COMM 204: HUMAN COMMUNICATION PRINCIPLES AND …



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CMGT 574 – Tele-media: A Strategic and Critical Analysis

(formerly Television on the Brink)

Fall-2011

Instructor: David Craig Section: 21764

Email: david@ Classroom: ASC 231

Telephone: 213-281-1613 (call) Days/Times: 6:30-9:20pm Tuesday

Office hours: By appointment

COURSE DESCRIPTION: In the wake of digitalization, mobile and broadband penetration, and digital distribution, the television industry is in transition, if not, complete upheaval. In this course, we will examine the way U.S. television broadcast and cable networks operate, from sales to marketing, distribution to research. We will explore the way programs are produced and programmed. Then we will explore the challenges facing the television industry in the transition to online digital distribution. We will look at the evolution of programming to meet the unique demands of transmedia and cross-platform brands, series and narratives. We will explore the challenges confronting professional content providers with the rise of user-generated content. Finally, we will debate the future of television.

COURSE GOALS

• To develop a clear understanding of how the television industry operates today, including business models, creative production, programming strategies, distribution platforms and basic media marketing, publicity and licensing.

• To have a critical understanding of the threats posed by digital distribution and new media companies to the television industry and key questions regarding its survival.

• To cultivate a broad range of skills for conducting research, networking, making state of the art presentations and preparing professional-level papers.

COURSE FORMAT: The course will be a synthesis of any or all of the following components: readings, blogs, discussions, lecturers, guest speakers, group and individual presentations and debates.

REQUIRED TEXTS

Dominick, Joseph R. ,Messere, Fritz, and Sherman, Barry L. (2011). Broadcasting, Cable, The Internet

And Beyond: An Introduction to Modern Electronic Media. McGraw-Hill, 7th edition.

Lotz, Amanda D. (2007) Television Will Be Revolutionized. NYU.

Murphy, Sheila C. (2011) How Television Invented New Media. Rutgers University Press

ADDITIONAL READING (posted on blackboard and subject to change)

Bellman, Steven, Schweda, Anika and Varan, Duane (2010). “The Residual Impact of Avoided Television

Advertising. In Journal of Advertising. Spring 2010; 39:1.

Damratoski, Katie, J., Field. April, R. Mizell, Katie N. and Budden, Michael C. (2011) “An Investigation

Into Alternative Television Viewership Habits of College Students” in The Journal of Applied

Business Research. Jan/Feb 2011, 27:1.

Hardenbergh, Margot (2010). “The Death of Television.” et Cetera. Apr: 67,2.

Katz, Elihu. (2009). “The End of Television?” in The Annals of the American Academy Of Political and Social

Science. 625:6.

Kjus, Yngvar. (2009). “Everyone needs Idols: Reality TV and Transformations in Media Structure,

Production and Output.” In European Journal of Communication, 24:287.

Levine, Elana. (2008). “Distinguishing Television: the changing meanings of liveness.”In Media Culture and

Society 2008:30:393.

Lotz, Amanda D. (2009). “What is U.S. Television Now?” The Annals of the American Academy of Political

Science (2009); 625;49.

Lotz, Amanda D. (2007). “The Promotional Role of the Network Upfront Presentations in the Production of

Culture.” In Television New Media. 8:3.

McRae, Phil. (2006). “The Death of Television and the Birth of Digital Convergence” in Studies in Media &

Information Literacy Education. 6:2: May.

Pato, Luis Miguel da Cruz. “New Media, Convergence and TV Storytelling Formulas.” University of Aveiro

And Porto. (2008).

Pinon, Juan (2011). “The Unexplored Challenges of Television Distribution: The Case of Azteca America.

In Television New Media. 2011, 12:66.

Razorfish. “Actionable Analytics.”

Scolari Carlos A. (2009). “The Grammar of Hypertelevision: An Identikit of Convergence-Age Fiction

Television (Or, How Television Simulates New Interactive Media.) in Journal of Visual Literacy.

2009: Vol 28: No. 1: 28-49.

Smart, John M. “Tomorrow’s Interactive Television.” in The Futurist. Nov-Dec 2010.

Tay, Jinna and Turner, Graeme. (2010). “Not the Apocalypse: Television Futures in the Digital Age.” In

International Journal of Digital Television. Vol 1: No. 1.

