Due to the fuzzy policy, the industry of cyber café in Taiwan has significantly presented to an atrophied situation since 2004. The industry rises and falls a slope which presents a dissimilarity result to that in the neighborhood nations, such as China, Japan or Korea. What is exactly the struggle in this industry in Taiwan? How to transform it? The thesis searches for the overall environment, the battle for Taiwan¡¦s cyber café, and the transformation strategy for the operators in the cyber café. This research adopted case study method in order to submit an entire analysis via a certain chain of Internet Café and the environment this industry has faced. It is the fact that the most competitive predominance is the ability of creativity and development in this case study recommended two suggestions. One is to adopt the Product Expansion Strategy for short-term, referring to expand a wide variety of products and augment the service. The other is to select a Market Development Strategy for long-term, taking advantage of the cyber café core system and its business model experience to expend the market of Southeast Asia. In competition, it is to use the Differentiation Strategy that makes its service be distinguished from the others and suggest the case study integrate its six new typical entertainments, Digital game, Digital Video, Digital Carol, E-learning, Digital Archives and Digital Read, into multiple services contributing to explore more consumers. It is expected that the Digital Content Entertainment Learning Center, transformed by the case study, combining the strength of its technical integration and its chain with the Digital Content the government promotes, is not only to enhance the positive value of cyber café in our society, but also to assist others cyber café to revise a business management so as to build up a blueprint for cyber café industry.

Underhållningsbranschen är en bransch som alltid arbetat i projektform. Trots det finns det inte tillräckligt med empiriska studier på projektledning inom underhållningsbranschen, speciellt inte i Sverige. Många författare menar att de teorier som finns kring projektledning är för ensidiga och inte kan tillämpas på alla former av projekt. För att öka kunskapen inom projektledning behövs därför fler empiriska studier inom olika typer av branscher. Projekt i underhållningsbranschen är intressanta, mycket på grund av att de till skillnad från andra branscher oftast lyckas hålla tiden. The show must go on. Syftet med denna uppsats är att utveckla en differentierad förståelse för projektledarskap inom underhållningsbranschen. Detta för att ge ett bidrag till den företagsekonomiska diskussionen kring projektledning samt öka den empiriska kunskapen inom denna typ av bransch. Studien är hermeneutisk och forskningsansatsen är abduktiv. Den empiriska undersökningen har genomförts genom fallstudier där kvalitativa ostrukturerade intervjuer har genomförts med fyra projektledare i underhållningsbranschen. Studien visar fyra olika typer av projektledare som alla har olika förhållningssätt till sitt projektledarskap. Deras projektledarskap har formats genom deras tidigare erfarenheter, deras personligheter samt påverkas av organisationens storlek. / The entertainment industry has always worked on a project basis. Still, there are not enough empirical studies on project management in the entertainment industry, especially not in Sweden. Many authors claim that the existing theories about project management are too one-sided and cannot be applied to all projects. To increase the knowledge of project management we need more empirical studies on various types of industries. Projects in the entertainment industry are interesting largely because they, unlike other industries, mostly manage to keep the time limit. The show must go on. The purpose of this paper is to develop a differentiated understanding of project management in the entertainment industry. The aim is to give a contribution to the discussion around project management in the field of business administration and to increase the empirical knowledge in this type of industry. The study has been addressed from a hermeneutic and abductive approach. The empirical study has been conducted through qualitative unstructured interviews with project managers in the entertainment industry. The study shows four different types of project managers that all have different approaches to their leadership which has been developed trough both past experiences and their personalities. How they lead their projects also depends on the size of the organization.

