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RETNI

N A T OI

N A L

ww w.V i de gAo .e org

THE BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION

May 2017 - VOL. 37 NO. 3 - $9.75

W

hat began as a means of

communication intended

to bring people from

around theworld together has grown

into a vehicle for instilling fear. The

recentOscarsmishapand subsequent

death threats the Pricewaterhouse

Coopers accountants received are

a prime example of the dangers of

social media in this day and age.

This

incident

shows

how

emotionally attached people become

to movies and how some act out

when the results aren’t in their favor,

similar to threats athletes (and their

families) have received for mistakes

made during an important game.

The individuals who threatened

the accountants were fortunately

venting frustration and the threats

themselves held no credibility.

But, this is only the tip of the

iceberg. I predict many more threats

will follow, especially since the

framework has been created and

highly publicized, thus inspiring

others. Social media threats are

something industry folks must be

aware of and prepare for.

Armed Against Alarming Social Media Threats

(Continued on Page 34)

My 2¢: Social media mania is maniacal and getting unmanageable Sección en Español: Asia y fútbol, mundo digital, SportelAmerica L.A. Screenings: Who’s screening what at the InterContinental L.A. Screenings: New season’s pilots are here with all their potential Page 46 Page 25 Page 14 Page 8

S

usan Bender is

VideoAge

’s 17

th

International TV Distribution

Hall of Fame honoree, and

the first woman to receive such an

honor. Since 1969, she’s handled

male-dominated Latin America

without speaking Spanish, for

Metromedia, Paramount, Harmony

Gold and her own company. “It was

no different really than handling

Japan and not speaking Japanese!”

she explained.

SusanLeighBender: Int’lTVDistribution HallofFameHonoree

(Story on Page 40)

(Continued on Page 36)

A

dministering and keeping

track of rights management

is a nightmare for content

distributors, especially the studios.

It was simple when there were only

a few rights to sell and windowing

was easy (sales were often made

by handshakes), but now the film

and television industry is dealing

with more than 80 rights for a good

number of programs.

Companies with deep pockets

often use accounting firms to devise

some sort of rights management

program, but it doesn’t guarantee

that they’ll succeed. In fact, there

Managing More Than 80 Rights Is Very Costly

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