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Home » Humor » PDF Blockbusters: Hit-making, Risk-taking, and the Big Business of Entertainment Download

PDF Blockbusters: Hit-making, Risk-taking, and the Big Business of Entertainment Download

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Tuesday, August 20, 2013

Blockbusters: Hit-making, Risk-taking, and the Big Business of Entertainment

Author: Visit Amazon's Anita Elberse Page | Language: English | ISBN: 0805094334 | Format: PDF

Blockbusters: Hit-making, Risk-taking, and the Big Business of Entertainment Description

From Booklist

Academic Elberse explains the entertainment industry’s blockbuster strategy, a risky approach that involves large resource allocation to acquire, develop, and market concepts with strong “hit” potential to offset average returns from other holdings. The entertainment industry includes fiercely competitive film, television, and music production companies; publishing houses; sports; and the nightlife market serving clubgoers and featuring high-profile DJs. The author’s intent is not to make a value judgment on entertainment products but, rather, to explain the workings of entertainment markets and describe the strategies that lead to success in attracting large numbers of consumers. Elberse notes that the blockbuster principles and practices of show business extend to other industries, citing Apple’s approach to selling computers, smartphones, and other hardware and Victoria’s Secret’s fashion shows with live performances and superstar models. Noting an increase in more competitive “winner-take-all” markets, the author concludes that “the business world . . . can learn quite a bit from the entertainment industry.” This thought-provoking book will appeal to students of all ages, those in the classroom and well beyond. --Mary Whaley

Review

*** One of Amazon's Best Books of 2013 ***

*** One of The Globe and Mail's Best Business Books of 2013 ***

"How come so many movies are sequels, adaptations and reboots? Why do music studios spend so much on just a handful of superstar artists? And since when did TV shows become so lush and sophisticated? . . . [Elberse’s] great new book, Blockbusters, explains that the . . . questions share one answer. The blockbuster strategy—betting more and more money on fewer and fewer titles—has taken over the entertainment world."—TheAtlantic.com

"In her new book Blockbusters …[Elberse] argues quite convincingly that in the music industry (in addition to cinema, television, books, and more) record labels are most profitable when they focus their funds on a small number of big-shot, can’t-miss juggernauts."—Billboard

"Forceful . . . Elberse analyzes the realm of culture with a rigorous, numbers-driven approach."—The Boston Globe

"Persuasive… Elberse’s research has now culminated in the publication of her first book, Blockbusters, in which she makes a bold…case against fiscal timidity in the entertainment industry."—Bloomberg Businessweek

"Convincing… Elberse's Blockbusters builds on her already impressive academic résumé to create an accessible and entertaining book."—Financial Times

"Blockbusters demonstrates that [a blockbuster] strategy usually beats the more cautious approach of spreading around lower-amount investments in a larger number of projects, a recipe for mediocrity that seldom captures the public’s imagination."—Forbes

"A compelling answer for those who wonder why Hollywood seems obsessed with superheroes and all hit songs sound alike. The formula works. . . [In Blockbusters,] Elberse delivers an accessible, convincing accounting for the ways in which contemporary entertainment is produced, marketed and consumed."—Kirkus Reviews

"As Blockbusters reveals, pursuing projects with high risk and high reward is actually the best long-term business model."—Omnivoracious.com

"The book effectively explains the paradox of why more entertainment channels result in fewer choices, and offers a welcome respite from the usual business titles."—Publishers Weekly

"Fortunate readers of the book are claiming that Anita Elberse’s Blockbusters is a compelling answer to those wondering why Hollywood seems obsessed with superheroes. Her book merits, not one, two, but three readings."—SciFied.com

"In Blockbusters, Anita Elberse… argues that the blockbuster strategy—a broad formula that assumes investing in big potential winners will account for a disproportionate share of returns—now governs consumer markets, from restaurants and hotels to electronics." —The Wall Street Journal

"Good books merit a second reading—Blockbusters merits at least three. First, read it for fun. Anita Elberse describes the history of how blockbuster products and star entertainers were built. If you’ve ever read arguments about whether leaders are made or born, you’ll love this. Then read it again for Elberse’s model, which explains the process by which hits and stars are made. This will make you feel like Columbus discovering a world that has long existed but few have seen. Then read it a third time, using her model to understand how other stars – leaders in politics, business and academia, for starters – often can be built in the same way. There is hope – because the world truly is entertaining. Blockbusters is a delightful, thought-provoking book."—Clayton Christensen, author of The Innovator's Dilemma

See all Editorial Reviews
  • Product Details
  • Table of Contents
  • Reviews
  • Hardcover: 320 pages
  • Publisher: Henry Holt and Co. (October 15, 2013)
  • Language: English
  • ISBN-10: 0805094334
  • ISBN-13: 978-0805094336
  • Product Dimensions: 9.5 x 6.4 x 1.1 inches
  • Shipping Weight: 1.1 pounds (View shipping rates and policies)
I am generally leery of books where the author posits a provocative wide-ranging thesis. Its probably largely Malcolm Gladwell's fault. So naturally I approached Anita Elberse's Blockbusters with some trepidation. She makes the claim that focusing on high-stakes major campaigns is essential to succeeding in today's entertainment industry and she employs a plethora of examples and research from movies, sports, books, music, and television to support her case. While it can be a bit dry at times, Blockbusters is a very informative and often fascinating examination of the current and future state of the entertainment industry and the increasing importance of tentpole products and campaigns.

Elberse is a professor at the Harvard Business School who understandably brings a wealth of knowledge regarding the industry. She also has experience researching topics such as the economic effects of the unbundling of songs from albums on the music industry (bad for record labels). Elberse has built up quite an impressive list of contacts (she actually just co-wrote an article with Sir Alex Ferguson), which greatly enriches the book. Blockbusters is able to glean insights from major players such as Maria Sharapova's agent and Alan Horn, the former president of Warner Bros. Rather than speculating on the strategies behind campaigns, Elberse is able to pick the brains of decision makers.

The book's main concept is an intriguing and seemingly counter-intuitive approach to entertainment. Essentially, the strategy of hedging bets with a diverse portfolio of products is not the path to profitability for entertainment entities. They should instead promote a few projects and bet big on their success.
A decent, breezy summary of the "hit" mentality that has overtaken most of popular culture. Short on specifics and essentially devoid of any real analysis. The book ultimately fails in that it lacks any kind of over-arching thesis, point of view....or point at all fr that matter. The sports teams are doing what they do to win games, that seems clear enough and was a point made so very much better in "Moneyball." There is little to suggest that they act in any other way.

Lacking in the book is an explanation for the behavior in the entertainment industry. Certainly "blockbuster" movies can generate large profits, but they can generate enormous losses as well - overall returns for film and TV production are atrocious by any standard, raising the question as to why the executives follow the strategy they are clearly following. AE ascribes success by implying that big box office is its own payday, but the leaders of the film business (her favorite, Alan Horn in particular) have "bought" large grosses for a handful of films while allowing the business overall to atrophy and shrink. The net result, Horn was fired from Warner Brothers - as he was previously fired at Fox. Even his own company, Castle Rock, was no paragon of success with two "Mr. Saturday Nights" for every "Harry Met Sally." I took Elberse's course at HBS and she is totally star struck by Horn, to the detriment of any substantive analytical insights into film industry behavior. If there is any rhyme or rhythm to the "Blockbuster" mentality, why are studio results so consistently poor year after year? What explanation is there for continually shrinking production, shrinking output, declining attendances and so forth?

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