Hollywood: The Sequel provides an historical account of film sequelization and its importance to the domestic entertainment industry from a marketing standpoint. Based on an extensive literature revenue, it was conjectured that the ratio of domestic sequel‐generated revenue to overall domestic revenue from the 1950s‐2000s would follow a classic diffusion pattern. Utilizing historical trade data from Variety magazine, Excel and SPSS databases were developed to determine the percentage of sequel‐generated domestic box office revenue from 1954‐2006, relative to overall revenue. The formal hypothesis was that from the 1950s‐2000s the adoption of sequels in the 70‐highest‐performing films follows a diffusion s‐curve. The goodness‐of‐fit of the historical dataset (N=3,710) with the s‐curve estimation‐algorithm was measured against the goodness‐of‐fit of other widely utilized curve estimation‐algorithms and the linear‐regression model— the curve estimation algorithms utilized included logarithmic, inverse, quadratic, cubic, compound, power, growth, exponential, and logistic. Several content‐analysis intensive research questions were asked and explored in the dissertation including the following: Do Epstein‐scores for sequels in the 70‐highest‐performing titles per year increase from the 1950s‐2000s? In the event Epstein‐scores for sequels in the 70‐highestperforming titles per year increase from the 1950s‐2000s, what growth model provides the best fit with the historical data? What is the growth rate associated with minority representation in lead roles in sequels from the 1950s‐2000s? How have sequels with minority leads fared in terms of box office performance, versus sequels overall from the 1950s‐2000s? What is the growth rate associated with female representation in lead roles in sequels from the 1950s‐2000s? And, finally, how have sequels with female leads fared in terms of box office performance, versus sequels overall from the 1950s‐2000s? / text

Thesis (M.A.)--Baylor University, 2009. / Includes bibliographical references (p. 101-109).