SYLLABUS (Subject to Change)

|Week |Topics/Screenings/Assignments |Reading |

|8/23 |Intro; Network | |

|8/30 |Multichannel Television |Dominick, 1 and 2 |

| | |Lotz Intro-1 |

|9/6 |Ownership and Distribution |Dominick, 5 |

| | |Lotz, 4 |

| | |Pinon/Azteca Television |

|9/13 |Programming |Dominick, 9 |

| | |Lotz/ Upfront Presentations |

|9/20 |Production |Lotz, 3 and 6 |

|9/27 |Scheduling, Ratings, Research and Regulation |Dominick, 10-12 |

| | |Lotz, 6 |

| | |Damratoski/ College Student TV Viewing |

|10/4 |Advertising and Sales |Dominick, 7 |

| | |Lotz, 5 |

| | |Razorfish. “Actionable Analytics.” |

| | |Bellman/ Avoided Television Advertising |

|10/11 |UPFRONTS | |

|10/18 |MAKING OF SERIES | |

|10/25 |New Television |Dominick, 6 |

| | |Lotz, 2 |

| | |Murphy, Intro and 1 |

|11/1 |New Television |Murphy, 2-4 |

| | |Smart/ Tomorrow’s Interactive Television |

| | |Scolari/ The Grammar of Hypertelevision |

|11/8 |New Television |Peirce/Quarterlife |

| | |Kjus/Reality TV Production |

| | |Levine/ Distinguishing Television |

| | |Pato/ New Media and Storytelling |

|11/16 |Case Studies | |

|11/22 |Your | |

|11/29 |DEBATES |Lotz, Conclusion |

| | |Murphy, Conclusion and Epilogue |

| | |Katz/ The End of Television |

| | |Lotz/ What is Television Now? |

| | |McRae/ The Death of Television |

| | |Tay/ Not the Apocalypse |

| | |Hardenbrough/ The Death of Television |

|12/13 |FINAL ESSAY EXAM DUE 6PM | |

COURSE REQUIREMENTS AND EVALUATION

10% Course Blog

25% Presentation (Upfront, Making of Series or Case Study)

15% Your

15% Debates

25% Final Essay Exam

Course Assignments

BIO:, please send me a brief paragraph bio on your background, work experience, and the reason you picked this course. This will be confidential and WILL NOT be graded.

COURSE ASSESSMENT: after a month in the course, you are to email Professor Craig any concerns, questions, observations or suggestions regarding the course format. Please limit your comments to constructive criticism. This will be COMPLETELY CONFIDENTIAL although I may ask for further clarification or for you to provide examples or suggestions. Your comments will NOT affect your grade.

COURSE BLOG: Each student is to contribute to the class blog, posting news that pertains specifically to the course topic. You should include a brief description (2-3 lines) about the subject and why it is worthy of mention. Be prepared to discuss in class. Make sure you do not mention something already listed by another student. Blog entries will not be required once we start with presentations. Sources may include:

• Cynthia’s Cynopsis

• Nikki Finke’s

• Hollywood Reporter

• Variety

• Multichannel News

• Broadcasting and Cable

• New York Times/LA Times

• Wired Magazine

PRESENTATIONS

The class will be divided into three groups and each person will be assigned one of the following topics

- A network upfront

- The making of television series; or

- A new media case study.

CONTACT: In every case, the student MUST contact someone directly involved, as follows:

- if preparing a network upfront, they must contact someone in programming or scheduling at the network.

- If preparing a making of series paper, they must contact one of the writers or producers; and,

- If preparing the new media case study, they must contact someone in senior management.

Failure to reach a contact person will mean a half-grade deduction.

Here are some tips:

• Start Early!!!

• Made sure you understand the role that person plays in the network, series or media company,

• Locate their office and/or representatives through IMDB or the Hollywood Creative Directory.  Call, write or email them to request permission to interview them, either by phone, in person or by email.   This will probably require numerous attempts.

• DO WHATEVER IT TAKES! Go through your friends, parents, people you know who work in Hollywood and the USC Alumni Office.

• Be discreet! If I receive a call complaining about your approach, this will be factored into your grade.

APPROVAL: your network, series, new media company and contact person must be approved in advance.

GRADING: will be based on an average of the content and format/style and whether or not you reached a contact.

FORMAT/STYLE

• All presentations must be in Prezi.

• HINT: Emulate the Professor's style.

• Use as many logos, images, pictures and audio and video clips as possible.

• Use limited text; no full sentences; try to use no more than three brief bullet points.

• If you use charts or graphs, make sure they are simple and legible.

• Take advantage of the movement...try to make it fun, unusual, animated.

• You may borrow a template...just replace their info with yours.

• It's a presentation...not a reading.  Make sure you know your stuff like an expert.

