Reflections on the ascendancy of technology in the media and its implications for organisations and their leaders.

Küng, Lucy

doi:10.5617/jmi.v4i1.3171

Cited by 15 publications

(15 citation statements)

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“…It is surprising that opera house performances are preferred, because in other areas of media, digitisation has huge effects that often lead to transformational changes in work practices, organisational strategies and business models (Baumann 2013, Doyle 2013, Evens 2010, Küng 2017, Vukanović 2016. Moreover, we suppose that digitisation affects opera houses through generating positive effects by widening the spectrum of possible opera customers and creating a 'modern touch' in an otherwise rather classical medium (Steichen 2013, Woolfe 2012.…”

Section: Discussionmentioning

confidence: 99%

“…This trend may be explained by new media usage patterns that influence communication behaviour (Pavlik, McIntosh 2013), media reception (Manovich 2009) and media preferences (expectations), and that places new demands on the media industry (Küng 2017). Ultimately, they make the management of digitisation a complex strategic problem for media organisations today (Horst, Järventie-Thesleff 2016;Horst, Moisander 2015).…”

Section: Managing Live-operas In the Context Of Digitisationmentioning

confidence: 99%

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The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany

Roll

Horst

2017

Baltic Screen Media Review

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Today, opera houses are confronted by new (global) digital media offers that enable people to remain outside the opera house while attending a live-opera, e.g. via livestreamed opera performances in the cinema. This is a challenge for media managers in these fields because they need to find new ways to work with these new opportunities. Within a cultural marketing context, branding is highly relevant. Based on the brand image approach by Kevin Lane Keller (1993), we use a complex qualitative-quantitative study in order to investigate if, and how, the brand images of live-opera performances and live-streamed operas differ between countries and cultural contexts. By comparing Estonia and Germany, we found that the perception of live-opera is rather a global phenomenon with only slight differences. Furthermore, the ‘classical’ opera performance in an opera house is still preferred, with a corresponding willingness to pay, while the live-streamed opera offer may provide a modern touch. The study may help media managers in adapting their brand management to include new digital product offers and to find targeted differentiation strategies for increasingly competitive markets.

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Section: Discussionmentioning

confidence: 99%

Section: Managing Live-operas In the Context Of Digitisationmentioning

confidence: 99%

The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany

Roll

Horst

2017

Baltic Screen Media Review

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“…To make informed strategic decisions, especially at a time when technological sectors such as social media platform companies and telecoms are driving innovation (Küng, 2017), the upper echelons of media companies need to have up-to-date knowledge. To achieve our aim, the following three research questions therefore form the basis of the study:…”

Section: )mentioning

confidence: 99%

HiPPOs (Highest Paid Person’s Opinion) in the Swedish Media Industry on Innovation: A Study of News Media Leaders’ Attitudes towards Innovation

Appelgren

Nygren

2019

JOMI

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Decades of change in the media landscape and technological innovation have brought several uncertainties to media leadership. In this study, we build on the upper echelons theory to discuss the possible isomorphic behaviour of media leaders. Based on a survey of 372 Swedish media leaders, our results indicate that while innovation is considered to be a strength at media companies, innovation work may still stand in contrast to the institutional perspective. We found that Swedish media leaders perceive innovation as highly important and something they are good at. The perceived ability to work with innovation inside the organizations (rather than introducing knowledge from outside expertise) is undermined by the fact that, during the average work week, the majority of leaders set aside very little time for developing their own competences, individual talks with their employees, and time to reflect on their own work. Thus, in line with upper echelons theory, we find a paradox of trust in in-house innovative strength and, at the same time, media leaders fall back on their own experiences, limiting the inflow of new ideas into their strategic work.

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“…So far, the industry's responses have fallen into three categories: horizontal integration, vertical integration, and the search for new revenue sources (Küng, 2017;Vukanović, 2016).…”

Section: New Business Model Strategies: the Case Of "Connected Tv" Inmentioning

confidence: 99%

TV Film Financing in the Era of “Connected TV”: How Do “Legacy” Broadcasters Respond to Market Changes?

Horst

Murschetz²,

Brennan³

et al. 2018

Handbook of State Aid for Film

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This chapter provides an economic analysis of the television broadcasting industry at the convergence of broadcast and broadband connectivity towards "Connected TV". Connected TV is the new buzzword in home entertainment and includes a wide range of technical solutions that bring linear TV and the internet world together. This chapter explores (a) the changing nature of the TV market in the light of digital disruption; (b) the potential impact these changes may have on financing film; and (c) the key issues affecting the role of public broadcasting who are basically mandated by law to start-up and refund (independent) film productions by means of "mandatory transfers". By offering two case studies from Germany and the U.K., the challenges of public funding for supporting film production are illuminated. The study also shows that the changes produced by media convergence create a complexity of business models and organizational strategies, in which "legacy" broadcasting maintains a partial immunity to change.

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Reflections on the ascendancy of technology in the media and its implications for organisations and their leaders.

Cited by 15 publications

References 0 publications

The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany

The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany

HiPPOs (Highest Paid Person’s Opinion) in the Swedish Media Industry on Innovation: A Study of News Media Leaders’ Attitudes towards Innovation

TV Film Financing in the Era of “Connected TV”: How Do “Legacy” Broadcasters Respond to Market Changes?

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