrical, television and web, of films and audiovisuals. This knowledge is not useful to those students who propose to engage in these economic activities, but also to others. Even those who want to express themselves more in terms of creativity and authorship need to better interface with those who then have to manage a film product towards the market. The course will deal with these themes, also projecting into the new digital and Internet scenarios that concern not only the production chain but also the marketing and the possible analysis with big data.
teacher profile teaching materials
A. The Storytelleng
B. The Moving Image
C. The Film
D. Film as a commodity
E. Film as Matrix
F. The Cinema
G. The Beginnings of Cinema
H. The Audiovisual
I .. The Market
L .. Consumption
CHAPTER 2 - PRODUCTION
A. Introduction
B. Indie and Majors
C. The film industry: the development of the production process
D. Above and below the line
2.1 DEVELOPMENT: FROM NARRATION TO THE PLAN OF COSTS
A. Introduction
B. The Story concept
C. The Subject
D. The lineup
E. The Treatment
F. Lo Scalettone
G. The Screenplay
H. The Undressing of the Screenplay
I. The processing plan
J. Versioning
K. Agenda
L. The Moodboard
M. The Other Activities
N. The cost plan
O. The Time Variable
2.2 PRE-PRODUCTION
A. The Film Factory
B. The Executive Producer
C. The Three Economic Heresies of Cinema
D. The Structural Difficulties Of Accessing Credit For Cinema
E. State intervention
F. The Finance of Independent Cinema
G. The Finance of the Majors
H. The Financial Structure of Independent Production
I. The Classification of Production Second Level Of Costs
J. Sources of Financing
K. The Reasons for Softmoney
L. Bridge Financing
M. The Crownfunding
N. Presentation Dossier / Business Plan (BP)
O. The Cinematic Pitch
P. The Format
Q. Financial Plan Outline
2.3 THE SHOOTING
A. The Organization
B. The executive producer
C. The troupe
D. The director of photography
E. The edition secretary
F. The sound engineer
2. 5 POST PRODUCTION
A. Macro sectors
B. The Activities
CHAPTER 3. CINEMATOGRAPHIC DISTRIBUTION
A. The Distribution Costs
B. Marketing of Film Rights
C. The Activities
D. The Different Types of Release Patterns
E. The Agreements between Producer and Distributor
F. The Role of Film Festivals in Film Distribution
G. The Articulations of the Cinematographic Distribution Chain
H. L Internet Distribution of Cinema and Audiovisual
I. The Warehouse and Internet Distribution Costs
L. Competition and Long Tail
M. Coda Lunga and Consumer Behavior
N. The Content Delivery Network (CDN)
CHAPTER 4. THE CINEMATOGRAPHIC EXERCISE
4.1. THE FILM ROOM
A. Introduction
B. Rental Agreements
C. Revenues and Operating Costs
D. The Management of the Rooms
E. The Flexibility of the Ticket Price
F. The Discretion of the Ticket Price
G. The social value of the room
4.2. THE PROGRAMMING WINDOWS
A. The Programming Windows
B. The Hall
C. The Home Video
D. Pay per View
E. Pay TV
F. Free Television
4.3. THE BOX OFFICE
A. Once upon a time
B. The Bed Rock
CHAPTER 5. BUSINESS RISK AND SUCCESS FACTORS
5.1. BUSINESS RISK
5.2. THE CURSE OF THE FIRST COPY
5.3. ECONOMIC APPROCH, COMMUNICATION THEORY APPROCH
5.4. THE USE OF THE PREVIOUS
5.5. CONGLOMERATE AND MAJOR
5.6. THE ROLE OF SERIALS
A. Introduction
B. Beyond One Reel Episode and Multi Reel Films
C. The Golden Age of Serials
D. Serial from Small to Big Screen
E. The Show must Go: Sagas and Sequels
CHAPTER 6. MARKETING
6.1. SEGMENTATION AND POSITIONING
A. The Segmentation
B. The Positioning
6.2. THE DIFFICULTIES OF AUDIOVISUAL MARKETING
A. Conquering Consumer Time
B. Multiple Competition
6.3. MARKETING BEFORE THE INTERNET
6.4. MARKETING AFTER THE INTERNET
A. The three P.
B. The Internet Sites
C. Viral Marketing
