Posts Tagged ‘production costs’


American Television Creating Global Brands Through Overseas Expansion

Wednesday, May 5th, 2010
Image: Collider.com

Image: Collider.com

On a recent trip to Colombia (South America), after a long day of sightseeing, I thought I’d switch on the TV with the hope of maybe catching an American baseball game … Instead, I found an episode of MTV Network’s “Jersey Shore.” As if it wasn’t surprising enough that this show recently became a television phenomenon in the states, I found out it was also number one on pay television in Colombia amongst 18-24 year olds, as well as in Mexico.

American television companies are penetrating international markets at a rapid pace and are leveraging multiple platforms, turning their creations into global brands or “multi platform franchises.” “Transmedia storytelling,” where multiple platforms are used to create varying entry points to the story while sticking to the main narrative, is a huge contributing factor in expanding these franchises. Additional revenue, created by linking video and computer games, mobile devices, and websites to the show, in turn helps entertainment companies offset high production costs. “Once people fall in love with a brand they want to interact with it in all sorts of ways,” says Tony Cohen, the head of Fremantle Media.

Transmedia storytelling is nothing new to entertainment – movie studios have used it for years making Spider-Man and Harry Potter as recognizable worldwide as Coke or McDonald’s. Avatar, Hollywood’s biggest blockbuster hit of 2009, grossed $747 million in the states and a whopping $2.7 billion worldwide, surpassing Titanic’s overseas box office record.

McDonald’s created Internet- based games and a sweepstakes around Avatar that included a private screening of the film among other prizes. “They’re realizing that the demographic they’re targeting isn’t using traditional media as much as they used to,” said Jeff Farmer, an analyst at Jefferies & Co. in Boston.

As the Vice President of media and entertainment at BurrellesLuce I follow the television and movie industries very closely. A little break while traveling abroad would be nice, however, “Hollywood” seems to be everywhere these days.

What do you think? Is Hollywood and U.S. television over saturating the digital space? Are you using “transmedia” to engage and connect with your audience? What industry beyond entertainment do you think has crossed over with an effective use of transmedia public relations, marketing or advertising?

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PR’s Digital Dilemma: When Can ‘News’ Be Spelled T-w-e-e-t?

Wednesday, April 29th, 2009

Gail Nelson
For marketing pros, especially those with PR responsibility, the quantity of news is mushrooming. Reading everything you need to know about your clients and products, along with everything you want to know about the industry, takes more time than ever before.* 

In such frenetic circumstances, we’re all asking ourselves how we can best set priorities. One approach many PR practitioners are taking is to communicate in formats such as Twitter. In fact, last week I put out a Twitpoll asking my Twitter followers the source of their PR news. It’s hardly a scientific endeavor. So it’s no surprise that as of this writing, the Twitpoll indicates that communication professionals get most of their PR-related news from Twitter. But content is not on Twitter – it surfaces as links to the sites of content producers. (I recommend reading Monica O’Brien’s recent post on “The Resourceful Marketer” to streamline the process of striking it rich in content on Twitter.)

I’ve been thinking about how many of the concerns facing the macro world of media hold for news purveyors in the PR industry. Can the quality of the content hold up? As you may know, PRWeek is changing its delivery model – switching from a weekly print publication to an email publication and requiring an annual subscription. A new monthly feature magazine will appear in the product line-up, along with a re-launched daily email blast.

In, “It’s Still Called PRWeek, but It’s Going Monthly,” a New York Times article published on April 26, author Stephanie Clifford postulates that it may be too confusing to dub a monthly print publication PRWeek. I contend PRWeek is a bankable brand and produces a range of products – such as webinars and live events. (As head of marketing for BurrellesLuce, I purchase sponsorships for these products, and must say I am impressed by the way the publishing staff is handling the change.)

PRWeek is betting that people will be willing to pay for content on the web that was previously available free of charge. PRWeek’s move is a brave one, especially if it is looking to expand its subscriber base and not merely slash production costs. I am hoping it comes out ahead. People trust its content, and its journalists know how to break and communicate news.

So, what do you think? Where are you getting your content? What are you willing to pay? And will the new PRWeek model take hold?

*  This is why a holistic monitoring service – one that delivers content from both traditional and social media – delivers so much value these days.

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