Universitat Internacional de Catalunya
Audiovisual Distribution
Teaching staff
Elena Neira
eneira@uic.es
Introduction
The world of audiovisual distribution is undergoing a profound transformation, driven by the consolidation of digital entertainment.
The emergence of the Internet in the early 2000s brought about significant disruptions in the way audiovisual content is marketed. At the center of the debate have always been distribution windows, the periods of commercial exclusivity that, for decades, allowed movies and TV series to generate significant economic returns over many months. The consequences of the collapse of these windows triggered by COVID-19 and the business decisions made by major Hollywood studios are now in the process of correction due to the lack of sustainability of the 100% model.
This course seeks to provide a realistic and up-to-date overview of the past, present, and future of the industry and to offer the basic competencies needed to carry out proper commercialization of audiovisual works.
Pre-course requirements
Minimum knowledge about the structure of the audiovisual sector. Keeping up with the latest news in the industry. A willingness to learn and actively participate in class.
Objectives
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That the student has a general knowledge about the world of Distribution, both nationally and internationally, in both the film and television industries.
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That the student is able to identify the basic characteristics of a television project and to make a commercial presentation of it.
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That the student is capable - upon completion of the course - of creating a marketing plan and a P&A for a specific film project.
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That the student knows the different channels of audiovisual distribution and is able to select the most appropriate one according to the project's characteristics.
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That the student understands the consequences of the new media ecosystem.
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That the student is able to detect those topics of current news that are of capital importance for the distribution sector.
Competences/Learning outcomes of the degree programme
- 01 - The ability to adapt to varying circumstances
- 02 - The ability to understand, accept criticism and correct errors
- 04 - The ability to work in a team and autonomously
- 08 - The ability of critical analysis, synthesis, concretion and abstraction
- 09 - The ability to objectify, quantify and interpret (data, statistics, empirical evidence )
- 10 - The ability to confront difficulties and resolve problems
- 11 - The ability to generate debate and reflection
- 13 - The ability to create spoken and written communication
- 14 - Knowledge and mastery of rhetoric and oratory to communicate own ideas
- 16 - The ability to manage, analysis and reflect on content
- 21 - Knowledge and mastery of the digital culture
- 23 - The ability to prioritize newsworthy events and contrast information
- 27 - The ability to adapt to distinct audio visual publics and markets.
- 28 - Knowledge and mastery of principle economic concepts.
- 30 - The ability to study the feasibility of an audiovisual product
- 32 - The ability to confront audiovisual and film projects in all phases (pre-production, shooting, post-production, distribution)
- 35 - The ability to contextualize and critically analyze the products of the audiovisual industry
- 36 - The ability to create, direct and manage audiovisual companies
- 38 - The ability to understand and apply the structure of the audiovisual system
- 44 - The ability to adapt to new audiovisual formats
Syllabus
INTRODUCTION
a) The role of distribution within the structure of the audiovisual system.
b) Actors involved in audiovisual distribution.
c) The first era of the streaming revolution: Netflix and Amazon.
d) The Streaming Wars.
e) Impact of COVID-19 on the audiovisual industry.
TELEVISION BLOCK
- CONTENTS
a) Types of products suitable for commercialization.
b) Television creation models.
c) Involved agents.
- DISTRIBUTION
a) International sales and markets.
b) Producing with export in mind.
- CONSUMPTION AND MEASUREMENT
a) Traditional audience measurement.
b) Time Shift.
c) Other types of success measurement.
CINEMA BLOCK
- PHASES OF EXPLOITATION IN FILM DISTRIBUTION
a) The traditional model.
b) The day & date.
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INTERNAL MANAGEMENT OF A DISTRIBUTION COMPANY
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NATIONAL AND INTERNATIONAL DISTRIBUTION
a) Major products.
b) Independent products.
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BOX OFFICE ANALYSIS: DATA AND THE LIFE OF AUDIOVISUAL PRODUCT
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FILM MARKETING
a) Sizing up a title. Information and resources.
b) Marketing Mix.
c) Prepare and implement a P&A.
Teaching and learning activities
In person
| TRAINING ACTIVITY | ECTS CREDITS |
| Coaching. Monitoring how students learn the content of the subject, either individually or in groups. In the coaching sessions, mistakes will be corrected, queries answered, and exercises and activities to achieve the established objectives will be suggested. | 0.6 |
| Focused Praxis. Handing in occasional exercises to learn theory through practice. | 0.4 |
| Meeting Point. Meetings will be organised with notable people from the professional and scientific fields or the international field, and students. These sessions will take the form of conferences, work sessions, discussions, or interviews, etc. | 0.4 |
| E-learning. Virtual learning based on ICT. | 0.4 |
| Practical workshop. A highly practical working activity, where students can acquire skills that are practical or also theoretical (intellectual skills, logical skills, critical skills, intellectual learning skills, study skills, quoting skills, etc). | 0.4 |
| Lectures. In lectures, lecturers/professors not only transmit content or knowledge, but also, and above all else, attitudes, motivation, skills and values, etc. They also ensure that participants can express their opinions and arguments to the other students. | 1.4 |
| Peer learning. The aim of this activity is to ensure that students gain the ability to analyse and be critical. One way of achieving this is by correcting their peers' exercises and results, etc. Each student will be evaluated twice: as both a recipient and a transmitter of critical knowledge. | 0.4 |
Evaluation systems and criteria
In person
The final grade for the course will be the arithmetic average of the grades obtained in:
- Practical work for the television block (working document plus oral presentation)
- Practical work for the cinema block (working document plus oral presentation)
- Exam
All parts must be passed with at least a 5 in order to calculate the average.
The faculty's regulations will be observed in case of spelling mistakes, late submissions, or plagiarism.
Bibliography and resources
MIÑARRO, L. (2013) Cómo vender una obra audiovisual: una aproximación a la distribución de contenidos audiovisuales. Editorial UOC.
CLARES-GAVILÁN, J.; MERINO, C.; NEIRA, E. (2019) La revolución over the top: del VOD a la televisión por Internet. Editorial UOC
NEIRA, E. (2020). Streaming Wars. La nueva television. Libros Cúpula. 978-84-480-2658-5
LINARES, R.; HERBERA, J; NEIRA, E. (2015) Cómo promocionar una película en el entorno digital. Editorial UOC.
ÁLVAREZ MONZONCILLO, J.M. La televisión etiquetada: nuevas audiencias y nuevos negocios. Ariel. Colección Fundación Telefónica
HUERTAS BAILÉN, A. (2002) La audiencia investigada. Gedisa editorial.
LOTZ, A. (2014) The television will be revolutionized. New York University Press.
LOTZ, A. (2018) We now disrupt this broadcast. How cable transformed television and the Internet Revolutionized it all. The MIT Press
MARICH, R. (2009) Marketing to moviegoers. A handbook of strategies and tactics. Souther Illinois University Press.
REISS, J. Think Outside the Box Office: The ultimate guide to film distribution and marketing for the digital era. United States of America: Hybrid Cinema LLC, 2010.
SMITH, M.; TELANG, R. (2016) Streaming, sharing, stealing. Big data and the Future of Entertainment. The MIT Press.
WOLK, A. (2015) Over the top. How the Internet is (slowly but surely) changing the television industry.
WEB
Business Insider https://www.businessinsider.es/redaccion/elena-neira
Matthew Ball: https://www.matthewball.vc/ottvideo
Variety https://variety.com
The Hollywood Reporter https://www.hollywoodreporter.com
The wrap https://www.thewrap.com