D. Buzz Marketing
E. Guerrilla Marketing
F. Ninja Marketing
G. Some Cases of Viral Mkt Contaminated with Buzz, Guerrilla And Ninja Marketing
H. The Alternate Reality Games
CHAPTER 7. CINEMA, OTT AND BIG DATA
7.1. BIG DATA FEATURES and IMPORTANCE
7.2. NETFLIX and BIG DATA
A Big Data for Data Analysis
B. Big Dat for Content Analysis
7.3. HULU and BIG DATA
A. The Architectures
C. Big Data for Advertising and Subscription costs
7.4. LEGENDARY ENTERTAINMENT AND BIG DATA
A. Hollywood and Big Data
B. Legendary and the ways of exploiting Big Data
C. Release Data and Big Data
D. Transform Marketing: from Spray and Pay to Invert Audience Building
E. Structure of the Analytics Team
F. The virtous Cycle
G. L Phase Analitics
H. The Insigth
I. The Actions
L. The Warcraft Case the Beginning
7.5. THE BIG DATA AND FORECASTS OF THE BOX OFFICE
A. Quantifying Movie Magic with Google Search
B. The other Research regarding the Predictive Models of the Box Office
CHAPTER 8. TELEVISION
A. Television
B. The Technological Change of the Television Scenario
C. The Rediscovered Centrality of the Television Screen
D. The Competition Anyway
CHAPTER 9. THE VIDEO ON DEMAND (VOD) AND THE OVER THE TOP (OTT)
9.1. Video on Demand
A. Introduction
B. Types of Video on Demand
C. Multiscreen Happens
D. Three Typical Spectator Profiles
9.2. Over The Top
9.3. NETFLIX
A. Company Tracking
B. From Physical Distribution to Online
C. A Multiplatform Strategy
D. The Business Model: between Opportunities
9.4. NETLIX THE CONSEQUENCES OF SUCCESS
A. Introduction
B. The numbers and reasons for success
C. Netflix and the Cinema Hall
D. The consequences of success
E. Competition
F. The saturation of the market
G. Financial Sustainability
H. Netflix, What to do?
9.5. HULU
A. Company Tracking
B. The Business Model
9.6. Amazon Video
9.7. Rai Play
CHAPTER 10. CINEMA AND AUDIOVISUAL IN THE ITALIAN ECONOMY
Sheet 1. Italian Cinema - Year 2000
Sheet 2. Italian Television - Year 2000
Sheet 3. Glossary
Sheet 4. Biblo-WebGrafia
from concept to Set to Big Data
from the Cinema to the Web
from the Public to the public
2021 EDITION
forthcoming
Programme
CHAPTER 1 - FROM STORYTELLING TO THE MARKETA. The Storytelleng
B. The Moving Image
C. The Film
D. Film as a commodity
E. Film as Matrix
F. The Cinema
G. The Beginnings of Cinema
H. The Audiovisual
I .. The Market
L .. Consumption
CHAPTER 2 - PRODUCTION
A. Introduction
B. Indie and Majors
C. The film industry: the development of the production process
D. Above and below the line
2.1 DEVELOPMENT: FROM NARRATION TO THE PLAN OF COSTS
A. Introduction
B. The Story concept
C. The Subject
D. The lineup
E. The Treatment
F. Lo Scalettone
G. The Screenplay
H. The Undressing of the Screenplay
I. The processing plan
J. Versioning
K. Agenda
L. The Moodboard
M. The Other Activities
N. The cost plan
O. The Time Variable
2.2 PRE-PRODUCTION
A. The Film Factory
B. The Executive Producer
C. The Three Economic Heresies of Cinema
D. The Structural Difficulties Of Accessing Credit For Cinema
E. State intervention
F. The Finance of Independent Cinema
G. The Finance of the Majors
H. The Financial Structure of Independent Production
I. The Classification of Production Second Level Of Costs
J. Sources of Financing
K. The Reasons for Softmoney
L. Bridge Financing
M. The Crownfunding
N. Presentation Dossier / Business Plan (BP)
O. The Cinematic Pitch
P. The Format
Q. Financial Plan Outline
2.3 THE SHOOTING
A. The Organization
B. The executive producer
C. The troupe
D. The director of photography
E. The edition secretary
F. The sound engineer
2. 5 POST PRODUCTION
A. Macro sectors
B. The Activities
CHAPTER 3. CINEMATOGRAPHIC DISTRIBUTION
A. The Distribution Costs
B. Marketing of Film Rights
C. The Activities
D. The Different Types of Release Patterns
