Warner Bros Research Articles

Research on Proprietary Intellectual Property Management and Marketing Model of Film and Television Companies: A Case Study Based on Warner Bros

This research explores the proprietary intellectual property (IP) management and marketing model in the film and television industry, with a particular focus on Warner Bros. The study aims to elucidate the complex strategies employed by Warner Bros. in the management, monetization, and marketing of its exclusive IPs, demonstrating the company's innovative approaches in this competitive landscape. The research is structured sequentially and examines Warner Bros.' IP management model, revenue streams, and marketing strategies. By closely examining these key elements, the study aims to identify the fundamental factors that contribute to Warner Bros.' success in intellectual property management, revenue generation, and marketing prowess. The insights derived from this comprehensive analysis are intended to provide valuable lessons and insights for industry professionals and researchers within the broader entertainment sector, offering a deeper understanding of the strategic intricacies and successful practices employed by Warner Bros. in navigating the complexities of the entertainment industry's IP-driven landscape.

Analysis of Financial Performances for Walt Disney: Based on Comparison with Netflix, Warner Bros and SONY

Analysis of Financial Performances for Walt Disney: Based on Comparison with Netflix, Warner Bros and SONY

VISUAL IDENTITY DESIGN IN ANIMATION PRODUCTIONS: EXAMPLE OF THE BATMAN SERIES (1992-1995)

Animated series for television have a long history. The first animation experiments began with short cartoons produced for the cinema in the 1920s and 1930s. However, it took a little longer for animation to become widespread and popular in the television environment. The 1950s and 1960s were the periods when animation became widespread on the television platform as television entered homes. During this period, Walt Disney, Warner Bros. Studios such as Hanna-Barbera and Hanna-Barbera began to present various animated series to television audiences; Especially the series produced by the Hanna-Barbera studio attracted great attention from television viewers, and many classic productions appeared during this period. It is also seen that the first visual identity designs for animation series were produced during this process. Visual identity has the power to leave a lasting impact on popular culture and is thought to play a key role in the success of animated series. From this perspective, research constitutes an important issue. Within the scope of the limitations of the study, only milestone animation series produced in the United States were discussed, and the aim was to analyze samples and convey expert opinions within the framework of the descriptive analysis method. Batman: The Animated Series (1992-1995), which constitutes the sample of the research, was examined in terms of visual identity elements such as logo, typography, episode covers, and color palette. It has been concluded that visual identity elements are also important in the branding process of animation series, in addition to technical details such as story, scenario, fiction and graphics; In addition, it is aimed to create a Turkish resource for relevant stakeholders.

A Case Study in Disney Compared with SONY, Warner Bros and Paramount

Film, as a form of cultural art, has been continuously developing since its inception. With the changes of the times and the progress of technology, film art has gradually penetrated into people's hearts and become an indispensable part of modern cultural life. In this context, film research has gradually become a subject of widespread concern. And film companies are significant basis for the support of the industry. This article will analyze and make judgments based on the operating conditions and achievements of some major film companies recently. And based on the research, this article will provide reference opinions for the future development of enterprises. This article selects Disney, Warner Bros, Sony, and Paramount as the analysis objects. In the end, a recommended invest choice will be given after analysis. And there will be SWOT analysis in this industry. Finally, some suggestions will be provided at the end of the article.

Financial Analysis and Risk Study of Global Film Companies: A Case Study of Warner Bros. Entertainment, Inc

The income of the film industry mainly depends on the box office, but the COVID-19 epidemic in the past three years has led to the suspension of cinemas in many regions, the postponement of films under production, and the postponement of the release of films, which has the most direct impact on the film industry. Therefore, this paper takes Warner Bros. Entertainment as an example, this paper introduces the reasons why the film industry is chosen and why Warner Bros. Entertainment is chosen. At the same time, through the introduction of Warner Bros. and the trend of its financial data in the past five years, we can analyze the possible crises and opportunities that the company may encounter. At the same time, we also conducted an industry analysis of the global film industry through this company and gave the specific crisis and the formation of opportunities.

