The film distribution chain has changed drastically in the past ten years. With the meteoric rise of home streaming services like Netflix, HBO Go and Amazon Prime, people are changing the ways they engage with movies. They prefer to consume films at home (at a reduced or no cost) through personal devices rather than regularly patronizing theatres and enjoying the cinema experience. Vancouver startup 20 Year Media aimed to address this pressing issue by developing technologies that could aggregate film demand and deliver these insights to theatres so that they could program their screens and market their events more effectively. The idea is that this demand-driven model would resuscitate ticket sales and “make movies social again.” This report outlines my contributions to 20 Year Media as their Marketing Intern and later on, Content Specialist, from May 2014 to April 2015. It will present how I was able to establish and engage both moviegoer and exhibitor audiences for the innovative company with my flexible promotional content strategy. It will describe how I was able to consolidate marketing, public relations and community management roles with a focused and resourceful content plan and ongoing audience research.
This report is a case study of a new publishing model entitled structured modular content,adopted by the Continuing Legal Education Society of British Columbia in order to upgrade theiroutdated production system that did not allow for easy reuse of content. In order to implementthis new publishing concept, the Society initiated a project entitled Content Strategy, with theobjective to publish material in independent modules that can be easily recycled. Through thisproject, the Society had to convert all of their content to XML DITA, an open standardfor structuring, developing, managing, and publishing content, with the help of DITA CMS, acomponent management system. This report studies what structured modular content is and howit works, the challenges that the Society encountered while converting their content and how theyovercame them and the new possibilities that structured modular content provides: new products.
This report stems from a joint commemoration in 2015 of the fiftieth anniversary of the opening of Simon Fraser University and the five-hundredth anniversary of the death of pioneering Renaissance publisher and scholar Aldus Manutius. To mark these occasions, Publishing@SFU and SFU Library Special Collections joined forces to create a web-based resource comprising an outstanding selection of Aldines from the Wosk–McDonald collection, one of the largest such in North America. This report details the creation of Aldus@SFU, a prototype digital exhibition of the collection intended to be as widely accessible as possible on the Internet through ubiquitous technologies. Adopting a syncretic approach that emphasizes the continuous relationship between innovation and tradition, this report outlines and explores the key intersections between Aldus’ plan to popularize classical literature and the core mission of our project: to contribute to public knowledge by making SFU Aldines conveniently and freely available online via a flexible, mobile-optimized user interface. With original contributions from both scholars and popular media figures complementing the digitized volumes, Aldus@SFU is more than a mere companion website to a library collection. Instead, it is intended as a larger crossover digital platform: an inclusive, collaborative scholarly environment and a visually appealing educational resource whose audience includes not only scholars but also a wider interested public.
Graphic novels and comic reprints have recently surged in popularity due to Hollywood adaptations and bestselling titles such as Art Spiegelman’s Maus and Marjane Satrapi’s Persepolis. Despite these successes, publishers still struggle to find the right audience for many comic collections. This report focuses on Drawn & Quarterly’s decision to reprint two comic collections in smaller, kid-friendly editions. It analyzes why D+Q decided to reformat the Janssons’ Moomin comics and Mizuki’s Kitaro manga for specific readerships, with a focus on the emerging genre of crossover literature. The importance of accessibility for serialized comics/manga and crossover literature is underlined as a reason why these titles are ideal for a redesign, and the production work done by the D+Q staff to turn each title into a “kid-friendly” work is explained. Lastly, the report offers insight on how publishers can use D+Q’s tactic for their own success.
This project report focuses on book metadata practices at the University of British Columbia Press. Metadata management has become essential for publishers in recent decades, as book buying has moved online. This report details the significance of metadata, how publishers use it, how customers (both institutional and individual) benefit from it, and how (good) metadata increases sales. Metadata has become increasingly complex, with varying deadlines, standards, levels, and granularity putting immense pressure on publishers to keep current. This project report analyzes the University of British Columbia Press’ metadata operations to identify its challenges and successes. The report also draws on the current literature of metadata “best practices” for publishers. In tandem, these resources clarify optimal future directions and recommendations for the Press.
The purpose of this study is to explore automated surveys on Twitter as a method for magazines to analyse their audiences and identify best practices for conducting the surveys. To do this I conducted a pilot survey with Twitter users who shared a New Yorker article. I tested the response rate of twelve different question variants looking at question type, type of appeal to respondent used, and whether the tweet was sent as a @reply or @mention. The results showed the survey as a whole had a 23.2% response rate. I found a multiple-choice question, appealing to the respondents’ ego sent as a @reply generated the highest response rate at 40.0%. The results of this pilot survey show the viability for this method to provide magazines with access to their audiences. It suggests this method may provide magazines with timely and efficient access to audience insights.
This report aims to define corporate boutique publishing and its unique positioning, while placing it in a wider boutique landscape. This includes examining the wider application of the term ‘boutique’ in the book world and establishing how the corporate articulation of this is both similar and different. Finding itself at the crossroads of small, specialized publishing and powerful, big league publishing, corporate boutique imprints can boast of having the best of both worlds. This report concludes with a number of recommendations on how such publishers can better take advantage of this place of power.
With growing interest in visual literacy from parents, librarians, and educators, the North American kids manga industry is booming, and more and more publishers are trying their hand at Japanese-to-English manga translations to meet the growing the demand. But such projects pose unique publishing challenges that are influenced by manga’s history, readers’ expectations, the receptivity of the North American book market, and a publisher’s mandate. This report examines the process of bringing Japanese manga to a North American audience through a case study of one publisher, Drawn & Quarterly, and its translation of Shigeru Mizuki’s Kitaro series. Throughout, this report emphasizes the translation and production challenges involved, and also offers historical and cultural information about manga publishing, Drawn & Quarterly, Mizuki, and the growing educational market for kids’ comics in North America.
This report discusses the challenges posed to the publishing industry by digital disruption and the shift from content scarcity to content abundance. Publishing business models have been based on the ability to sell exclusive access to content, but low barriers to entry for content creators mean that this model will come under increased pressure. The Rebus Foundation has been founded in response to these challenges and is working to create the tools necessary to define a new publishing process that seeks to both enable and benefit from content abundance. The first projects from the Foundation are being launched in the Open Textbook sphere, where traditional publishers have been able to exclusively sell access to content in a way that is increasingly under threat. In response, the Foundation is launching the Rebus Community to scale up the production of Open Textbooks, deploying open communication, open licensing and open tools that form a collaborative approach first seen with the Open Source community. The Foundation’s work, if successful, will have significant consequences for the current education and textbook publishing industries, shifting the value from content to innovative teaching and learning. It will also have consequences for the publishing industry at large, potentially redefining what it means to be a publisher, and modelling an approach to publishing that embraces the undeniable shift that comes from a world of content abundance.
This report analyzes mid-sized publishers’ decisions regarding whether it is profitable to release a second physical format of a previously published book and the publicity practices for second releases at ECW Press, an independent Canadian publisher in Toronto, Ontario. The first chapter of this report describes the book being used as a case study, Black Ice, and discusses ECW Press’s decision to publish it. The second chapter summarizes the history of two-format publishing and how this influences the decisions pertaining to formats that publishers make today. Chapter three discusses how ECW Press decides which format is most appropriate for a book and the key factors that indicate to them that printing a subsequent trade paperback edition of a previously released hardcover will be profitable. The final chapter uses Black Ice as a publicity case study, demonstrating how mid-sized publishers publicize the release of the second edition of a book and how it differs from promoting the first release.