• Be professional. Your audience is a group of potential buyers.

• DO NOT RUN OVER THE ALLOTTED TIME.

• Practice.  When you've got it down.  Practice some more. And then, practice.

• Handouts are NOT required; however, bring a printout for Professor Craig to use for grading.

NETWORK UPFRONT

• A sample presentation will be shown in class or posted online.

• A brief history of the network

• List the owners of the network and any network partners/sister companies

• Who are the heads of programming and their backgrounds?

• What is the programming budget? Is it higher or lower than last year?

• What kind of network is it (example, niche or broad, news or sports)?

• Review ratings year-to-date in comparison to previous years

• Demographics – Age, HH, A18-49, A25-54, Male/Female

• Rankings – Top 10? 20? Up or down?

• Types of programming, e.g., Original or acquisitions?

• Niche/genre, e.g. drama, comedy, reality, lifestyle, movies, games, kids, etc.

• Returning programs and any changes.

• New programs, who created it and their credits, who produces/owns the show?

• New schedule

MAKING OF SERIES

• Who was involved in the creation of the series from writer, producers, production companies or studio, network distributor, outside financiers, international participants, etc.

• How the series was conceived, pitched, sold, developed and produced.

• A description of the network marketing, publicity, promotion and scheduling strategy; and,

• The series ratings, including demographics and any award recognition.

NEW MEDIA CASE STUDY

• The new media companies MAY include: Netflix, Hulu, YouTube, Yahoo and Amazon. This is subject to change.

• Who runs the company? Who are the executives? How many staff members?

• A brief history and description of the company.

• A sample of the content or service provided by the company.

• A profit/loss review from the past 5 years.

• The business model/value chain for the company.

• Specifically how does the company pose a challenge to the television industry?

• A very clear forecast for where you see the company in 5 years.

YOUR : For the last class of the semester, you will be divided up in groups (tbd) and asked to present your group’s idea for a website that you will own, including producing and programming content as well as arranging for your own distribution, preparing a marketing plan and launch schedule. The class will then critique each group’s presentation, pointing out the flaws AND the advantages with each website, based on the topics discussed in class. Attendance is mandatory. If you cannot attend, you must notify Professor Craig in advance and expect to provide some makeup work.

DEBATES: On the last day, the class will be split up into teams (tbd) to debate the future of television. This exercise is designed to help prepare you for your final essay exam. It is important that you have completed and reviewing your reading and course notes. More information will be provided. Attendance is mandatory. If you cannot attend, you must notify Professor Craig in advance and expect to provide some makeup work.

FINAL ESSAY TAKE HOME EXAM: students will write essays based on questions (TBD) that will require a synthesis of the course readings/ discussions, assignments and information gleaned from the guest speakers.

• Make sure you keep notes on the speakers.

• Make sure you are familiar with how to write an argument essay.

• You should use references to support your argument.

• Essays should run 5-7 pages each plus references.

• Grading will be based on content, persuasiveness of your argument, thoroughness of your evidence and format/style.

Late assignments/Emergencies: No late assignments will be accepted. If you have a legitimate and verifiable emergency that makes it impossible to turn in your assignment on time you must: (1) email me before the beginning of class the day the assignment is due to notify me of your emergency, (2) provide official proof (doctor’s note or other evidence) and (3) arrange to email the assignment at a time to be determined.

Statement for Students with Disabilities: Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to me (or to TA) as early in the semester as possible. DSP is located in STU 301 and is open 8:30 a.m.–5:00 p.m., Monday through Friday. The phone number for DSP is (213) 740-0776.

Statement on Academic Integrity: USC seeks to maintain an optimal learning environment. General principles of academic honesty include the concept of respect for the intellectual property of others, the expectation that individual work will be submitted unless otherwise allowed by an instructor, and the obligations both to protect one’s own academic work from misuse by others as well as to avoid using another’s work as one’s own. All students are expected to understand and abide by these principles. Scampus, the Student Guidebook, contains the Student Conduct Code in Section 11.00, while the recommended sanctions are located in Appendix A: . Students will be referred to the Office of Student Judicial Affairs and Community Standards for further review, should there be any suspicion of academic dishonesty. The Review process can be found at: .

All work you submit must be your own and you may not inappropriately assist other students in their work beyond the confines of a particular assignment. There is a no-tolerance policy for academic misconduct in this course! The minimum penalty for academic misconduct will be a failing grade (F) for the course – further academic and disciplinary penalties may be assessed.[pic][pic]

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