JRN 4401 Troy University Commercial AD & Podcast Essay

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JRN 4401

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Homework1: Hello, all! Please answer the following prompts to receive full credit for this assignment. You must answer in complete sentences. Please number your responses. Your total word count for this discussion essay must be at least 400 words. If you don't write at least 400 words, you will NOT receive full credit. This assignment must meet ALL minimum requirements (including word count) and be completed by Thursday, February 13 at 11:59 p.m. CST. 1. What did you think of the podcast episode I assigned to you this week? How do you think someone who is trying to land a book deal could use traditional AND social media coverage to his or her advantage? How can an individual show a publishing company that they deserve a book deal? How can he or she prove that his or her book will sell? 2. With what you heard in the podcast and what you've learned from the text, how do you feel about traditional media as a leveraging tool in business? (Is traditional media as important as it once was?) How do you feel about social media as a leveraging tool? Will a person (these days) have a better chance of proving their professional worth through traditional media, social media, or both? 3. BONUS question (worth 1 bonus point): What are you doing for Valentine's Day? Keep it PG rated—thanks! Homework2: WRITING COMMERCIALS & PSAs For this assignment, you will be writing AND filming a commercial. This will count as TWO separate grades. Your written assignment must be a MINIMUM of 400 words. You may have to read ahead in your textbook to complete this assignment. Your assignment needs to be in PARAGRAPH form, but I also want you to submit a NUMBERED response to the following 6 commercial requirements AND underlineand/or bold when you mention the following within your commercial: 1. Name of business/organization 2. Length of commercial 3. USP-Unique Selling Point 4. Target audience 5. Location of business or contact information 6. Type of commercial Example: 1. Business Name: WRXP Broadcast Network 2. Commercial Length: 60 sec. 3. Unique Selling Point: Our engaging morning show. 4. Target Audience: Men and women, local, ages 34-45, etc. 5. Business Location and Contact Information: Birmingham, Ala., 205-555-555, 1305 Westville Road 32459 6. Type of Commercial: Sale ******Please note: Following the above example, I want you to write out your commercial “script” in PARAGRAPH form. You must have a numbered list like the one above AND the paragraph form script to receive full credit! *******I also want you to FILM this commercial to show me how you can integrate technology into this assignment. You can film this commercial with a camera, camera phone, iPad, other tablet—whatever—just make sure it is FILMED. You do not have to appear in the commercial, but there must be audio and video within your filmed commercial. If you are unable to film your commercial, please email me IMMEDIATELY to make other arrangements. If you do not email me immediately to let me know you cannot film your commercial, you are expected to submit ALL of the above requirements (including a filmed commercial) by the designated due date. *******The information you include in this assignment can be REAL or FAKE. It does not matter; you have carte blanche. I am more concerned with your ability to follow directions and research/use information from your textbook. This assignment does not have to be in a certain style format (AP, MLA, APA, etc.). ** TYPES OF COMMERCIALS 1. Sale 2. Institutional 3. Customer testimonial 4. Employee personal appeal 5. Event 6. Co-operative advertising with manufacturer You must follow these directions for your commercial writing: When writing commercials and PSAs you utilize related skills. You should use the name of the business or organization three times in a 30 second spot if feasible: at the beginning, in the middle and at the end. Just like a good speech, a commercial/PSA needs an introductory sentence that captures the attention of the listener. In the middle it needs something interesting to keep the listener engaged. And like a good speech, it also needs a last sentence that lingers in the mind of the listener. Creativity is critical. Why be boring? Remember, Time is literally Money (because that's how they are sold). Make that commercial or PSA stand out from the rest. If it gets remembered, it's good for everyone: the advertiser, the station, and the listener. Feel free to use additional voices and/or sound effects to create a "theater of the mind" spot. A commercial/PSA can be considered a very short, compact radio play. You can make all the elements work together. It starts with good writing. Don't fall back on clichés, like "save like never before" (really? who believes that?). Use your imagination. Consider each word carefully, for again time is money. You don't want to waste the advertiser's money/time by using unnecessary verbiage. Is each word worth a dollar? If not, erase it. Don't use detailed directions to the storefront. Phone number/website? Make 'em short and sweet. Make me interested in whatever you’re selling! And most importantly—have fun with this assignment! This assignment must be completed by Sunday, February 16 at 11:59 p.m. CST. For each day this assignment is late, you will receive two points deducted from your final score. For example, if your assignment is one day late, the best you can make is a 8/10 (or an 80). Make sure you turn in your assignment on time to receive full credit. Submit your assignment as an attachment. Do not submit it as a text entry. Please email me with any questions. ******To submit your video, either upload it to Google Drive and send me a viewable (shareable) Google Drive link. OR you can upload the video as an unlisted YouTube video and send me the link that way. You can *try* to submit your video via Canvas or my email but I think the file sizes might be too large. This is an important assignment to take seriously as you can include your commercial in your professional portfolio. Email me with any questions or if you are unable to upload your video, and I will send you detailed instructions. Notice:Only the written word is required! No filming assignments required! Please send me the homework with two documents respectively! Management of Electronic and Digital Media Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. From the Cengage Series in Communication Arts General Mass Communication Belmas/Shepard/Overbeck, Major Principles of Media Law, 2016 Edition Biagi, Media/Impact: An Introduction to Mass Media, Twelfth Edition Fellow, American Media History, Third Edition Lester, Visual Communication: Images with Messages, Sixth Edition Straubhaar/LaRose/Davenport, Media Now: Understanding Media, Culture, and Technology, Ninth Edition Zelezny, Cases in Communications Law, Sixth Edition Zelezny, Communications Law: Liberties, Restraints, and the Modern Media, Sixth Edition Journalism Bowles/Borden, Creative Editing, Sixth Edition Davis/Davis, Cengage Advantage Books: Think Like an Editor: 50 Strategies for the Print and Digital World, Second Edition Hilliard, Writing for Television, Radio, and New Media, Eleventh Edition Kessler/McDonald, When Words Collide: A Media Writer’s Guide to Grammar and Style, Ninth Edition Rich, Writing and Reporting News: A Coaching Method, Eighth Edition Public Relations and Advertising Diggs-Brown, The PR Styleguide: Formats for Public Relations Practice, Third Edition Drewniany/Jewler, Creative Strategy in Advertising, Eleventh Edition Hendrix/Hayes/Kumar, Public Relations Cases, Ninth Edition Newsom/Haynes, Public Relations Writing: Strategies and Structures, Eleventh Edition Newsom/Turk/Kruckeberg, Cengage Advantage Books: This is PR: The Realities of Public Relations, Eleventh Edition Radio, Television, and Film Albarran, Management of Electronic and Digital Media, Sixth Edition Alten, Cengage Advantage Books: Audio Basics, First Edition Alten, Audio in Media, Tenth Edition Eastman/Ferguson, Media Programming: Strategies and Practices, Ninth Edition Gross/Ward, Digital Moviemaking, Seventh Edition Hausman/Messere/Benoit, Modern Radio and Audio Production: Programming and Performance, Tenth Edition Hilmes, Only Connect: A Cultural History of Broadcasting in the United States, Fourth Edition Mamer, Film Production Technique: Creating the Accomplished Image, Sixth Edition Lewis, Essential Cinema: An Introduction to Film Analysis, First Edition Osgood/Hinshaw, Cengage Advantage Books: Visual Storytelling: Videography and Post Production in the Digital Age, Second Edition Zettl, Sight Sound Motion: Applied Media Aesthetics, Eighth Edition Zettl, Television Production Handbook, Twelfth Edition Zettl, Video Basics, Seventh Edition Research and Theory Baran/Davis, Mass Communication Theory: Foundations, Ferment, and Future, Seventh Edition Sparks, Media Effects Research: A Basic Overview, Fifth Edition Wimmer/Dominick, Mass Media Research: An Introduction, Tenth Edition Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Management of Electronic and Digital Media Sixth Edition Alan B. Albarran University of North Texas Australia • Brazil • Mexico • Singapore • United Kingdom • United States Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. This is an electronic version of the print textbook. Due to electronic rights restrictions, some third party content may be suppressed. Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. The publisher reserves the right to remove content from this title at any time if subsequent rights restrictions require it. For valuable information on pricing, previous editions, changes to current editions, and alternate formats, please visit www.cengage.com/highered to search by ISBN#, author, title, or keyword for materials in your areas of interest. Important Notice: Media content referenced within the product description or the product text may not be available in the eBook version. Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Management of Electronic and Digital Media, Sixth Edition Alan B. Albarran Product Director: Monica Eckman Product Manager: Kelli Strieby Associate Content Developer: Rachel Schowalter Product Assistant: Alexis Mackintosh-Zebrowski © 2017, 2013, 2010 Cengage Learning WCN: 02-200-203 ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including but not limited to photocopying, recording, scanning, digitizing, taping, Web distribution, information networks, or information storage and retrieval systems, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the publisher. Marketing Manager: Sarah Seymour IP Analyst: Ann Hoffman IP Project Manager: Nick Barrows Manufacturing Planner: Doug Bertke Art and Design Direction, Production Management, and Composition: Lumina Datamatics, Inc. Cover Image: © Khakimullin Aleksandr For product information and technology assistance, contact us at Cengage Learning Customer & Sales Support, 1-800-354-9706 For permission to use material from this text or product, submit all requests online at www.cengage.com/permissions. Further permissions questions can be emailed to permissionrequest@cengage.com. Library of Congress Control Number: 2015942187 ISBN: 978-1-305-07756-0 Cengage Learning 20 Channel Center Street Boston, MA 02210 USA Cengage Learning is a leading provider of customized learning solutions with employees residing in nearly 40 different countries and sales in more than 125 countries around the world. Find your local representative at www.cengage.com. Cengage Learning products are represented in Canada by Nelson Education, Ltd. To learn more about Cengage Learning Solutions, visit www.cengage.com. Purchase any of our products at your local college store or at our preferred online store www.cengagebrain.com. Printed in the United States of America Print Number: 01 Print Year: 2015 Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. This book is dedicated to the memory of my teacher, mentor, and friend, Dr. C. A. “Ace” Kellner Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Contents Preface xvii Abbreviations and Acronyms 1 xxv Managing Electronic and Digital Media 1 An Overview of Electronic and Digital Media in Society Radio 5 3 AM Radio 5 FM Radio 6 HD Radio 7 Satellite Radio 7 Internet Radio 8 Television 8 Multichannel Video Services: Cable, Satellite, and Telcos Telecommunications Industry 10 Digital Video Platforms 10 Social Media 11 Management in the Electronic and Digital Media 11 9 Levels of Management 11 Management Skills 13 Management Functions 15 Management Roles 19 Summary 20 Case Studies 21 References for Chapter 1 23 2 The Media Business Environment: Markets, Business Models, Mergers, Alliances, and Partnerships 25 Electronic and Digital Media Markets 26 Defining the Market 26 Dual-Product Markets 26 Geographic Markets 27 vii Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. viii Contents Market Structure 28 Concentration in the Market 28 Product Differentiation 29 Barriers to Entry 29 Cost Structures 29 Vertical Integration 30 Types of Market Structure 30 Business Models 32 Forces Affecting Markets 33 Economic Conditions 33 Technological Forces 33 Regulatory Forces 34 Global Forces 35 Social Forces 35 Synergy 36 Alliances and Partnerships 36 What Is a Strategic Alliance? 37 SWOT Analysis 38 The Development of Mobile TV 39 Alliances to Develop and Market Content and Applications Alliances for Newsgathering 39 Alliances to Expand Domestic and Global Markets 39 Alliances to Develop Social and Interactive TV 40 Mergers and Acquisitions 40 Factors Behind Mergers 41 39 Implications for Management 41 Summary 42 Case Studies 43 References for Chapter 2 45 3 Ethics of Management 47 What Is Ethics? 48 Ethical Decision Making in the Media Industries Norms Used in Moral Decision Making 50 49 The Golden Mean 51 The Judeo-Christian Ethic 52 The Categorical Imperative 52 Utilitarianism 52 Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Contents Egalitarianism 53 Relativism 53 Social Responsibility Theory 54 Deontological and Teleological Ethics ix 54 Ethical Codes and Mission Statements 54 Codes of Ethics 55 Mission Statements 55 Ethical Issues in Media Management 59 Serving the Market or the Marketplace Controversies over Content 59 Ethics in News and Public Affairs 61 Ethics in Sales and Marketing 63 59 Implementing an Ethics Program 64 Summary 65 Case Studies 66 References for Chapter 3 69 4 Theories of Management 71 Management as a Process 71 Approaches to Management 72 Classical School of Management 72 Human Relations School of Management 75 Modern Approaches to Management 79 Management and the Media Industries Summary 84 Case Studies 85 References for Chapter 4 87 5 Financial Management 84 89 What Is Financial Management? 90 Meeting Financial Goals 90 Implementing Financial Growth 91 Budgeting 92 Setting Priorities and Goals in Individual Departments Capital Budgeting 93 Compiling the Budget 93 92 Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. x Contents Budgetary Flexibility 94 Forecasting 94 Monitoring Financial Performance 94 Balance Sheet 94 Income (P&L) Statement 98 Statement of Cash Flows 99 Other Financial Statements 101 Sarbanes-Oxley Act 101 Ratio Analysis 102 Break-Even Analysis 103 Depreciation and Amortization 106 Reporting Financial Performance 107 Summary 108 Case Studies 109 References for Chapter 5 113 6 Managing Personnel 115 Personnel Management 116 The Hiring Process 117 Interviewing 119 Orientation 121 Probationary Work Period 123 Performance Reviews 123 Promotion 125 Termination 126 Part-Time Employees 127 Interns 127 Working with Personnel 128 Legal Issues in Personnel Management Equal Employment Opportunity Guidelines Sexual Harassment 129 Other Labor Laws 131 Working with Unions 132 Structure, Communication, and Personnel Summary 135 Case Studies 136 References for Chapter 6 139 128 129 134 Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Contents 7 xi Audiences and Audience Research 141 Audience Research and Analysis 142 Demographic Research Data 142 Psychographic Research Data 143 Geodemographic Research 144 Geolocation Research 144 Big Data 144 Sources of Audience Research Data 145 Nielsen 145 Rentrak 147 comScore 147 Edison Research 147 National Research Services for Radio 148 Industry and Trade Associations 149 Consulting Firms 149 Internal Research Departments 150 Using Audience Data 150 Market Terminology 153 A Word Regarding Samples 154 Standard Error and Confidence Intervals 154 Ratings Accuracy 155 Social Media Analytics 155 Research Application 156 From Mass Media to Consumer Media 157 Summary 158 Case Studies 159 References for Chapter 7 162 8 Content: Strategy and Distribution 165 The Program Manager/Director 165 Radio and Audio Programming 167 Target Existing Audiences 168 Develop a Niche 168 Format Variables 168 Television and Video Programming 171 First-Run Syndication 172 Off-Network Syndication 173 Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. xii Contents Ad Hoc Networks 174 Original Programs on the Web and Digital Platforms Local Broadcast Programming 175 Networks and Programming 175 Multichannel Programming 180 Management Issues in Programming 174 181 Intense Competition for Audiences 182 Demand for More Research 182 Brand Development and Brand Extension Rising Costs of Programming 182 Regulatory Concerns 183 The Multiplatform Environment 183 182 Summary 184 Case Studies 185 References for Chapter 8 189 9 Marketing 191 The Four Ps of Marketing 192 Personnel in Electronic and Digital Media Marketing Marketing Strategies 194 193 Segmentation 194 Positioning 194 Branding 195 Sales versus Marketing 196 Expanding Selling to Marketing 196 Understanding Clients and Their Needs The General Sales Manager Local Advertising 197 196 197 The Local Sales Staff: Account Executives Role of the Local Sales Manager 200 Radio Revenue Rates 200 Television Revenue Rates 201 Cable Revenue Rates 202 National Advertising 198 203 Spot Advertising 203 National Sales Staff 204 Role of the Rep Firm 204 Working with the Rep Firm 205 Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Contents xiii Cooperative (Co-op) Advertising 206 Internet and Digital Advertising 206 Sales Terminology 208 Promotion as a Form of Marketing Duties of the Promotion Manager Types of Promotion 213 212 212 Evaluating Marketing Efforts 214 Summary 214 Case Studies 215 References for Chapter 9 218 10 News and News Management The Importance of News 221 222 Localism 223 News as Content/Programming 224 Organization of a News Department 226 Staffing the News Department 227 Budgeting and the News Department 230 Issues in News Management 231 Erosion of the News Audience 232 Convergence Efforts 232 Negotiations with News Talent 232 Ratings and Sweeps 233 News Ethics 234 Race and Ethnicity Issues 235 Unions and Union Contracts 235 Summary 236 Case Studies 236 References for Chapter 10 11 239 Regulatory Influences on Media Management Regulatory Influences: The Federal Government 241 241 The Executive Branch 242 The Legislative Branch 242 The Judicial Branch 242 Role of State and Local Law 243 Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. xiv Contents Role of the Federal Communications Commission 243 The FCC: A Brief History 243 The Contemporary FCC 245 FCC Regulatory Policies: What the FCC Does 247 The FCC and Broadcasting 247 The FCC and Programming Policies 251 The FCC and Cable Television 254 The FCC and Telecommunications Regulation 256 Other Federal Departments and Agencies 258 Department of Justice 258 Federal Trade Commission 259 National Telecommunications and Information Administration Federal Aviation Administration 259 Informal Regulatory Forces 259 259 Consumer Groups 260 Self-Regulation 260 The Press 261 Summary 261 Case Studies 262 References for Chapter 11 264 12 Technology Influence on Media Management 267 Technology Trends 267 Social 268 Key Players in Social Media 269 Audience Use of Social Media 270 Advertising and Social Media 270 Social Media