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Please find someone know this book:" Fundamentals of Management" 8 edition by Ricky Griffin Instruction:  Each case must include the title of the case, a couple paragraph summary/outline of the case, and your answer to each question (be sure to number your answers to the questions).  Chapter5 The Creative Imprint of Bigfoot Have you seen Midnight Movie?  You wouldn’t have caught it in a theater because it went straight to DVD, but that doesn’t prevent hardcore horror-film fans from tracking it down—after all, it was selected as the Best Feature Film at the 10th Annual Chicago Horror Film Festival. It also found an audience outside the United States, with producer Bigfoot selling distribution rights in such countries as Germany, Greece, Thailand, and Japan. How about 3 Needles, a Canadian-made movie about the worldwide AIDS crisis? It was no blockbuster, but it was endorsed by the United Nations and did well enough at international film festivals to find distributors in such countries as Australia, New Zealand, and Brazil. Bigfoot CEO Kacy Andrews was pleased with the film’s reception: “The positive response from critics and audiences,” she said, “… once again affirms our conviction to promote independent filmmakers.” Bigfoot Entertainment is responsible for a host of independently produced films, many of which follow similar distribution paths to venues and audiences around the world. The company, says Andrews, “is dedicated to the community of filmmakers who possess the vision and passion to create critically acclaimed independent films.” It was founded in 2004 by a German serial entrepreneur named Michael Gleissner, who is in some ways a model for the sort of creative people that Bigfoot likes to back. He was certainly the model for the hero of Hui Lu, a 2007 Bigfoot film that Gleissner wrote and directed about a highly successful young entrepreneur who sells his company but finds himself pushed to the edge despite his millions. “What was I going to do,” Gleissner replied when asked about his unusual career move, “buy more boats, buy more houses? I discovered there’s a creative side in me.”  Gleissner was an e-commerce pioneer in Germany, where he founded Telebook, Germany’s number-one online bookstore, and WWW-Service GmbH, the country’s first, and one of its most successful, webhosting companies. In 1998, he sold Telebook to Amazon.com, where he served two years as a vice president before cashing in and, in 2001, moving to Asia to make it a base for a new round of entrepreneurial activities. When he bought Bigfoot, it was an e-mail management firm, but Gleissner quickly re-created it as an international entertainment company whose main business, according to its mission statement, is producing and financing “innovative entertainment content, including independent feature films, television series, and reality shows.” As head of Bigfoot, Gleissner served as executive producer on Midnight Movie and 3 Needles, as well as on Irreversi, his second effort at writing and directing, and on Shanghai Kiss, in which he also tried his hand at acting. Bigfoot maintains offices in Los Angeles and a small production facility in Venice, California, but the centerpiece of its operations is Bigfoot Studios, which opened in 2004 on the island of Mactan, in Cebu, home to the second-largest city in the Philippines. The state-of-the-art facility features six large soundstages, fully equipped editing suites and sound-mixing studios, and the latest in high-tech cameras and other equipment. In 2007, under the auspices of Bigfoot Properties, Gleissner expanded Bigfoot Studios as the first phase of Bigfoot Center, a complex that will eventually house not only film and TV production facilities but also Bigfoot Executive Hotel, an array of restaurants, boutiques, and sidewalk shops, and an 11-story office building (home to Bigfoot Outsourcing, which specializes in business-process services). The Bigfoot Center in the Philippines, by the way, should not be confused with the 26-story Bigfoot Centre in Hong Kong, where Bigfoot Properties is headquartered. Gleissner’s goal is to turn Cebu into a destination of choice for filmmakers who want to cut costs by shooting and finishing movies outside the United States, and when Bigfoot Entertainment finds a film suitable for financing and development, the deal usually requires the director to do some production work at the Cebu facility. By the time the studio opened in 2004, the Philippines were already an attractive location for animators looking for inexpensive post-production help, but the pool of talent available for work on live-action films was quite limited. Gleissner’s solution? He founded the International Academy of Film and Television (IAFT), not only to staff Bigfoot Studios but also to train what executive director Keith Sensing calls “the next generation of global filmmakers.” IAFT, says Sensing, looks for creative people who “have a desire for adventure” and “an education that will set them apart from people who have a strictly Hollywood background.” IAFT enrollment is currently 60 percent international and 40 percent Filipino, but “all of our students,” says Sensing, “have the opportunity to participate in real projects going on at Bigfoot Studios… . Many IAFT graduates,” he adds, “have gone on to write, produce, and direct their own films” and often follow in Bigfoot’s steps by finding distribution for their independent features on the international festival circuit. Three recent graduates landed jobs on Gleissner’s most recent project, a Philippines-set thriller revolving around a female diver. Gleissner not only cowrote and directed Deep Gold but also drew on his experience as an underwater photographer to shoot key scenes in Bigfoot’s specially designed 170,000-gallon Underwater Studio. In 2010, Bigfoot moved to expand into the areas of acquisition, distribution, and foreign sales with the purchase of Ascendant Pictures. Much like Bigfoot itself, Ascendant carved out its niche in the industry by integrating the budgeting sensibility of “indie” producers with the marketing skills of larger studios. “Our schools are profitable,” explains Andrews, “but overall we’re not profitable yet. We’re hoping the distribution side will get us there in one or two years.” The new unit, called Bigfoot Ascendant Distribution, will buy four to six English-language movies annually—“genre films,”says Andrews, “horror and action that will sell well internationally and play well theatrically, too.” In order to bolster its ability to get its films into theaters (most of the company’s features have gone straight to DVD or sold to cable TV), Bigfoot has also become the largest shareholder in Carmike Cinemas, the fourth-largest theater chain in the United States. In 2010, it also purchased the historic Majestic Crest Theater in Los Angeles. The acquisition, says Andrews, goes hand in hand with Bigfoot’s purchase of Ascendant: “We wanted a great theater to showcase our films—not only ones we produce but also ones we plan to acquire. Everyone knows the Crest,” she adds. “It gives us a lot of prestige.” Case Questions : 1. In what ways is Bigfoot innovative? In what ways does it deal with big business? In what industries does it operate?  2. Which niches does Bigfoot serve in established markets? What new markets does it target? Can you think of any other niches or new markets that it should consider in the future?  3. Does Bigfoot have any first-mover advantages? If so, what are these advantages, and how important do you think they are now and will be in the future? 4. In what ways does Bigfoot rely on distinctive competencies? In what ways is experience in international management among these competencies? In what ways do you expect this particular competency to become even more important in the future? Griffin, Ricky. Fundamentals of Management (Page 157). South-Western College Pub. Kindle Edition.

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Discipline: management