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Entertainment Firms and Organization Theories

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Handbuch Unterhaltungsproduktion

Zusammenfassung

The organizing of entertainment, and especially television production, has not received much scholarly attention so far. Thus, this area shares the fate of media companies in general, which have been largely neglected by the field of organization studies – despite the fact that some media scholars place the roots of the field of media management in organizational studies (Hollifield and Coffey 2006). The question is, of course, whether the organizing of entertainment – here more specifically focused on TV – displays any characteristics which make it different from other types of organizations and therefore worthwhile to study. The obvious answer is ‚yes‘. One of the most significant changes in the organizing of television production and broadcasting in Europe is the transformation from monopoly Public Service broadcasters producing all content inhouse, to an industry where the supply chain is broken down into specialized actors delivering commissioned content to both commercial and public broadcasters. Commercial TV organizing differs from other organizations as it is characterized by a project orientation in production, which needs to carefully calculate the risks of producing a certain format, as audience numbers will decide upon the productions’ future immediately after airing it.

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Authors
  1. Leona Achtenhagen
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  2. Maria Norbäck
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Katja Lantzsch Klaus-Dieter Altmeppen Andreas Will

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© 2010 VS Verlag für Sozialwissenschaften | GWV Fachverlage Gmbh

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Achtenhagen, L., Norbäck, M. (2010). Entertainment Firms and Organization Theories. In: Lantzsch, K., Altmeppen, KD., Will, A. (eds) Handbuch Unterhaltungsproduktion. VS Verlag für Sozialwissenschaften. https://doi.org/10.1007/978-3-531-92252-2_3

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  • DOI: https://doi.org/10.1007/978-3-531-92252-2_3

  • Publisher Name: VS Verlag für Sozialwissenschaften

  • Print ISBN: 978-3-531-16001-6

  • Online ISBN: 978-3-531-92252-2

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