Strategy 271 Mobile 275 Smartphones 275 Tablet Devices 275 Wearable Technology Cloud 276 276 Cloud Services 277 Business Models 278 Applications 279 Subscriptions 279 Pay for Play 280 Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Contents Management Issues xv 280 Personnel 281 Fragmentation 281 Creating Enterprise Value 282 Summary 283 Case Studies 284 References for Chapter 12 13 285 Media Management: The Manager/Leader/ Entrepreneur 287 Management 288 Growing as a Manager 289 Personal Development 291 Developing Your Employees for Management and Leadership Roles 292 Leadership 294 Leadership Theories 294 Entrepreneur 297 Use of Social Media as a Manager Summary 300 Case Studies 301 References for Chapter 13 302 Glossary of Key Terms Index 299 305 317 Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Preface The electronic and digital media industries are in the midst of continuing change and evolution due to a combination of technological, economic, regulatory, global, and social forces. Contemporary media managers face a unique and constantly changing competitive environment. The goal of Management of Electronic and Digital Media, sixth edition, is to give the reader insight into this challenging profession along with the necessary skills to prepare for entry into a managerial position. The media industries continue to evolve, with electronic and digital media companies offering a combination of traditional and digital platforms that offer information and entertainment to attract audiences and advertisers. Mergers and acquisitions continue to alter the key players who operate networks, station groups, and multichannel providers like cable, satellite, and telecommunication providers. Social media has added new opportunities and challenges to the business of communications media. The elimination of regulatory barriers, the growth of alliances and partnerships among media companies, and a global marketplace for content have all contributed to the changing managerial environment. Managers no longer oversee a single operation. Today’s media managers may be responsible for multiple stations, regional hubs, and numerous platforms. Versatility and multitasking have become common characteristics of media managers. Social and economic changes have affected the makeup of employees. The workforce is leaner, more diverse, and more gender-balanced and relies more heavily on part-time employees than ever before. Further, managers are expected to do more than just manage a unit or an enterprise. They must also lead their employees with integrity, passion, and a sense of vision. Today’s managers are also expected to think and act like entrepreneurs, to be innovative, and help develop new products and services to reach untapped markets. Hence, this edition focuses on developing the twenty-first-century manager/ leader/entrepreneur, a new focus that differs from earlier editions. This book is designed to help you understand the complex contemporary world of electronic and digital media management. Targeted primarily toward undergraduate and graduate students, Management of Electronic and Digital Media will also be useful to media managers and practitioners. The focus is on domestic (U.S.) managerial topics, but the majority of these topics are also applicable xvii Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. xviii Preface to other nations. Every effort has been made to make the information relevant, timely, and understandable. New to This Edition Management of Electronic and Digital Media has been thoroughly updated to include the most cutting-edge information on the issues and challenges found in managing electronic media enterprises and digital platforms. There are six major changes in this edition. First, this edition addresses management, leadership, and an entrepreneurial mind-set throughout the book. Second, all of the chapters in this new edition have been updated to reflect the latest industry standards and practices, including extensive and expanded revisions to Chapter 2 (The Media Business Environment), Chapter 8 (Content), and Chapter 12 (Technology Influence on Media Management). Third, there is also a brand new chapter (Chapter 13) to this edition devoted to the topic of Media Management: The Manager/Leader/Entrepreneur. Fourth, the role of social media and its influence on management is now presented throughout the text rather than a stand-alone chapter. Fifth, there are many new and revised case studies found at the conclusion of every chapter. For students and professors, Management of Electronic and Digital Media continues to offer the most case studies of any text devoted to media management. These case studies are easily adaptable to classroom discussions, group projects, or homework assignments. Sixth, the glossary and terminology have been updated and expanded to reflect changes since the previous edition. Here is a breakdown of the major changes you will find in each chapter: Chapter 1 ● Revised for greater emphasis on entrepreneurship and leadership in media management ● New section on social media’s function in media management ● New case study: “The Manager’s First Review” Chapter 2 ● New section on business models ● New section on SWOT analysis ● Revised section on the development of mobile TV ● Revised section on the development of social and interactive TV ● Revised section on mergers and acquisitions ● Revised section on implications for management ● New case study: “Conducting a SWOT Analysis” Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Preface xix Chapter 3 ● Updated examples of ethical controversies in media ● New section on ethical issues of social media ● New case study: “Severe Weather Decisions” Chapter 6 ● New section on using social media to recruit new hires ● Revised section on orientation, including tips for welcoming a new employee ● New section on probationary work periods Chapter 7 ● New sections on geolocation research and “big data” ● Information on new sources of audience research data: comScore and Edison Research ● New section on social media analytics Chapter 8 ● New section on localism ● New information on audio programming available via the Internet and digital platforms ● New section on original programs on the Web and digital platforms ● New case study: “Pitching a New Program for Online Distribution” Chapter 9 New information regarding online advertising ● New section on outsourcing advertising sales ● New section on digital marketing, including a list of basic terms ● Chapter 10 ● Updated to emphasize digital news Chapter 11 ● Updated organizational chart of Federal Communications Commission Chapter 12 ● Much of Chapter 13 in the previous edition has been moved to Chapter 12 ● Updated research and statistics on technology trends ● New sections on audience use of social media, advertising on social media, and social media strategy ● New section on mobile technology, including information on smartphones, tablet devices, and wearable technology ● New section on cloud technology and cloud-based services Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. xx Preface Chapter 13 ● Completely new chapter covering the multifaceted role of media manager ● Information on the following aspects: ● Personal and professional development ● How to develop employees for management and leadership roles ● The basic role of the mentor ● Prominent leadership research and theories ● How to become an entrepreneurial leader ● Use of social media as a manager ● New case studies: “Planning Your Professional Development”; “Going Mobile” Chapter Review Management of Electronic and Digital Media begins with an overview of electronic and digital media in society. Chapter 1 introduces you to the main industries that make up the electronic and digital media and presents the various functions, skills, and roles of electronic media managers. The chapter also provides an introduction to the expanded roles of leader and entrepreneur. Chapter 2 examines the contemporary media marketplace with a discussion of the different types of markets, alliances, and partnerships found across the media industries and factors influencing the media industries. Chapter 3 centers on ethics in media management. This chapter examines different types of ethics, ethical norms, and situations in which ethics are challenged in the management of different types of media organizations. Chapter 4 provides a discussion of management theory by examining the three schools of management thought. Contemporary managerial theories and their application to the media industries are presented in this chapter, as are differences between management and leadership, the latter of which is expanded in this edition. Chapter 5 details the importance of financial management in a media organization. The chapter includes sections on budgeting, financial statements, financial ratios, and financial analysis. In Chapter 6, you will learn about managing personnel by looking at recruitment, selection, orientation, and termination of employees. This chapter also covers the use of performance reviews and the legal aspects of managing people. Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Preface xxi Audience and market-based audience research is the focus of Chapter 7. Readers will gain an understanding of the different types of audience research and other methods used to evaluate and measure audiences, critical information desired by advertisers and marketers. New material includes a discussion of “big data” and the Nielsen acquisition of Arbitron. Content development and distribution are discussed in Chapter 8 in the context of the traditional broadcasting and multichannel and digital industries, at both the national and local levels. Part of this chapter examines Web and alternative platforms to distribute content. Marketing, an essential business skill in all industries, is presented in Chapter 9. There is an introduction to basic marketing principles and strategies, along with information on marketing to advertisers and the role of promotion in marketing campaigns. New material on digital advertising is presented in this chapter. Chapter 10 is devoted to the topic of news and newsroom management. News plays an important role in the media industries in its ability to attract audiences and advertisers. The chapter examines the importance of news and topics related to managing the news department. Chapter 11 reviews the role of government regulation on the media industries. The Federal Communications Commission remains the single greatest influence on telecommunications policy in the United States, as well as all three branches of government and a host of other federal agencies that impact the regulatory process. Chapter 12 examines the influence of technology on management. The chapter begins with a look at technology trends, followed by an expanded discussion of three major trends impacting the media industries: social, mobile, and cloud. The sixth edition concludes with Chapter 13, a capstone to the book taking a deeper look at the role of the manager/leader/entrepreneur in the twenty-first century. Each area is explored, along with new material on how to grow as a manager and how every manager needs to develop his or her own social media strategy. Each chapter begins with a list of learning objectives and an overview summarizing its contents. Case studies are found at the end of each chapter to stimulate thought and discussion on various management topics and issues. This edition offers a number of new and revised cases. Each of the cases is designed to put the reader in the role of a manager or other leader in a decision-making environment. A glossary of key terms used in the text is also included for easy reference. Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. xxii Preface Resources for Instructors This text is accompanied by an instructor’s manual that offers teaching suggestions, assignment ideas, exam questions, and other resources that will help instructors integrate Management of Electronic and Digital Media, sixth edition, into their classes. The instructor’s manual is available for download at login.cengage.com. Acknowledgments The sixth edition of this book, like previous editions, is a product of many years of experience and interactions with a variety of media practitioners—first as an employee, then as a manager, and, finally, as a media educator and consultant. Throughout my own professional career, I have been fortunate to work with a number of good manager/leaders, first in the radio industry and later in television. Each of them in some way influenced my ideas about media management. In addition to the professionals who contributed to the earlier editions, this edition drew insight from a number of professional media managers who shared their ideas and perspectives. For the sixth edition, my thanks go to Pat Stacy and Brad Streit (Raycom Media), Brian Hocker (Comcast/NBCUniversal), Dan Bennett (Cumulus Media), Ronda Joines (Pandora), Dan Halyburton, Becky Munoz-Diaz, and Lee Salzberger. A number of reviewers examined various chapters and made valuable suggestions that improved this book. My sincere thanks to Glenda Alvarado, University of South Carolina; Lesley Bowers, Howard University; Rockell Brown Burton, Texas Southern University; John Cooper, Eastern Michigan University; Geoffrey Graybeal, Texas Tech University; Krishna Jayakar, Pennsylvania State University; Jong Kang, Illinois State University; Karen Kearns, California State University, Northridge; Hongmei Li, Georgia State University; Lance Liguez, The University of Texas at Arlington; Carolyn Lewis, Ohio University; John McGuire, Oklahoma State University; AJ Miceli, Gannon University; Joe Staniunas, Radford University; Elanie Steyn, University of Oklahoma; and Dale Van Cantfort, Piedmont College. I’m grateful to UNT colleague Phyllis Slocum, along with Catherine Salzman and Desiree Hill, who reviewed specific chapters for this edition. Thanks as well to UNT colleague Xiaoqun Zhang for his work on the instructor’s manual. I thank my wife and best friend, Beverly, for her love and constant support. I’m also grateful for the support of the faculty and Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Preface xxiii staff in the Department of Media Arts at the University of North Texas and the undergraduate and graduate students who challenge me in the classes I teach to do the best job I can as a professor. As in previous editions, this book is dedicated with respect and admiration to the memory of the man who taught me the most about media management—my former professor and mentor at Marshall University, Dr. C. A. “Ace” Kellner. Ace died in November 1996, followed by his beloved wife, Toni, who passed just after Christmas that same year. Beverly and I cherish their memory. We grew to be close friends after their retirement and we visited the Kellners several times in their Florida home during the 1980s and 1990s. One of the greatest joys in my life was having him receive the first edition of this book. He was so proud and honored to have the book dedicated to him. My continuing hope is that the sixth edition of this book will continue to be helpful to students and inspire them to reach their full potential in life just as Ace Kellner inspired his students to do. Alan B. Albarran University of North Texas Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Abbreviations and Acronyms ABC—American Broadcasting Company ACT—Action for Children’s Television AE—Account Executive AM—Amplitude modulation AQH—Average quarter hour AR&D—Audience research and development AT&T—American Telephone & Telegraph AWM—American Women in Media CAB—Cable Advertising Bureau CBS—Columbia Broadcasting System (former name) CEO—Chief Executive Officer CHR—Contemporary hit radio CNN—Cable News Network CPM—Cost per thousand CPP—Cost per point CW—CW Network (formerly WB/UPN) DAB—Digital audio broadcasting DARS—Digital audio radio services DBS—Direct broadcast satellite DMA—Designated market area DOJ—Department of Justice DSL—Digital subscriber line DTV—Digital television DVD—Digital video disc EAS—Emergency Activation System EBS—Emergency Broadcast System EEO—Equal employment opportunity EEOC—Equal Employment Opportunity Commission ESPN—Entertainment and Sports Programming Network FAA—Federal Aviation Administration FBC—Fox Broadcasting Company FCC—Federal Communications Commission Fin-Syn—Financial interest–syndication rules FM—Frequency modulation FRC—Federal Radio Commission FTC—Federal Trade Commission GI—Gross impressions GM—General Manager GRP—Gross rating points GSM—General Sales Manager HBO—Home Box Office HDTV—High definition television HD Radio—Hybrid digital radio HH—Households HR—Human Resources HUT—Households using television IAB—Interactive Advertising Bureau ISP—Internet Service Provider JSA—Joint services agreement LAPS(test)—Of literary, artistic, political, or scientific value LMA—Local marketing agreement LSM—Local Sales Manager LUR—Lowest-unit-rate MBO—Management by Objectives MFJ—Modified final judgment MMDS—Multipoint multichannel distribution services MP3—Audio compression technology (MPEG-1 or MPEG-2 audio layer III) MRC—Media Ratings Council MSO—Multiple system operator MSTV—Maximum Service Television MTV—Music Television NAB—National Association of Broadcasters NATPE—National Association of Television Program Executives NBC—National Broadcasting Company NCTA—National Cable & Telecommunications Association NMMS—Nielsen Metered Market Service NSM—National Sales Manager NTIA—National Telecommunications and Information Administration P&L—Profit and loss PD—Program Director PDA—Personal digital assistant PEG—Public, educational, and government channels PICON—Public interest, convenience, or necessity P-O-M-C—Planning, organizing, motivating, controlling PPM—Portable people meter PPV—Pay-per-view PSC—Public service commission xxv Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. xxvi Abbreviations and Acronyms PTAR—Prime-time access rule PUC—Public utility commission PUR—Persons using radio RAB—Radio Advertising Bureau RADAR—Radio’s All Dimensional Audience Research RBDS—Radio broadcast data system RBOC—Regional Bell operating company ROR—Rate of return RTDNA—Radio-Television Digital News Association SBC—Southwestern Bell Corporation SDTV—Standard digital television SMATV—Satellite Master Antenna Television SMSA—Standard metropolitan statistical area SPJ—Society for Professional Journalists SRDS—Standard Rate and Data Service TQM—Total quality management TSA—Total Survey Area TSL—Time spent listening TVB—Television Bureau of Advertising TVHH—Television households UHF—Ultra high frequency UPN—United Paramount Network (now CW) USTA—United States Telecommunications Association VALS—Values, attitudes, and lifestyles VHF—Very high frequency VIP—Viewers in profile VNR—Video news release WB—Warner Brothers network (now CW) WWW—World Wide Web Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. C H A P T E R Managing Electronic and Digital Media 1 In this chapter you will learn • An overview of the contemporary electronic and digital media industries • The levels of management found across the media industries • The skills, functions, and roles of electronic and digital media managers • The demands placed on managers by audiences, advertisers, and owners Managing an electronic or digital media enterprise in the twenty-first century is a constantly evolving challenge. The interplay of economic, technological, and regulatory forces, along with globalization and changing audience tastes and preferences, means constant change and adaptation to new ideas and new ways of doing business. For much of the twentieth century, a media manager focused on one product—a television or radio station, a newspaper, or a cable system. Today’s managers operate in a multiple platform 24/7/365 environment where consumers control what they access and when they access entertainment and information content. Contemporary media managers have adapted to this new landscape by learning new processes, refining their skills, and constantly evaluating the entities they manage. Today’s best managers—regardless of the industry in which they work—are now expected to do more than just manage. Managers are also expected to be leaders and provide a vision for those they lead. They are also expected to think like entrepreneurs— to recognize new approaches and trends and to encourage innovation and new ways of doing business. 