Thesis (MScEng)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: "The goal of university research is the creation, dissemination, and preservation of knowledge." – Steven E. Hyman, Provost of Harvard University 2001–2011 The Department of Trade and Industry recently identified the media and entertainment industry as a strategic sector in South Africa because of its growing contribution to economic development through both local and foreign investments, export opportunities and job creation potential, as well as the significant spill-over possibilities in industries like tourism and retail usually associated with emergent industries. However, deficient research and development has been identified as one of the notable constraints to ensuring sustainability and competitiveness of local cultural industries, in which annual expenditure currently amounts to R100 billion. This emergent nature of South Africa’s cultural industries, their strategic importance as part of South Africa’s growth path as dictated by the government and the current dearth of academic literature concerning entertainment technology innovations instigated a three-tiered research objective: First, to determine whether this industry is a legitimate subject for engineering management study by examining its technology-foundation; second, to examine the impact which technological change has historically had on the industry, building on theories by Meza (2007) and Burgelman and Grove (2007); and thirdly, to provide an analysis of the global trend of contention and convergence between content creators and technology companies. Integrating these objectives into one deliverable, the ultimate aim of this study is to establish a synthesised knowledge base on the media and entertainment industry for the Department of Industrial Engineering with specific emphasis on the intersection between technological innovation and business model innovation. A hybrid multiple-case study research approach is utilised to answer eight research questions which contribute to this research goal. Four notable insights gained from answering these are (1) entertainment companies have historically reacted to technological change in a very particular manner, reducible to a four-phase process: invention, ascension, contention and sensation – referring to the observation that incumbent organisations’ response to disruptive innovations is usually one of trepidation, a reaction which leads to legal battles and subsequent contention between technology and media content companies yet simultaneously providing opportunity for inter- and intra-industry convergence and for new business models to be developed; (2) cross-boundary disruptors are those organisations which have the capability of influencing not only inter-industry organisations but also how business is conducted in entirely-different industries; (3) industry effects account for more than 60% of profit variance in the Entertainment and Lodging economic sector, justifying a study of entertainment companies from an industry perspective; and (4) because of digitalisation, the Internet, exponentially increasing computing power and the proliferation of networking capabilities, the media and entertainment industry is transitioning from a business model which is based on media-directed “push” relationships, fragmented audiences and the provision of passive consumption to one which provides ubiquitous immersive experiences, multi-device operability and value-based content which may be customised to consumer requirements. As Porter (2008b) suggests, a historical analysis may prove to be not only informative but also instructive. The synthesised knowledge base and deductions made from this historical examination of disruptive innovation management in the media and entertainment industry may consequently be used as a basis for future research, for which a few possibilities are offered. / AFRIKAANSE OPSOMMING: "Ons sal nie ophou verken nie, en die einde van al ons verkenning sal wees om te arriveer waar ons begin het maar om dan die plek vir die eerste keer te verstaan." — T. S. Eliot Die media- en vermaaklikheidsbedryf is onlangs deur die Departement van Handel en Nywerheid geïdentifiseer as 'n strategiese sektor in Suid-Afrika as gevolg van die groeiende bydrae wat hierdie industrie lewer tot ekonomiese ontwikkeling deur middle van plaaslike en buitelandse beleggings, uitvoergeleenthede en werkskeppingpotensiaal. Hierdie industrie beskik ook oor beduidende oorloopmoontlikhede in bedrywe soos toerisme en kleinhandel. Gebrekkige navorsing en ontwikkeling is egter geïdentifiseer as een van die vernaamste beperkings tot volhoubaarheid en mededingendheid van plaaslike kulturele industrieë, `n bedryf waarin jaarlikse besteding reeds R100 biljoen beloop. Die kombinasie van hierdie ontluikende aard van Suid-Afrika se kulturele industrieë, hul strategiese belangrikheid as deel van Suid-Afrika se Industriele Aksieplan en die gebrekkige akademiese literatuur met betrekking tot vermaaklikheidstegnologië het gelei tot 'n drie-ledige navorsingsdoelwit: Eerstens, om vas te stel of hierdie bedryf 'n legitieme akademiese onderwerp vir die ingenieursbestuur-dissipline is deur die aard en tegnologie-fondasie van die industrie te bestudeer; tweedens, om die impak wat tegnologiese verandering histories op die bedryf gehad het te ondersoek, met Meza (2007) en Burgelman en Grove (2007) se teorieë as fondasietekste; en derdens, om 'n analise te verskaf omtrent die wêreldwye mededinging en konvergensie tussen inhoudverskaffers en tegnologie-maatskappye. Geïntegreerd in een aflewerbare is die uiteindelike doel van hierdie studie om ‘n saamgestelde kennisbasis aangaande die media- en die vermaaklikheidsbedryf vir die Departement Bedryfsingenieurswese te lewer, met spesifieke klem op die ontmoetingspunt tussen tegnologiese innovasie en die innovasie van besigheidsmodelle. 'n Hibriede meervoudige-gevallestudie navorsingsbenadering is aangewend om uiteindelik agt navorsingsvrae te beantwoord. Hierdie vrae het gedien as riglyne om die doel van die tesis te bereik. Vier noemenswaardige insigte wat uit die beantwoording van hierdie vrae gekom het is (1) die vermaaklikheidsbedryf het histories op `n besondere wyse gereageer op 'n tegnologiese verandering, een wat gereduseer kan word tot 'n vier-fase proses: uitvinding, aanvaarding, mededinging en sensasie. Hierdie proses verwys na die waarneming dat bestaande organisasies aanvanklik met angs reageer tot ontwrigtende innovasies, 'n reaksie wat lei tot wetlike gevegte en daaropvolgende twis tussen tegnologie maatskappye en inhoudverskaffers, maar tegelykertyd geleentheid bied vir inter- en intra-industrie konvergensie sowel as vir die ontwikkeling van nuwe sake-modelle; (2) ontwrigtende innovasies bied geleentheid vir kruis-grens ontwrigters om die manier te beïnvloed wat ander organisasies, insluitende diegene in geheel-verskillende industrieë, besigheid doen (3) bedryfsfaktore is verantwoordelik vir meer as 60% van winsvariansie in die vermaaklikheidsbedryf, `n waarneming wat 'n studie van vermaaklikheidsbedryf vanuit 'n industrie-perspektief regverdig, en (4) digitalisering, die Internet, eksponensieel-groeiende berekeningspoed en die vermenigvuldiging van netwerke het veroorsaak dat die media- en vermaaklikheidsbedryf `n besigheidsmodelaanpassing moes ondergaan vanaf een wat gebaseer is op media-gerigte "stoot" verhoudings, gefragmenteerde gehore en die verskaffing van passiewe verbruik na een waar aanpasbare, waarde-gebaseerde inhoud alomteenwoordig beskikbaar is en verbruik kan word op veelvuldige toestelle volgens verbruikers se behoeftes. Porter (2008b) noem dat 'n maatskappy se geskiedenis nie slegs informatief is nie, maar selfs ook voorskriftelik. Gevolglik kan die afleidings wat gemaak is uit hierdie historiese ondersoek aangaande ontwrigtende innovasies in die media- en vermaaklikheidsindustrie gebruik word as `n fondasie vir toekomstige navorsing –`n paar aanbevelings hiervoor word in die gevolgtrekking van hierdie dokument gelys.