The Future Is Furby

The Future Is Furby

Adaptations versus original film premieres trends in broadband society: a comparative analysis

In the era of the Broadband Society, cloud journalism, and streaming, the film industry is trying to modify traditional distribution channels. The adaptation of literary classics was one of the most widespread practices to obtain well-known, quality material for new productions. The objective of this research is to understand empirically what differences are involved in industry’s major production and distribution companies’ choice between adapting preexisting material or creating an entirely new film, as well as the benefits of adaptations. The methodology is comparative and quantitative, consisting of collecting data on films from the five major distributors (Universal, Warner Bros, Disney, Sony, and Paramount) from 2010 to 2019 and analyzing variables to detect market trends related to adaptations during that decade. We observed a higher percentage of adaptations as well as correlations between adaptations and film genre, distributor and genre, adaptations and awards, awards and genre, and genre and the film’s evaluation, as well as between distributor and average budget, adaptations and budget, adaptation and opening weekend box office takings, genre and profit, adaptations and worldwide box office revenues, ratings and worldwide box office takings, and awards and worldwide box office takings; however, this was not observed between adaptation and profit and the breakeven point. It is concluded that, despite the fact that the trend of using this practice has not increased in recent years, it provides a great advantage compared with debuting new intellectual property.

Women in media: ‘Planting and watering the seeds for change’: A conversation with Domizia De Rosa

Domizia De Rosa joined the Warner Bros. group in 1995 and was promoted to executive director at Warner Bros. International Television Italia Srl. in 2014. The president of Women in Film, Television and Media Italy (WIFTMI) since 2021, De Rosa is committed to promoting gender equality in the Italian audio-visual and media sectors. In this interview, she talks about her career as a woman in a position of authority in the media industry and how she gradually rose through the ranks to become an executive director of the Warner Bros. Entertainment Italia group. She also explains the reasons for the asymmetrical presence of women in television, illustrates the goals of the Code of Ethical Conduct for the Audio-Visual Sector that was established in 2021 and discusses the value of ‘creative intimacy’ as the synthesis of personal experiences precious to building a community of creative professionals.

Lex TVN. Przebieg debaty publicznej

“Lex TVN” is not a legal term, but a popular one referring to an amendment in 2021 of the Article of the Polish Broadcasting Act, providing for conditions of granting a broadcasting licence to a foreign owner. This, amendment conditioned the granting of the said licence to entities “whose registered office or address of residence is located in the Member State of the European Economic Area”. The Polish TV company TVN did not meet this condition, being owned by the American Discovery Holding Company (now Warner Bros. Discovery). This amendment was put through the Sejm and the Senate, and then, in December 2021, was vetoed by the President. The author presents the turbulent fate of the unsuccessful modification, evoking violent political emotions, as reflected in the Polish digital media. He emphasises the rationale of the governing party and the opposition, expressed in the statements of politicians, and in articles and comments of journalists. In the conclusion, the author characterises the polarisation of political attitudes of Poles as the audience of channels promoting the position of the government (Polish Television TVP) or the opinions of the opposition (TVN). He also discusses the problem of the politicisation of law, and the pressure effected on the national law by interests of global corporations.

Public Relations Officer on Screen: An Analysis of Professional Practices of Public Relations Officers in the Industry

This study attempts to dissect the tendency to depict public relations institutions in the films produced by Warner Bros and Columbia Pictures. These two production houses are listed as the companies that most often release new films in America. Characters who have profiles as public relations institutions appear in films produced by different production houses. The research will be conducted by taking film samples in the 2010-2019 period. The selection of this year's range is based on previous studies that also used content analysis to look for trends in the depiction of the public relations profession in films in the period 1990-2000 and 2000-2009. This study uses a quantitative approach with descriptive type and uses the method of content analysis. The results show that there are differences in content on the characteristics of the PR profession, the type of campaign in The Social Network and Our Brand is Crisis films. Then on the indicators of the aspect of persuasion, there are similarities from the aspect of persuasion used in the practice of the PR profession.