1 Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 2 CHAPTER 1 • Managing Electronic and Digital Media The sixth edition of this book thus presents a major change from previous editions. This version considers the expanded roles that contemporary media managers in the twenty-first century now play as managers-leaders-entrepreneurs. Management and leadership have always been intertwined; entrepreneurship has typically been treated separately as an occupation or a field of study. The reason is that entrepreneurs in the literal sense are adept at starting new businesses, taking risks, and often selling their new business—ideally for a profit. However, today’s media managers need to think like entrepreneurs and function with an entrepreneurial spirit to remain relevant in a rapidly evolving landscape. So in this new edition, entrepreneurial ideas are intertwined throughout the text, along with leadership and managerial concepts. Let’s consider some working definitions for each of these areas. In this text, management is continued to be defined as a process by which individuals work with and through other people to accomplish organizational objectives. The electronic and digital media refers to the traditional radio, television, cable/satellite, and telecommunications (telephone) industries—and “new media” like Internet sites and other digital platforms, including social media. Management is not a static concept but a dynamic process involving many different skills such as decision making, problem solving, creativity, negotiation, and interpersonal relations. Leadership is traditionally defined as leading a group of people or an organization. But leadership is a much broader and more complicated concept. Leaders cast a vision for their unit and organization; they are good at motivating individuals and helping each person grow and develop. Leaders are also expected to provide a “moral compass” and exhibit strong ethical principles and integrity. Leadership is multifaceted and complex. Entrepreneurship is classically defined as someone who starts a new business. But a broader definition of entrepreneurship has evolved that is more suitable to our needs. Dictionary.com defines entrepreneurship as “a person who organizes and manages any enterprise, especially a business, usually with considerable initiative and risk” (http://dictionary.reference.com/browse/entrepreneurship?s=t, n.d.). Here entrepreneurship refers to any business and not just a new start-up. Robinson (2014) offers one view by listing seven traits of an entrepreneur: tenacity, passion, tolerance of ambiguity, vision, self-belief, flexibility, and rule-breaking. Clearly, one can see how many of these traits should also be embodied in what anyone might call a good contemporary manager/leader. Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. An Overview of Electronic and Digital Media in Society 3 By integrating management-leadership-entrepreneurship throughout this edition, it is hoped that this approach will better reflect the twentyfirst-century realities in the electronic and digital media industries. Further, expanding the scope of this text will hopefully better educate students and other readers interested in careers in media management. An Overview of Electronic and Digital Media in Society Despite the proliferation of many different media-related technologies, the electronic and digital media occupy an important place in American society. The electronic and digital media industries provide a variety of entertainment and information platforms, influence culture, and help make sense of our social reality (McQuail, 2010). The electronic and digital media are also a critical component of the economic system. In the United States and other developed nations, most firms engaged in the electronic media operate in the private sector and thus deliver their content and services for profit (Albarran, 2010). As in any other business, managers in the electronic media must maintain efficient, profitable operations to meet the expectations of owners and stockholders. The electronic and digital media pervade society, and levels of media usage reflect this trend. Digital media, consisting of using the Internet, mobile devices, and other platforms, were expected to top other media usage in 2013 (Kleinman, 2013). Television viewing, radio listening, and reading print are also daily leisure activities in U.S. households (see Figure 1-1). Audiences can access information and entertainment content via many different distribution platforms (e.g., broadband, wireless, and terrestrial) and consumer technologies (e.g., TV and radio receivers, computers, mobile devices, video game consoles, and DVRs). Media managers must respond to the needs of their customers, recognizing that their audience has numerous options for entertainment and information content. Several demands—for information and entertainment by the audience, for profits by stockholders, and for access by advertisers—place managers of electronic media facilities in a challenging position as they try to serve the needs of the market along with the needs of the marketplace. This balancing act is made all the more difficult by constant changes in competition, technology, regulatory issues, social issues, and consumer tastes and preferences. Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 4 CHAPTER 1 • Managing Electronic and Digital Media FIGURE 1-1 6:00 Hours per Day Daily Media Use in the United States (Estimates for 2013) 4:48 Source: Kleinman (2013). 3:36 2:24 1:12 0:00 Digital TV Radio Print Traditional electronic media companies like broadcasters and cable and satellite systems engage in similar activities. Sherman (1995) identifies four separate but interrelated activities: development, production, distribution, and exhibition. Development is concerned with new technological innovations. Technology stimulates the growth of the electronic and digital media and improves the quality of media consumption. Advances in mobile delivery and the adoption of multiple platforms are but two examples of changing innovation in the media industries. Technology will continue to change the nature of the media business and the way society uses the media. Production consists of the manufacture of both hardware and software for the electronic media. Hardware includes television and radio receivers, satellite dishes, DVRs, video game consoles, set-top boxes, and mobile devices like smartphones and tablet devices. Software includes such products as television and radio programs, sound recordings, and advertising messages. Distribution, the focus of Chapter 8, is concerned with getting content products to consumers. Today many forms of distribution platforms are available, ranging from the traditional broadcast networks to satellite-delivered services, the Internet, broadband, cloudbased services, and applications for mobile devices. The fourth activity, exhibition, is where the consumer uses and engages the product. The pervasiveness and portability of technology means that exhibition can occur at any time and place. This flexibility has added to the challenge of reaching targeted audiences, since consumption of media content can take place in the home, in the car, at work, or during a workout. Though the media share similar activities, each industry experienced considerable change as a result of media convergence, which is now considered to be complete. Media convergence is usually thought Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Radio 5 of as the integration of video, audio, the Internet, and computing systems, as well as distribution technologies (Steinfield, Baldwin, & McVoy, 1996). Because corporations dominate the media industries with multiple holdings in many cities, companies have been engaged in converging operations to save resources. For example, in the radio industry, a company can own a maximum of eight stations in the same market. Leading radio companies such as iHeart Media (formerly Clear Channel), CBS, and Cumulus have merged operations and eliminated staff overlap. In television, many markets feature duopolies, or two stations owned by the same company. As these operations are merged, financial efficiencies can be realized, primarily in a reduction in the number of employees and the need for a single physical plant. Companies with multiple media holdings may involve combinations of traditional and new media platforms, such as 21st Century Fox, Gannett, and Raycom Media. Virtually every media company considers ways to integrate newsgathering operations, as well as sharing office support functions, marketing, and engineering. The twenty-first-century media landscape is filled with converged media operations, but the industries had distinct, separate beginnings. The following sections provide a brief overview of the development of the electronic and digital media industries in the United States. Radio Radio formally began in the United States during the 1920s. The radio industry established many practices for other industries to follow by introducing the sale of hardware (receivers), the marketing of commercial time (advertising), the practice of networking, and the distribution of programming to audiences. Radio broadcasting consists of two primary types of services: AM and FM. HD (hybrid digital) radio is an extension of terrestrial radio. Internet radio and satellite radio (available via paid subscription) represent other extensions of radio. AM Radio AM radio consists of 107 channels operating between 535 and 1,705 kilohertz (kHz). AM channels are restricted to 10 kHz of