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Unit 7 : Understanding the creative media sector. Dante O’Connor. Task 1 : structure and ownership of the media sector. For this assignment, I have been instructed to look at two companies in the media sector, so I have chosen my two favourites; Lionsgate and Ghost House Pictures.

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Unit 7 : Understanding the creative media sector

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task 1 structure and ownership of the media sector
Task 1 : structure and ownership of the media sector
  • For this assignment, I have been instructed to look at two companies in the media sector, so I have chosen my two favourites; Lionsgate and Ghost House Pictures.
  • I have chosen these two companies because they have produced several of my favourite films:
  • Lionsgate:
  • The Saw Franchise
  • Cabin in the Woods
  • The Cube trilogy
  • Ghost House:
  • The Grudge
  • 30 Days of Night
  • Boogeyman

Ghost house

  • Images from IMDB (http://www.imdb.com/)
task 1 structure and ownership of the media sector1
Task 1 : structure and ownership of the media sector
  • Lionsgate
  • ‘Lionsgateis the leading independent producer and distributor of motion pictures, television programming, home entertainment, family entertainment, video-on-demand and digitally delivered content. Its prestigious and prolific library of nearly 12,000 motion picture titles and television episodes is a stable source of recurring revenue and is a foundation for the growth of the Company’s core businesses. The Lionsgate brand name is synonymous with original, daring, quality entertainment in markets around the globe(1).’
  • Company value: Lionsgate is a nearly $2 billion(2)entertainment industry
  • Number of employees: 486 full-time employees(3)
  • Ownership: Public company with ownership by shares(4)
  • Website: http://www.lionsgate.com
  • http://corporate.lionsgate.com/index.asp
  • http://corporate.lionsgate.com/Division.asp
  • Lionsgate Annual Report 2011
  • http://en.wikipedia.org/wiki/Lions_Gate_Entertainment
task 1 structure and ownership of the media sector2
Task 1 : structure and ownership of the media sector
  • Ghost House
  • Company value: (2)
  • Number of employees: (3)
  • Ownership: Ultimately owned by Lionsgate, it is under the umbrella of Mandate Pictures as a joint venture between filmmakers Sam Raimi, Rob Tapert, Nathan Kahane, and Joe Drake(4)
  • Website: http://www.ghosthousepictures.com/
  • http://www.mandatepictures.com/
  • (1) http://www.mandatepictures.com/CoporateOverview.aspx
  • 4 http://www.mandatepictures.com/Studio.aspx?sid=85ae9714-f144-480a-aeae-2802e972ccd8http://www.distributorreportcard.com/Ghost+House+Pictures
task 2 ethical and legal constraints within the media sector
Task 2 : ethical and legal constraints within the media sector

What is good taste?

  • Good taste is that which does not alienate your peers

Grayson Perry

Good Taste – Adj. 1 - in good taste - satisfying generally accepted social or esthetic standards


  • Meet the censors: Who decides what's beyond the pale?
  • They have the power to ban a film, withdraw an advert or shut down a website.
  • Holly Williams 
  • British Board of Film Classification
  • Internet Watch Foundation
  • Advertising Standards Authority
  • Ofcom


film ratings
Film ratings
  • BBFC:
  • As a highly expert and experienced regulator, our mission is to:
  • protect  the public, and especially children, from content which might raise harm risks
  • empower the public, especially parents, to make informed viewing choices
  • recognise and respect adult freedom of choice within the law
  • respond to and reflect changing social attitudes towards media content through proactive public consultation and research
  • provide a cost-effective, efficient classification service within our statutory remit
  • work in partnership with the industry to develop innovative service models to provide content advice which support emerging media delivery systems
  • provide an effective service to enforcement agencies


rating universal
Rating: universal
  • Suitable for all
  • It is impossible to predict what might upset any particular child. But a ‘U’ film should be suitable for audiences aged four years and over. ‘U’ films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.
  • If a work is particularly suitable for a pre-school child to view alone, this will be indicated in the Consumer Advice.
rating parental guidance
Rating: parental guidance
  • Parental guidance
  • General viewing, but some scenes may be unsuitable for young children.
  • Unaccompanied children of any age may watch. A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensitive children.


rating 12 12a
Rating: 12/12a
  • Suitable for 12 years and over
  • Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.
  • The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.
  • The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.


rating 15
Rating: 15
  • Suitable only for 15 years or over
  • No-one younger than 15 may see a ‘15’ film in a cinema. No-one younger than 15 may rent or buy a ‘15’ rated video work.


rating 18
Rating: 18
  • Suitable only for adults
  • No-one younger than 18 may see an ‘18’ film in a cinema. No-one younger than 18 may rent or buy an ‘18’ rated video work.


rating r18
Rating: r18

To be shown only in specially licensed cinemas, or supplied only in licensed sex shops, and to adults of not less than 18 years.