Artificial anatomy.

Artificial anatomy.

Türkiye'de Gişe Performansının Belirleyicileri

The film industry has great importance for both global and local economies. In the process, movie studios and producers try to predict box office success due to financial risk management. It is necessary to increase knowledge about the factors affecting the box office of a movie and the relationship between factors. The purpose of this paper is to analyze the determinants of box office revenue in the movie industry in Turkey. The study sample consists of 1,178 movies released and the time spans between 2015 and 2019. Based on the findings, an increasing number of theaters and weeks, sequels and school breaks have a positive and significant effect on total revenues. In addition, if movies are released in November, December, January, and February, they show good financial performance. The results also indicate audiences prefer science-fiction, fantasy, and biography movies. Finally, the movies in the market distributed by Warner Bros. Pictures (WB) and United International Pictures (UIP) have a positive and significant effect on total revenues.

Analysis of the development of the Big Five companies in the movie industry

Power Warner Bros. Discovery, Inc. is an American multinational mass media and entertainment conglomerate. The company was formed through the merger of WarnerMedia and Discovery, Inc., completed on April 8, 2022. Based on my studies on the equities of directors of this company, I learnt and observed that there is a certain connections between the non-employee directors’ salaries and the performance of the company since there might be a incentive mechanism in the payment system, By analysing the performance of Warner Bros Disc and several other leading companies in the industry by using Porter’s Five Forces model and a table that visually shows the trend of change of the salaries of the directors, I got a conclusion that the companies listed in my study have long-term sustainability to develop in the movie industry and the assumption has been proved. Moreover, there is a positive relevance between the non-employee directors’ salary structure and the strength and potential of a company that as the compensation policy tends to be less performance-based.

Making Space for Music

Max Steiner met Robert Wise, future director of West Side Story (1961) and The Sound of Music (1965), at RKO in the early 1930s. While Steiner served as composer and music director for films like Of Human Bondage (1934), The Gay Divorcee (1934), The Informer (1935), and Top Hat (1935), Wise helped manage the soundtrack as an assistant sound and music editor. After Steiner left RKO in early 1936, Wise stayed on at the studio to advance through the ranks of film editor and director before reuniting with Steiner at Warner Bros. for the melodrama So Big (1953) and sword-and-sandals epic Helen of Troy (1956). Drawing on original archival research, this article reconstructs a partnership that briefly flourished at different stages of their careers. At RKO, Wise learned the trade while observing Steiner’s ground-breaking efforts as a composer. By the 1950s Wise was rapidly growing in renown as a director, as signaled by his assignment to the generously budgeted Helen of Troy. In contrast, Steiner faced pay cuts and the termination of his contract at Warner Bros. Steiner’s two productions with Wise boosted Steiner’s lagging career while also illuminating the ways in which shifting aesthetics and production practices in Hollywood had left Steiner at a disadvantage. Whereas So Big represented a throwback to films like Cimarron, which Steiner had scored at RKO in 1931 (both based on Edna Ferber novels), Helen of Troy marked a new emphasis on visual and aural spectacle, with an epic narrative told through CinemaScope, stereophonic sound, and a cast of thousands. Writings on director-composer partnerships tend to emphasize the formation of a distinctive sonic style, in the manner of Alfred Hitchcock and Bernard Herrmann. Steiner and Wise, in contrast, were consummate studio employees, eager to serve productions that ranged widely in topic, genre, and budget. Studying their brief partnership in the 1950s reveals how two individuals well versed in the workings of the Hollywood studio system managed to help each other navigate its dismantling in the 1950s.

Research on Warner Bros.’s Consumer Behavior and Marketing Strategy

Warner Bros. is now one of the most well-known entertainment companies worldwide. They should perform on and off-screen to provide consumers with spiritual and emotional pleasure. Nowadays Warner Bros are competing with many successful entertainment companies for market occupancy. To win, they need to win the consumers’ preference. In order to better satisfy consumers’ needs, Warner Bros Should change consumer’s behavior and set proper marketing strategy.