channel space, which reduces signal quality. Because the signals are transmitted via amplitude modulation, that is, by varying the amplitude of the radio wave, the transmissions became known as AM radio. In 1982 the Federal Communications Commission (FCC) authorized AM Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 6 CHAPTER 1 • Managing Electronic and Digital Media stereo service but refused to set a technical standard for receivers and transmitters (Klopfenstein & Sedman, 1990). As a result, AM stereo never really developed. The FCC established four classes of AM service (Classes A, B, C, and D) to ensure that everyone would have access to radio broadcasting. Class A stations are the most powerful, operating as clear channels during evening hours, which means they have exclusive rights to their assigned frequency beginning at sunset. From a management perspective, the clear channel stations represent the best class of AM stations in the country. Class B, or secondary channels, are also strong stations but must defer to the power and direction of the more dominant Class A stations. Class C stations are best thought of as regional operations, while Class D—or local—stations are usually restricted to a local geographical area and operate at levels of transmitter power even lower than that of the Class C stations. Approximately 38 percent of all the radio stations in the United States are commercial AM radio stations. Research indicates that AM listeners are, for the most part, older than FM listeners and that AM listening accounts for a smaller share of radio listening. The most popular formats on AM radio include news and talk, sports, and niche music and ethnic formats. FM Radio FM radio operates at a much higher frequency than AM, between 88 and 108 megahertz (MHz). Each channel is allocated 200 kHz for broadcasting, 20 times the capacity of an AM channel, giving FM the potential for outstanding quality. FM channel assignments begin at 88.1 MHz and continue through 107.9 MHz. FM stands for frequency modulation, meaning the frequency of the radio wave is varied while transmitted. FM broadcasting also differs from AM in that the signals follow the curvature of the earth. The height of the station’s antenna and the power of the transmitter affect the range of coverage. The FCC also uses a classification system (Classes A, B, C, and D) for FM stations based on the height of the antenna and the transmitter’s power. Class A stations are limited to a power of 3 kilowatts (kW) and a range of 15 miles. Class B stations can operate up to a power of 50 kW and a 30- to 40-mile range. Class C, clearly the most attractive from an ownership perspective, can broadcast up to 100 kW with a range of 60 or more miles. Class D stations were originally classified as lowpower (less than 10 watts) radio stations usually assigned to universities or religious organizations. In 1980 the FCC began eliminating Class D stations by forcing them to raise power or share frequencies with others. Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Radio 7 One other interesting aspect of the FM band is the portion of the service reserved for educational and noncommercial use. All stations assigned a frequency between 88.1 and 91.9 MHz operate as noncommercial stations. These stations are typically licensed to a college, university, religious organization, or, in some cases, a high school. Though these stations are not permitted to accept advertising, they may engage in underwriting for programming and on-air fund drives. Here you will find programming from National Public Radio (NPR), as well as the alternative music formats found on most college radio stations. FM came of age during the 1970s and surpassed AM in total listeners. Today’s FM band is dominated by music formats (adult contemporary, country, urban, hip-hop, and contemporary hits), although sports and talk programming have an increasing presence on FM channels. The major radio group owners for radio include iHeart Media, CBS, Cumulus, Entercom, Emmis, and Cox. Annual listings of the top radio groups can be found in Broadcasting and Cable and Radio Ink, two industry trade publications. HD Radio HD radio debuted in 2006 to enable terrestrial stations to extend their programming options in a digital environment. Existing radio stations can offer additional channels on the HD band, but the new service is not compatible with existing radio receivers—requiring consumers to purchase new radios. HD radio has not yet been fully embraced by the automobile industry as either a standard or an optional feature on new cars nor embraced by consumers who lack awareness of the service and confuse it with HD television. Approximately 2,100 HD stations are on the air, according to the HD Radio Alliance, but the technology faces an uncertain future. Satellite Radio In 1994 the FCC authorized satellite-distributed digital audio licenses to provide programming to consumers on a national basis. These services became known as satellite radio, with two original providers, XM Radio and Sirius, offering a subscription service for a monthly fee. Both services initially offered 100 channels of music and information, most commercial-free. XM and Sirius spent millions of dollars signing key talent like Oprah Winfrey (XM) and Howard Stern (Sirius) to attract listeners, but the total number of satellite subscribers only reached about 14 million in 2007. With soaring costs, XM and Sirius agreed to merge in 2007 and, in the summer of 2008, received approval by the FCC to proceed with the merger. The combined entity Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 8 CHAPTER 1 • Managing Electronic and Digital Media was renamed Sirius XM Radio. By the end of 2013, Sirius XM had over 27 million subscribers. Internet Radio Internet radio has become extremely popular in the twenty-first century, fueled by computer and smartphone applications for services like Pandora, Spotify, iHeartRadio, and iTunes Radio. Internet radio allows the user to create their own “stations” reflecting artists and genres of interest. The services are available for streaming via the Internet. Internet radio competes with other forms of radio for listeners and is very popular with younger (18–34) audiences. Internet radio is now a standard feature in most new automobiles and is also available on most Internet-enabled television receivers. Television Although the television industry began in the postwar years of the 1940s, it did not grow significantly in the United States until the 1950s. In 1952, the FCC ended a four-year moratorium on television licensing known as the “TV freeze.” The freeze allowed the nascent industry to solve technical problems and create new geographical station assignments. An important outcome of the freeze was the addition of 70 channels (from 14 to 83) in the UHF (ultrahigh frequency) band to complement the existing VHF (very high frequency) band of 12 channels (from 2 to 13). Unfortunately, the UHF signals required higher power and were more subject to interference problems than their VHF counterparts. The UHF stations languished for several years because the FCC failed to require manufacturers of television receivers to include the UHF reception technology until 1964. For that reason VHF stations dominated TV for many years in much the same way FM dominates AM radio today. As cable television emerged in the 1970s, UHF stations found parity with VHF signals in cable households. Both types of service (VHF and UHF) could be received with ease by cable with no differences observed in the quality of the signal. Networks developed quickly in television after years of refinement in the radio industry. The three big networks—ABC, CBS, and NBC—each acquired TV stations to form the basis for their network TV operations. The network owned and operated stations (O&Os) are the most profitable TV stations in the world. Other stations that carry network programs are affiliates. ABC, CBS, NBC, and Fox Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Multichannel Video Services: Cable, Satellite, and Telcos 9 serve approximately 200 affiliates each. The other networks (CW and MyTV) have a smaller affiliate base. There are also several Spanishlanguage networks that operate similarly to their English-language competitors: market leaders Univision, Telemundo, and Telefutura, followed by smaller networks Estrella TV and Azteca America. Affiliates play an important role in the network through the clearance or acceptance of network programming and advertising. Initially, the networks provided compensation (cash payments) to affiliates to carry programs, but over the years the evolving economics led to compensation being eliminated for most stations. Consolidation in the television industry escalated with the passage of the 1996 Telecommunications Act, which increased the percentage of national audience reach from 25 to 35 percent. This allowed TV groups to acquire more stations. The networks were particularly aggressive buyers, adding several new stations to their existing portfolios. Another increase occurred in 2004 when the cap increased to 39 percent of the national audience. With NBC’s acquisition of the media assets of Vivendi Universal to become NBC Universal in 2004, all the major broadcast networks were aligned with the major Hollywood studios, enabling synergies and economies of scope between film and television program/film production. In addition to the networks, major television groups operating in the United States include Sinclair, Gannett, Raycom Media, Tribune, and Hearst. Multichannel Video Services: Cable, Satellite, and Telcos Multichannel services are available through monthly subscription to cable, satellite, and telecommunications (telco) providers. In the United States, over 90 percent of all television households subscribe to one of these services. In heavily populated markets, there is fierce marketing and pricing competition, as the cable operators and telcos offer “triple-play” packages of telephone, Internet, and