6 Top Reasons for New Entertainment Content Distribution Models

As the entertainment industry accepts a digital takeover, new distribution models develop. Here are six reason why this is happening.

1. Business models for digital content distribution are changing. Licensing and service-based delivery models are replacing traditional sales-based distribution. Netflix and Hulu are prime examples of a licensed based entertainment delivery system to consumers.

From: Negotiations in the Entertainment Industry

By: Marjorie DeHey, JD/MBA

For over 15 years, Ms. DeHey has held high-level positions in marketing, business development and corporate strategy for a number of small and large companies, including MGM Studios, the Miss Universe organization, MEF (formerly the Mobile Entertainment Forum), MediaMojos, the Irish government, and LexisNexis.

Ms. DeHey has been named one of “The 25 Women to Watch” by Mobile Marketer Magazine (http://www.mobilemarketer.com/cms/lib…) and was recently inducted in the Academy of Television Arts & Sciences.

In the CLE class clip, Ms. DeHey discusses 6 Top Reasons for New Entertainment Content Distribution Models.

2. Copyright issues, where technology is making it easier to modify and redistribute content. The law suit between Viacom and Google is at the core of this issue. Where Viacom sued Google over YouTube users infringing on Viacom’s copy-written material.
3. Big data & virtual content are reshaping the creative economy landscape. More people are watching entertainment content on hand held devices, this provides the industry with a large amount of targeted data. This targeted data can drive brand, and cross-branded sales like never before.
4. Lines between content creators and content consumers are blurring, as content owners are able to get instantaneous feedback. Studios and networks are micro-tracking consumer’s interests.
5. Content distribution models are moving towards instantaneous, ubiquitous access via social media and other outlets.
6. Commerce in creative works is increasingly global. However, national and regional intellectual property frameworks have yet not caught up with the full range of cross-border content movement. Also at issue, is the fact that certain countries block selected content, and time shift issues haunt the evolving industry.

For more on 6 Top Reasons for New Entertainment Content Distribution Models, by Ms. DeHey, check out the full CLE video clip by myLawCLE.com