Serving Up Sound: Treadwell mixes it up at warner bros. studio

Form a band, hit the recording studio, and make it big in the entertainment business; it’s the dream of garage bands, American Idols, and <italic xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">The Voice</i> contestants around the world. But joining a band in Smyrna, Georgia, provided an unexpected detour to success for Warner Bros. Studios Automated Dialogue Replacement (ADR) Mixer Tami Treadwell.

Hollywood’s Embassies

Hollywood’s Embassies

‘Somewhere between science and superstition’: Religious outrage, horrific science, and The Exorcist (1973)

Science and religion pervade the 1973 horror The Exorcist (1973), and the film exists, as the movie’s tagline suggests, ‘somewhere between science and superstition’. Archival materials show the depth of research conducted by writer/director William Friedkin in his commitment to presenting and exploring emerging scientific procedures and accurate Catholic ritual. Where clinical and barbaric science fails, faith and ritual save the possessed child Reagan MacNeil (Linda Blair) from her demons. The Exorcist created media frenzy in 1973, with increased reports in the popular press of demon possessions, audience members convulsing and vomiting at screenings, and apparent religious and specifically Catholic moral outrage. However, the official Catholic response to The Exorcist was not as reactionary as the press claimed. The United States Conference of Catholic Bishops’ Office of Film and Broadcasting (USCCB-OFB) officially and publicly condemned the film as being unsuitable for a wide audience, but reviews produced for the office by priests and lay Catholics and correspondence between the Vatican and the USCCB-OFB show that the church at least notionally interpreted it as a positive response to the power of faith. Warner Bros. Studios, however, were keen to promote stories of religious outrage to boost sales and news coverage – a marketing strategy that actively contradicted Friedkin’s respectful and collaborative approach to working with both religious communities and medical professionals. Reports of Catholic outrage were a means of promoting The Exorcist rather than an accurate reflection of the Catholic Church’s nuanced response to the film and its scientific and religious content.

Fury Road: Medical Physics Education Using Film

As part of a public education outreach effort, an introduction to the health effects of ionizing radiation and the field of medical physics was developed by a clinical medical physicist. The presentation was delivered to a broad public audience in 2019 (prior to COVID-19 safety concerns) through a community outreach science literacy program that pairs popular films with educational material. The program is a collaboration between a local science center and a community movie theater, and includes content developed by a keynote guest scientist and the screening of a popular film. The film chosen for the medical physics curriculum was “Mad Max: Fury Road” (Warner Bros. Pictures, Burbank, CA), which takes place in a fictional post-apocalyptic environment with widespread radiation contamination. The lecture introduced the audience to concepts of ionizing radiation, DNA damage from radiation, risk models, historical significance, ionizing radiation in the film, and ionizing radiation in our world (including therapeutic medical applications). A panel of clinical medical physicists answered audience questions following the film screening. Event attendance was high, with ticketed and lecturer seats occupying 98% of the theater’s seating capacity. Informal feedback from audience members indicated attendees had an increased interest of the field of medical physics following the program. The described education and outreach format may be used by educators interested in similar opportunities in their own communities, and also may be adapted as an entertaining and accessible installment of a physics club, seminar, or colloquium event in more formal educational settings. The electronic lecture slides are available for download as supplementary materials.

Cinematic blueprint on Social Media: A comparative analysis

This paper aims to analyze the activity of the three biggest movie studios in social media, 20h Century Fox, Warner Bros and Universal Studios, and how that is affecting in the numbers and importance of each. Through deep searches, professional advice and the use of some statistic programs, we were able to pull out some interesting assumptions that will be discussed. We have focused in different parts of each Social Media since, we think, each one is designed to fulfill one specific aspect, for example create discussions or just present a piece of work or trailer in our case. With that approach we expect to determine which of the companies has understood better the way they have to be used and if they had won any kind of advantage through the good use of this medias presented as more interaction between themselves and the viewers and a more effective way to present their products. We conclude a correlation between movie studios impact and social media in terms of posts and comments. YouTube is the main social media for movie studios companies.