video services. Most services provide a menu of local broadcast channels and popular networks, HD channels, premium services, pay-per-view (PPV) services, and video-on-demand (VOD) services. Cable systems usually designate a few channels for public, educational, and governmental use as part of their community franchise requirements. These are called PEG channels. The cable industry produces a variety of revenue streams: monthly subscriber fees offering different tiers of service, the selling of local insertion advertising, high-speed Internet services, equipment Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 10 CHAPTER 1 • Managing Electronic and Digital Media rental (set-top boxes, HD and regular digital video recorders), and premium/PPV programming. The largest cable operators also offer telephone services. Cable consolidation escalated during the 1990s. Larger companies began clustering systems together as companies sought to group large numbers of subscribers and potential subscribers together geographically. Satellite service is available through two national operators, DirecTV and Dish Network. Satellite offers a digital environment with its channel lineup but lacks the multiple revenue streams that cable generates. Satellite pricing is very competitive, enabling the services to acquire new subscribers, often at the expense of cable operators. The primary telco competitors are Verizon and AT&T. Verizon’s service is FiOS, built on a fiber-optic backbone. AT&T’s service is called U-Verse and features a similar structure. Both companies also offer mobile phone services in addition to a triple-play package. Telecommunications Industry Over the years telecommunications became a blanket term for enterprises engaged in communication-related activities involving the telephone, telegraph, data services, switching equipment, and terminal equipment. The telecommunications industry, like the media industries, has undergone considerable consolidation and change. For decades, little competition existed in the telecommunications industry. In 1982 American Telephone & Telegraph (AT&T) settled a long-standing antitrust suit with the Department of Justice, resulting in the breakup of the regional Bell operating companies (RBOCs) in 1984. Since then, mergers and acquisitions have reduced the number of operators each year, to where there are now two major operators, Verizon and AT&T. CenturyLink, which serves primarily the northwest, is a third operator. Digital Video Platforms In addition to delivery of video via terrestrial, cable, satellite, and telecommunication distribution systems, consumers can now access content via a number of digital platforms, either in their home or with mobile devices. These include services like YouTube, iTunes, Netflix, Hulu, Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Management in the Electronic and Digital Media 11 Amazon Prime, Vudu, HBO, and many other competitors that offer content free, via subscriptions, or by single purchase (as in the case of iTunes). More companies will be offering streaming services. New competitors expected in 2015 include Showtime, Sony, and Vox. The proliferation of video platforms has encouraged some consumers to cancel their existing cable/satellite/telco subscriptions, a practice labeled as “cord cutting” to lower household expenses. Much like consumers dropping fixed wired telephone service to their homes in favor of mobile phones, it is easy to see that cord cutting may become a wider practice, especially as costs continue to rise for cable/satellite/ telco subscriptions. Social Media Social media sites have mushroomed in popularity in the twenty-first century, and electronic and digital media companies have now fully embraced social media as another platform to engage audiences and advertisers. Research has found that consumers access social media while consuming live television events (Stefanone, Lackaff, & Rosen, 2010; Wohn & Na, 2011). There are three key considerations for management revolving around social media: (1) the major social media platforms to utilize (e.g., Facebook, Twitter, Instagram, YouTube) in helping promote your media enterprises; (2) developing an internal social media presence for content and services connected with your enterprise; and (3) managerial uses of social media, such as marketing, promotion, and monitoring, to name a few. These considerations and other aspects of social media will be discussed throughout the text. Management in the Electronic and Digital Media The remainder of this chapter examines management in closer detail at the micro level—at the level of the actual manager. This section begins with a discussion of the levels of management found in the media industries, followed by an analysis of the skills, functions, and roles managers play in their daily activities. Levels of Management A common misconception many individuals have regarding management is that there is one person—the Manager—who leads an Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 12 CHAPTER 1 • Managing Electronic and Digital Media organization. Overused clichés such as “the buck stops here” suggest a single leader makes all the decisions in an organization. In reality, managers are found at many levels within organizations, and this is true for the electronic and digital media industries. Different managers serve to complete a variety of tasks within an organization. Consider a single radio station cluster in a local market with five management positions. The Program Director is responsible for the onair sound of the stations. The General Sales Manager is charged with the responsibility of advertising sales. A Traffic Manager coordinates the scheduling of commercial advertisements and other program material. The Chief Engineer makes sure everything functions from a technical standpoint. The General Manager (or Market Manager, if overseeing multiple stations) monitors and continually evaluates the entire operation and reports to the station owners. Each individual manager has specific areas of responsibility, supervises coworkers, and contributes to the overall performance of the organization. While titles vary, there is wide agreement that most organizations support three levels of management. A study involving over 1,400 managers found that the responsibilities of first- or lower-level managers, middle managers, and executives at equivalent levels were similar, regardless of the type of organization (Kraut, Pedigo, McKenna, & Dunnette, 1989). For example, lower-level managers center on supervising others and monitoring individual performance. Such would be the case with a Program Director, who evaluates the on-air staff of a radio station, or a Local Sales Manager, who monitors advertising sold by local account executives. Middle managers typically plan and allocate resources and manage groups of people. An example of a middle manager in the electronic media would be a General Sales Manager, who coordinates the activities of the sales department at both the local and national levels. Top-level or executive managers monitor the entire organizational environment, identifying internal and external factors that impact their operation. General Managers for TV, radio, cable, digital, and telecommunications facilities must keep pace with such diverse factors as local business economics, social trends, the regulatory climate in Washington, and the internal activities of their respective operations. As these examples illustrate, one encounters different responsibilities at different management levels. Although tasks and duties vary through these levels, all managers share certain skills, functions, and roles. Management skills refer to the basic competencies needed by electronic media managers. Management functions refer to the tasks that managers perform. Management roles refer to the different roles managers adopt as they interact with different constituencies, such as Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Management in the Electronic and Digital Media FIGURE 1-2 Management Skills, Functions, and Roles Source: © Cengage Learning. Skills Functions Roles Technical Human Conceptual Financial Marketing Entrepreneurial Planning Organizing Motivating Controlling Facilitating Communicating Negotiating Leader Representative Liaison 13 employees, owners, consumers, and peers. Figure 1-2 charts the various skills, functions, and roles of managers in the electronic media. Management Skills Management theorists (e.g., Hersey, Blanchard, & Johnson, 2012) identify three broad areas of skills needed in the management process: technical, human, and conceptual. To this list three other skills crucial to successful electronic and digital media management are added: financial, marketing, and entrepreneurial skills. Electronic and digital media managers need to understand the technical aspects of their operations, for technology and innovation constantly impact the communication industries. While technological advancements make it impossible to keep up with all the changes taking place, managers still need basic competencies in such areas as equipment operation, signal transmission, content distribution, and digital applications. The ability to provide hands-on training is an important managerial skill, because employees usually have greater respect for managers with technical expertise. Technical Skills Most managers identify this area as the single most important skill in the process of management (Hersey, Blanchard, & Johnson, 2012). Successful managers exhibit strong interpersonal skills and are particularly adept at leading and motivating employees. Electronic and digital media managers need to be dynamic, visionary, and motivated in order to lead their operations effectively and create a spirit of cooperation and participation among all employees. In this sense, managers are also perceived as good leaders. Human, or People, Skills Managers must understand the complexities of the internal and external environment and make