The ‘R18’ category is a special and legally restricted classification primarily for explicit works of consenting sex or strong fetish material involving adults. Films may only be shown to adults in specially licensed cinemas, and video works may be supplied to adults only in licensed sex shops. ‘R18’ videos may not be supplied by mail order.


film censorship
Film censorship

The watershed

  • According to Ofcom, the watershed on free-to-air television in the UK is between 21:00 and 05:30


  • Ofcom is the communications regulator.
  • They have responsibility for ensuring that:
  • television and radio services are provided by a range of different organisations;
  • people who watch television and listen to the radio are protected from harmful or offensive material;
  • people are protected from being treated unfairly in television and radio programmes, and from having their privacy invaded; and
  • the radio spectrum (the airwaves used by everyone from taxi firms and boat owners, to mobile-phone companies and broadcasters) is used in the most effective way.




  • Complaint from: 84 viewers
  • A commercial for Tango Orange showed a group of orange-haired men mocking a youth for not being a Tango drinker. Closely surrounding the youth and jeering at him, the men repeated back to him, through toy megaphones, all his words and sounds, reducing him to tears of frustration as he begged them to stop. The commercial ended by encouraging viewers to send off for a Tango megaphone so they could "join in the fun".The complainants all objected that this was likely to condone or encourage children and teenagers to bully others. Several pointed out that the boy was overweight and that such children were often the target of bullying. Some had been the victims of bullying or were closely involved, typically as parents or teachers, with children who had been bullied.




  • The actor James Cordon
  • Britvic drinks
  • Director Jeff Stark
  • BACC (Broadcasting Advertising Clearance Centre)
  • ITC (Independent Television Commission) (Ofcom)




  • It was banned because:
  • the youth was overweight and therefore part of a group who often are victims of bullying.
  • the bullying technique shown - unrelenting repetition of what the victim says - is, the ITC understands, a fairly common real-life method of torment. 
  • the advertisement appeared to offer the megaphone specifically so that viewers could join in similar behaviour. The advertiser disputed this, saying that the invitation to join in the fun was intended simply to mean the fun of using the megaphone in other, harmless ways. The ITC did not accept that this intention was clear. 


task 4 employment opportunities
Task 4 : employment opportunities

Jobs in film

  • Film Job Profiles
  • Accounts
  • Art Department
  • Camera
  • Casting
  • Catering
  • Construction
  • Costume
  • Direction
  • Distribution
  • Editing & Post Production
  • Exhibition
  • Hair and Make-Up

Health and Safety





Post Production Sound

Production Sound

Production Office


Publicity / Stills



task 4 employment opportunities1
Task 4 : employment opportunities


  • Armourer
  • Dressing Props
  • Greensman
  • Properties Department
  • Property Master
  • Prop Maker
  • Prop Storeman
  • Standby Props


task 4 employment opportunities2
Task 4 : employment opportunities

Prop Maker

  • sponsibilitiesProp Makers are given instructions, designs or rough ideas by the Production Designer, Art Director or Property Master, prior to the shoot. From these designs Prop Makers must plan and create the props necessary for production. They may carry out their own research into the style and specifications of the props required. On period films, this may also involve investigating how the objects would have been created during a particular historical period, and within a specific culture. Liaising with Production Buyers, Prop Makers acquire the necessary tools and materials needed to make the props. Prop Makers make the props, working within budget, and to strict timescales. They may also adapt hired or bought in props according to the production's requirements. They normally produce a minimum of two of every item, in case of damage. During the shoot Prop Makers may be responsible for operating any special props, or for instructing Actors in their operation. 



SkillsProp Makers must be flexible and versatile, able to work with imagination and ingenuity. They need creative problem solving skills, and must be open to new ideas, and to learning new skills and techniques. The ability to work to external deadlines, under their own initiative, is essential, as is an eye for detail and accuracy. Working as part of the larger Properties Department, and at times as part of a Prop-making team, Prop Makers must have good communication skills and enjoy interacting with others. As they work with hazardous equipment and materials, an in-depth understanding of the requirements of the relevant Health and Safety legislation and procedures is vital to the role.Prop Makers should have a wide knowledge of the basics of Prop Making: technical drawing, a good knowledge of computer design packages, the ability to work safely with typical industry materials (e.g., fibreglass, latex, foam, polystyrene, wood, cotton and steel), and the ability to work with a variety of different machinery and tools. Prop Makers may also have specialist skills, such as: sign writing, upholstery work, mould work, woodturning, sculpture, casting, furniture making, modelling, electrical engineering and electronics, working with papier-mâché, etc. 



Qualifications/ExperienceProp Makers need no standard qualifications or specific training. However, they should have a background and/or qualification in Art and Design, or Model making, and experience in the basics of Prop Making. Many Prop Makers train in Stage and Set Design, or Stage Management, or complete a Theatre Technician's course in Performing Arts. They may also have a more specialised background or training, e.g., in Graphic Design, Furniture Making, Fine Art, etc. Alternatively, Prop Makers may have started in junior roles in the Art department and learnt their skills on the job.




  • Your talent and skills are more important than your formal qualifications, although many prop makers choose to take an art-based or technical theatre course before looking for work.
  • In the theatre you would typically start as a props assistant, or in film/TV you would often start as an art department trainee. The key to finding a trainee job is to gain practical experience (for example, from student productions, or from amateur theatre) and to build contacts with set designers and other people in the industry.