E. The Agreements between Producer and Distributor
F. The Role of Film Festivals in Film Distribution
G. The Articulations of the Cinematographic Distribution Chain
H. L Internet Distribution of Cinema and Audiovisual
I. The Warehouse and Internet Distribution Costs
L. Competition and Long Tail
M. Coda Lunga and Consumer Behavior
N. The Content Delivery Network (CDN)
CHAPTER 4. THE CINEMATOGRAPHIC EXERCISE
4.1. THE FILM ROOM
A. Introduction
B. Rental Agreements
C. Revenues and Operating Costs
D. The Management of the Rooms
E. The Flexibility of the Ticket Price
F. The Discretion of the Ticket Price
G. The social value of the room
4.2. THE PROGRAMMING WINDOWS
A. The Programming Windows
B. The Hall
C. The Home Video
D. Pay per View
E. Pay TV
F. Free Television
4.3. THE BOX OFFICE
A. Once upon a time
B. The Bed Rock
CHAPTER 5. BUSINESS RISK AND SUCCESS FACTORS
5.1. BUSINESS RISK
5.2. THE CURSE OF THE FIRST COPY
5.3. ECONOMIC APPROCH, COMMUNICATION THEORY APPROCH
5.4. THE USE OF THE PREVIOUS
5.5. CONGLOMERATE AND MAJOR
5.6. THE ROLE OF SERIALS
A. Introduction
B. Beyond One Reel Episode and Multi Reel Films
C. The Golden Age of Serials
D. Serial from Small to Big Screen
E. The Show must Go: Sagas and Sequels
CHAPTER 6. MARKETING
6.1. SEGMENTATION AND POSITIONING
A. The Segmentation
B. The Positioning
6.2. THE DIFFICULTIES OF AUDIOVISUAL MARKETING
A. Conquering Consumer Time
B. Multiple Competition
6.3. MARKETING BEFORE THE INTERNET
6.4. MARKETING AFTER THE INTERNET
A. The three P.
B. The Internet Sites
C. Viral Marketing
D. Buzz Marketing
E. Guerrilla Marketing
F. Ninja Marketing
G. Some Cases of Viral Mkt Contaminated with Buzz, Guerrilla And Ninja Marketing
H. The Alternate Reality Games
CHAPTER 7. CINEMA, OTT AND BIG DATA
7.1. BIG DATA FEATURES and IMPORTANCE
7.2. NETFLIX and BIG DATA
A Big Data for Data Analysis
B. Big Dat for Content Analysis
7.3. HULU and BIG DATA
A. The Architectures
C. Big Data for Advertising and Subscription costs
7.4. LEGENDARY ENTERTAINMENT AND BIG DATA
A. Hollywood and Big Data
B. Legendary and the ways of exploiting Big Data
C. Release Data and Big Data
D. Transform Marketing: from Spray and Pay to Invert Audience Building
E. Structure of the Analytics Team
F. The virtous Cycle
G. L Phase Analitics
H. The Insigth
I. The Actions
L. The Warcraft Case the Beginning
7.5. THE BIG DATA AND FORECASTS OF THE BOX OFFICE
A. Quantifying Movie Magic with Google Search
B. The other Research regarding the Predictive Models of the Box Office
CHAPTER 8. TELEVISION
A. Television
B. The Technological Change of the Television Scenario
C. The Rediscovered Centrality of the Television Screen
D. The Competition Anyway
CHAPTER 9. THE VIDEO ON DEMAND (VOD) AND THE OVER THE TOP (OTT)
9.1. Video on Demand
A. Introduction
B. Types of Video on Demand
C. Multiscreen Happens
D. Three Typical Spectator Profiles
9.2. Over The Top
9.3. NETFLIX
A. Company Tracking
B. From Physical Distribution to Online
C. A Multiplatform Strategy
D. The Business Model: between Opportunities
9.4. NETLIX THE CONSEQUENCES OF SUCCESS
A. Introduction
B. The numbers and reasons for success
C. Netflix and the Cinema Hall
D. The consequences of success
E. Competition
F. The saturation of the market
G. Financial Sustainability
H. Netflix, What to do?
9.5. HULU
A. Company Tracking
B. The Business Model
9.6. Amazon Video
9.7. Rai Play
CHAPTER 10. CINEMA AND AUDIOVISUAL IN THE ITALIAN ECONOMY
Sheet 1. Italian Cinema - Year 2000
Sheet 2. Italian Television - Year 2000
Sheet 3. Glossary
Sheet 4. Biblo-WebGrafia
Core Documentation
CINEMA AND AUDIOVISUAL ECONOMICS, MANAGEMENT, FINANCE AND MARKETINGfrom concept to Set to Big Data
from the Cinema to the Web
from the Public to the public
2021 EDITION
forthcoming