Conceptual, or Problem-Solving, Skills Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 14 CHAPTER 1 • Managing Electronic and Digital Media decisions based on sound judgment. Because change is constant in the media, managers must be able to respond quickly to the environment— whether the changes concern audience tastes and preferences, technology, or employee relations. Electronic and digital media managers must deal with a variety of issues and solve problems in an efficient and timely manner. Financial Skills A heavily competitive environment and constantly evolving economic systems place incredible demands on media managers to be conscious of the bottom line and constantly trying to increase the value of the enterprise. Managers need strong financial skills in order to meet financial goals, manage budgets, and deal with unexpected contingencies. Understanding how to read financial statements, construct a budget, and forecast break-even analysis is critical (see Chapter 5). With many options available for entertainment and information content, managers need a strong understanding of marketing. They must know how to position their product(s) effectively and know what vehicles and platforms are needed to build audiences. Understanding how to use the four Ps of marketing—price, product, promotion, and place—in interactions with consumers as well as advertisers remains an invaluable management skill (see Chapter 9). Marketing Skills As mentioned in the introduction, managers in the twenty-first century need to have basic entrepreneurial skills applied to the enterprise they are managing. Whether it is the organization as a whole or a department or unit, today’s managers must think and work as an entrepreneur. Today’s managers need to be innovative, tenacious, and not afraid to take risks, as well as exhibit a sense of passion. Though these skills are common across the electronic media, the degree of skill required at different managerial levels varies. For example, at the supervisory level technical skills are needed daily, while executives are likely to use conceptual and financial skills more regularly. Human skills are crucial at every management level. Figure 1-3 illustrates how these skills vary across levels. Managers can develop their skills via continuing education, years of experience, membership in professional associations, networking, and attendance at managerial seminars and workshops (Bigelow, 1991). Regardless of how they learn, managers in the electronic and digital media need some knowledge in all the skill areas. Conducting a Entrepreneurial Skills Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Management in the Electronic and Digital Media FIGURE 1-3 Skills across Managerial Levels Source: © Cengage Learning. 15 Entrepreneur Executive Financial Mid-level Managers Conceptual Human Marketing Supervisors Technical self-assessment can help you identify what skills you need to develop. Finding individuals with this range of expertise is a continuing challenge, as well as identifying managers who understand other media industries in a time of consolidation, innovation, and heavy competition. Management Functions A frequently asked question in the study of management concerns management functions: What exactly do managers do? One of the earliest investigations into management functions came in 1938 with Chester Barnard’s (1968) book, The Functions of the Executive. Barnard identifies three managerial functions: (1) providing a system of organizational communication, (2) procuring proper personnel, and (3) formulating and defining the purposes and objectives of the organization. Henri Fayol was another major influence in the study of management functions. Fayol (1949) was a French theorist who specified the functions of planning, organizing, commanding, coordinating, and controlling referred to as the POC3 model. Later management scholars replaced commanding and coordinating with motivation, thus forming the P-O-M-C model of management (see Figure 1-4). Many management books show a heavy bias toward the Fayol model (Carroll & Gillen, 1987). But do managers spend most of their time planning, organizing, motivating, and controlling? Many studies have examined management functions to determine if the classical functions theorized by Fayol still exist. Mintzberg (1975) found that most of the P-O-M-C functions form part of the folklore that inaccurately describes management; the author identified 10 distinct managerial functions. Other studies (Hales, 1986; Kotter, 1982) question the validity of the classical Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 16 CHAPTER 1 • Managing Electronic and Digital Media FIGURE 1-4 The P-O-M-C Managerial Model P Source: © Cengage Learning. C O M management functions. Kanter (1989) claims acquisitions and divestitures, reductions in personnel and levels of hierarchy, and an increased use of performance-based rewards result in a new managerial work environment with different management functions. These studies present conflicting views of management functions. Which functions actually occur in the daily activities of electronic and digital media managers? An integrated approach, combining both classical and modern perspectives, is the most reasonable way to describe management functions in the twenty-first-century media industries. Media managers are involved in planning, organizing, motivating, and controlling, but they also exhibit three other important functions in managing their organizations: facilitating, communicating, and negotiating. Planning Planning involves establishing organizational objectives and providing others with the resources needed to accomplish their tasks. Both short- and long-term objectives need to be established in the planning process. Ideally, managers and employees should share in the creation of objectives. The contemporary electronic and digital media management environment leans heavily on strategic planning as an important management tool (Gershon, 2000). Strategic planning has been complicated given the transition of traditional electronic media to new forms of digital media. For example, companies involved in broadcasting recognize that terrestrial broadcasting, their “traditional” media, still has incredible value and Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Management in the Electronic and Digital Media FIGURE 1-5 Strategy Strategy Considerations Source: © Cengage Learning. 17 Traditional Media (EM) New Media Social Media Digital Platforms FB, Twitter, Instagram, YouTube the ability to attract audiences and advertisers. At the same time, “new” media in the form of digital platforms have emerged, forcing companies to move in to these areas to reach audiences who are migrating and using other forms of digital media. The growing importance of social media and its potential impact in terms of reaching audiences must also be considered (see Figure 1-5). The organizing function determines who or what unit is responsible for specific company objectives. Most electronic and digital media operations maintain departments (such as operations, sales, engineering, and news) to handle individual responsibilities. Each department needs its own planning objectives, budget, and staff to meet necessary goals, which then allows upper-level managers to concentrate on other activities. Managers of individual departments are linked to the overall structure of the organization to create a holistic environment. Tensions may arise between individual departments over the best way to address problems. When this occurs, top-level managers must mediate and resolve conflicts. Organizing Motivating employees to a high level of performance helps any organization accomplish its goals. On the other hand, if motivation is low, productivity suffers. Certain positions in the electronic and digital media need less oversight than others in this regard because the incentives are built in. For example, audience feedback, ratings, and public recognition drive talent positions, while commissions motivate account executives. For other areas such as production, research, and engineering, motivation can be an important managerial function. Numerous theories on motivation exist (see Chapter 4), but many studies yield similar findings: Employees want managers to recognize them for their individual achievements and contribution to the organization, and they want opportunities for continued growth and advancement (Buckingham & Coffman, 1999; Herzberg, 1987). Motivating Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 18 CHAPTER 1 • Managing Electronic and Digital Media As a management function, control involves several areas of responsibility: (1) giving feedback to other managers and employees, (2) monitoring the progress toward completion of organizational objectives and financial goals, and (3) making changes as situations demand. Feedback can be written, verbal (telephone), face to face, and electronic (e.g., text messaging, e-mail). A common criticism of managers is that they do not offer enough feedback to employees to let them know how they are performing. Positive feedback helps motivate employees. Feedback should not be limited to annual performance reviews (see Chapter 6). Monitoring is another essential control function. Managers must keep tabs on the progress of organizational objectives and help solve related problems. Finally, the ability (and at times courage) to make changes is an important control mechanism. Ultimately, such changes impact other personnel and perhaps even lead to their termination. While managers must be sensitive to the needs of their employees, they must also keep the goals and objectives of their operations in mind. Controlling Facilitating As facilitators, managers must empower their employees with the needed resources to complete organizational tasks. These resources may include personnel, money, or equipment. The facilitator function is most prominent at the executive...
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