跳到主要內容

簡易檢索 / 詳目顯示

回結果列表
研究生： 何燕玲
Linda Ho
論文名稱： 企業轉型: 從傳統唱片公司至全娛樂經紀公司
Corporate Transformation: From a Traditional Record Company, Emerging into a Total Entertainment Company
指導教授： 陳春龍
Chen, Samuel
口試委員: 邱垂昱
Chiu, Chui-Yu
洪叔民
Horng, Shwu-Min
學位類別： 碩士
Master
系所名稱： 商學院 - 國際經營管理英語碩士學位學程(IMBA)
International MBA Program College of Commerce(IMBA)
論文出版年： 2008
畢業學年度： 96
語文別： 英文
論文頁數： 40
中文關鍵詞： 唱片行業 、永續性 、共生關係 、藝人管理
外文關鍵詞： Record industry, Sustainability, Symbiotic relationship, Artist management
DOI URL： http://doi.org/10.6814/NCCU202200215
相關次數： 點閱：154  下載：0 
分享至:
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報

    • Abstract
    Corporate Transformation: From a Traditional Record Company, Emerging into a Total Entertainment Company
    By
    Linda Ho

    The sales of compact discs (CDs), which are the record industry’s main product, have been on a downward spiral, with more than half of this decline being attributed to internet music piracy. And Taiwan is no exception to this phenomenon. 
    Record companies began to reevaluate the sustainability of their businesses as gross revenues from CD sales can no longer keep up with the cost of producing and marketing. Since developing a symbiotic relationship with talents and active participation in artist management happens to be the way that can provide these independent recording firms with the most benefits, local music industry players began to integrate artist management as a major component of their operations to remain profitable.
    This business plan proposes a series of sustainability and growth strategies for HIM International Music, Inc. by analyzing current market conditions and developments, and taking into consideration its core values, its vision, and its competitiveness within the market.

    TABLE OF CONTENTS
    1. Introduction 1
    2. Industry Background 4
    2.1. The Entertainment Industry 4
    2.2. The Recording Industry 6
    2.2.1. Traditional Revenue Streams of Record Labels 7
    2.2.2. Expanding Revenue Streams of Record Labels 7
    2.2.3. Record Label-Artist Management Companies and their Management Models 8
    2.2.3.1. Full Management 8
    2.2.3.2. Co-Shared Management 8
    2.2.3.3. Shared Management 9
    3. Company Background 10
    3.1. Customer Needs 10
    3.1.1. Artists 10
    3.1.2. Fans and Corporate Advertisers 11
    3.2. Company Skills 11
    3.2.1. Core Competencies 11
    3.2.2. SWOT Analysis 12
    3.2.2.1. Strengths 12
    3.2.2.2. Weaknesses 13
    3.2.2.3. Opportunities 13
    3.2.2.4. Threats 14
    3.3. Competition 15
    3.4. Collaborators 16
    3.4.1. Content Sources – Composers and Lyricists 16
    3.4.2. Production Companies and Mass Media 16
    3.4.3. Sales Channels 16
    3.4.4. Complementing AMCs 17
    3.5. Context 17
    3.5.1. Political (including Legal) 17
    3.5.2. Economic 17
    3.5.3. Social 18
    3.5.4. Technological 18
    4. Sustainability and Growth Strategy 19
    4.1. The HIM Model 19
    4.2. Maximizing Traditional Revenue Streams 20
    4.2.1. Physical Sales 20
    4.2.2. Music Publishing and Rights Management 21
    4.2.3. New Media Sales 21
    4.2.4. Artist Management 21
    4.2.5. Others 21
    4.3. Artist Discovery and Development Plan 21
    4.3.1. New Artists 22
    4.3.1.1. Discovery 22
    4.3.1.2. Training and Development 23
    4.3.1.3. Launching 23
    4.3.2. Breakout Artists 23
    4.3.2.1. Image Maintenance 23
    4.3.2.2. Managing Groups 24
    4.3.3. Mid-level Artists 24
    4.3.4. Top-line Artists 24
    4.3.5. In-house Songwriters and Lyricists 25
    4.4. New Revenue and Profitability Schemes 25
    4.4.1. Mainland China 25
    4.4.2. Licensing 25
    4.4.3. TV Drama Production 25
    5. Investment Plan and Financial Forecast 26
    6. Potential Risks 28
    7. References 29
    8. Appendix 30
    8.1. APPENDIX 1 HIM Artists – Profile Photographs 30
    8.2. APPENDIX 2 Dance to Fame Program Proposal 35
    8.3. APPENDIX 3 iPeer Multimedia International Ltd. Company Profile 38
    8.4. APPENDIX 4 HIM Top-line Artists’ Merchandise 39

    References

    Entertainment Industry in China Porter’s Five Forces Strategy Analysis. Aruvian Research. March 2008. [Retrieved] July 27, 2008, from http://www.researchandmarkets.com/reports/c65952.

    Global Entertainment & Media Industry Will Grow to $ 1.8 Trillion in 2010. 2006. [Retrieved] July 27, 2008 from http://www.metrics2.com/blog/2006/09/19/global_entertainment_media_industry_will_grow_to_1.html.

    Global Entertainment and Media Outlook: 2008-2012 Outlook. PriceWaterhouseCoopers. 2008. [Retrieved] July 27, 2008, from http://www.pwc.com/extweb/industry.nsf/docid/8CF0A9E084894A5A85256CE8006E19ED?opendocument&vendor=#rec.

    Innovations Changing the Face of Global Music Industry. Tony George. April 13, 2007. [Retrieved] July 26, 2008, from http://www.abc.net.au/news/opinion/items/200704/s1896190.htm.

    Subscription to the Cathay Global Entertainment Fund begins on July 21. July 10, 2008. [Retrieved] July 26, 2008, from http://tbm.cna.com.hk/readcbp.php?ID=200807101877&v_news=200807101893,200807101877,200807101873.

    Taiwan’s Music Industry Mourns Lost Profits. Joyce Huang. April 5, 2002. [Retrieved] July 26, 2008 from http://www.taipeitimes.com/News/front/archives/2002/04/05/130587.

    The Music Industry: From Major to Minor. January 10, 2008. [Retrieved] July 26, 2008, from http://www.economist.com/business/displaystory.cfm?story_id=10498664.

    Warner Music Group Annual Report 2007. January 2008. [Retrieved] July 26, 2008, from http://library.corporate-ir.net/library/18/182/182480/items/276802/WMG2007AR.pdf.

    無法下載圖示 此全文未授權公開
    QR CODE
    :::