  • Freelance work is usual and rates can vary widely. You could negotiate fees based on the type of production and your own track record. Film and TV are usually better paid than theatre work.


lionsgate jobs
Lionsgate Jobs


helpdesk operator
Helpdesk Operator

About the Job

Lionsgate has an immediate opening for a Helpdesk Operator who is an organized, methodical, and a team player with excellent communication and interpersonal skills. The ability to follow through on assigned tasks and maintain a high level of customer service is very important.   In this position, your time will be spent coordinating all Helpdesk traffic.


·         Provide first response support to end users via phone and/or email.  First call resolution (if possible).

·         Communicate with end-users to determine the issue and match with the right I.T. resource(es).

·         Open and close incident/work order tickets with sufficient information in a timely manner.  Keep Helpdesk Inbox item count down to a minimum.

·         Prioritize support calls and escalate support issues as necessary.

·         Coordinate outsourced support for remote offices/users.

·         Coordinate moves with Office Services department.

·         Helpdesk work order report design and generation for upper I.T. management.

·         Maintain asset data and produce reports when needed.

·         Possible weekend support at times.


·         Minimum: 1 year of call center or Helpdesk intake experience.

·         Minimum: 2 years of desktop troubleshooting experience.

·         Excellent organizational skills.

·         Excellent multitasking skills.

·         Excellent interpersonal skills.


inventory reconciliation coordinator
Inventory Reconciliation Coordinator

About the Job

Lionsgate is the leading next generation filmed entertainment studio and is a major producer and distributor of motion pictures, home entertainment, family entertainment, television programming, video-on-demand and digitally delivered content.

Lionsgate has an opening for an Inventory Reconciliation Coordinator to work in our Operations department. This position will be responsible for analyzing, reporting and processing inventory adjustments and reconciling inventory for all Finished Goods and Raw Materials between SAP and JDE and all components between SAP and AS400.  This position is also responsible for fixing and processing failed IDOCs, and correcting back-flushing in the JDE/SAP systems. Other duties include working with the Accounting department on various reports and projects. 

The successful candidate will have a proven ability to work as an integral part of a team with excellent interpersonal, analytical and both verbal and written communication skills.   Must be proficient in Microsoft Excel and PowerPoint, with a good understanding of SAP R/3 and BW.  Candidates should be highly organized, detail-oriented, able to interact effectively with various levels of personnel, and able to thrive in a fast-paced deadline driven environment. A college degree in Business and/or Management is preferred.


on demand digital coordinator
On Demand Digital Coordinator
  • About the Job
  • Lionsgatehas an immediate opening for an On-Demand Digital Coordinator.  As a member of the staff, you are expected to support sales, marketing and operations in all segments of business.  In the course of day to day activity, you will oversee client relationships with existing partners, meeting their day-to-day needs and anticipating new opportunities, helping creatively market Lionsgate content to end consumers.
  • In support of these functions, you will be part of a dynamic team in a rapidly growing segment of our industry. Required skills are:  the ability to enthusiastically pitch and “sell-in” titles, the ability to present eloquently – both internally and externally; strong passion/knowledge for Lionsgate movies, TV and the industry as a whole; the ability to evaluate and problem solve within the complex areas of distribution; interpret financial data, and to draw conclusions; track competitive titles and industry trends.
  • Our small collaborative group bridges the worlds of sales and marketing to grow our business and the business categories as a whole. We are passionate, aggressive problem solvers, and we believe in pushing the envelope while maintaining integrity. (We have a lot of fun, too.)
  • Desired skills:
  • •           2-3 years of experience in sales and/or marketing within the entertainment industry required (film/TV preferred)
  • •           Cable, satellite or digital experience/relationships strongly preferred
  • •           Exceptional communication and presentation skills
  • •           Strong analytical mindset and comfort with Excel – while you won’t be generating complex financial reports you must be able to request, view and interpret
  • them
  • •           Ability to juggle competing priorities, and to think strategically and to translate those thoughts into action plans
  • •           Adept at forging and maintaining relationships in a way that builds trust, fosters innovation, solves problems and reflects the integrity and core values of
  • our department and Lionsgate
  • •           Upbeat personality and a passion for learning
  • •           A true self-starter
  • •           Powerpoint and Excel expert; overall command of Microsoft Office suite of products; a fan of film and TV (including Lionsgate properties); someone who
  • uses or has genuine interest in digital, mobile, cable technology and the changing landscape of media



Inventory Reconciliation Co-ordinator

Salary Estimate

£20,000+ (543)

£40,000+ (170)

£60,000+ (23)

£100,000+ (5)

£150,000+ (4)


Digital Co-ordinator - Salary Estimate

£20,000+ (202)

£40,000+ (33)

£60,000+ (7)

£80,000+ (2)

£240,000+ (1)


Helpdesk Operator –

Salary Estimate

£20,000+ (101)

£40,000+ (20)

£100,000+ (3)