Digital technologies have profoundly reshaped many industries in the past years and we are continuously witnessing the creation of new ventures designing and serving entirely new markets. At the heart of these initiatives lies decisions to act, take risk and pursue ideas in the form of entrepreneurial opportunities. Much of the research on the journey from ideas to market has advanced from the idea that entrepreneurial agency emerges at the nexus of individuals and opportunities. In most academic work, opportunities are either assumed to be exogenous to the individual or socially constructed. Despite many valuable contributions in the field, the construct as it has traditionally been used only accounts for and explains opportunities once they have been realized. Hence, the established perspectives fall short in informing our understanding of how individuals actually act and make decisions that lead up to the identification and exploitation of opportunities that lack tangible premises. The question is therefore, how do we define and understand entrepreneurial opportunities before they have been realized and how do we make the construct empirically operable? The present study challenges and extends the conventional views of entrepreneurial opportunities by investigating what they are and how they emerge and evolve over time. By drawing upon in-depth qualitative data from a longitudinal study of the new venture creation process of a digital TV and film production firm, the thesis provides a reconceptualization of the opportunity construct. External enablers, a new venture idea, a business model and opportunity confidence are suggested as components that clarify what aspiring entrepreneurs actually mean when they talk about opportunities. Departing from these components, the thesis provides a framework describing opportunity development as an iterative process evolving through modes of sensemaking, sensegiving and sensebreaking. This framework adds to entrepreneurial process studies by extending the individual-opportunity nexus to include the actions and interactions between the entrepreneurs and the external environment in which they operate. The results lay a foundation for future theorizing and empirical inquiry into the early stages of new venture creation.

This research explores video tutorials for concept artists in the entertainment industry. Through websites such as Gumroad tutorials are today being sold and the problem is that there is no guarantee of the quality of the tutorials and people simply have to rely on the description of the product. The research question is: What is an effective video tutorial for concept artists in the entertainment and game industry and what elements contribute to what makes it effective? Five video tutorials were created based on a comparative study, and discussed during qualitative interviews with novice and proficient artists. The results say that parallels can be drawn between a person's proficiency, the content and the structure of the tutorial. If you understand these parallels you are able to create effective tutorials for specific audience groups.

This master´s thesis deals with the design of business strategy and its support through ICT. The strategy is designed for the potentially new company operating in the Escape Games market. The basis for the proposal itself is an analysis of the general environment, market environment and analysis of competitors. The proposal can be divided into two parts. The first part is devoted to the design of the framework for business, the second part deals with how the business strategy will be supported by ICT technologies.

Diploma thesis deals with competitiveness of lasertag facility. Costumer value creation is analysed based on value chain theory and compared with competition. Enriching of company product range by auxiliary services, mainly non-smoking club, is drawn up considering this and other analysis. Realization of these new ideas and evaluation of their success is also part of this thesis.

This dissertation presents innovative demand management techniques for service systems with limited resources. The first study analyzes demand management policies of animal shelters with limited Kennel space as a set of interacting stochastic queueing systems. In practice, there are two main policies being used, which we call "Kill" and "No-Kill" policies. In a "Kill" system, animals may be euthanized if a shelter is full. Many shelters have moved to a "No-Kill" policy, where they avoid killing for space and adopt other approaches to reduce supply and demand mismatch. Our goal is to provide insights on how No-Kill policies, such as coordination, adoption and neutering campaigns, help reduce the animals' killing rate so that the shelter management can choose the way to effectively solve their problems. In the second part, we consider a topic of demand management for the Sports and Entertainment (S&E) industry, called "Scaling the house", i.e., how to divide seats into zones for different prices to maximize revenue across the venue. From the data obtained from several performance venues in the U.S., we find ticket demand is impacted by locations of seats as well as by price. We characterize closed-form solutions for the optimal two-dimensional zoning decision (with row and column cuts) and the one-dimensional decision (with row cuts), and explore when each model should be applied. The third study considers pricing as a tool to manage demand for the S&E tickets. We develop dynamic pricing with demand learning models where demand is also affected by time left until the show dates. Since the show's popularity is usually uncertain to the seller, we propose a method to learn the overall popularity via Bayesian updates. We perform computational experiments to understand properties of the model solutions and identify when demand learning is most beneficial.