|Type of paper:||Report|
|Categories:||Company Media Business management Organizational culture Leadership style|
Human Resource Strategies of The Home Box Office.
Home box office Inc. founded in 1972, is a leading American cable television company for its mix of cinemas and original software design (Mesce, 2015). A human resource strategy is a long-term business plan that determines human resource practices and aligning human capital with business activities. It is critical in setting the direction for all activities in the human resource department. A crucial evaluation of home box office activities focuses on the structures of its human resource strategy. The human resource strategy, together with the company's corporate culture establishes the successes and failures of its plan.
There is an application of top human resource strategies around business planning, company culture, training, recruitment, and legal compliance. Some policies include working closely with other departments to ensure the identification of high potential talent. Regular communication with the top management is a strategy to ensure proper management of the company's unit and organizational goals achieved. Human resource strategies also work to resolve any issues arising between the company and employees positively to ensure a peaceful working environment for everyone (Mesce, 2015).
Organizational Structure of The Home Box Office.
An organizational structure is a framework around which a group function. It makes members aware of how an organization runs and how its construction works. Structure describes the election of leaders and members and the procedures taken to implement decisions. Organization structure shows the hierarchical authority within an organization. Characteristics of the organizational structure of the Home Box Office include division of labor, hierarchy of power, the span of control, decentralization, and line vs. staff positions. Being under Warner Media, the leadership of Home Box Office is centralized with the aim increasing collaborations with other businesses and brands.
A CEO heads the Home Box Office. Richard Plepler, the last CEO exited Home Box Office and was known for the quality work he produced. (Brown, 2018). Under the CEO are co-presidents who function to assist in running the company and making important decisions. There is also an employee value proposition (EVP) that is divided into market and communication consumers. The president of HBO programming Casey Bloys is in charge of programming in the company. He is known for his practical approach to development. However, concerning the launching of the HBO streaming service, Warner Media has revealed Tony Gonclaves as the new CEO of HBO. Andy Forsell is the employee value proposition and general manager. Sarah Lyons was elected senior vice president (SVP) of product service while Katie Soo is senior vice president for growth marketing. Human resources, publicity, and finance are some of the departments facing the most streamlining.
Corporate Culture of Home Box Office
The Home Box Office has built a culture that permits workers to find balance and put their focus on what matters by accomplishing specialized success and making their dreams become a reality. At Home Box Office employees from diverse backgrounds, and this contributes to the adverse creativity and innovation in the company. More so, the workplace in HBO is founded on mutual respect, trust, and responsibility despite anyone's background. Employee resource groups created by the company help foster teamwork and offers support to all employees. Home Box Office empowers its employees by encouraging them to volunteer and take care of social issues that matter to them by allowing paid time off (Crawford, Crumley, Egan, Elmore, Grosse, Jensen& Williams,2017).
The company covers employees' services and programs that include healthcare because it believes in investing in people. Such services include access to learning and growth opportunities from online classes and workshops. Home Box Office has a unique workplace culture that allows for personal thinking and creative freedom. HBO also welcomes passionate people committed to delivering content that is quality. The company makes it a priority to unite employees to elevate social issues connected to the community (Weeks, 2016).
Code of Conduct of Home Box Office
A code of conduct defines how employees should carry themselves on an everyday basis. Home Box Office code of conduct entails its commitment to running the company according to the highest standards of ethics and integrity. It is disseminated to its employees and existing stakeholders, such as partners and Vendors. Home Box Office ensures nondiscrimination in recruitment hiring, termination, and retirement based on race, color, origin, or sex. The company avoids child labor by not employing persons under the age of 15 years. Workers under 18 years do not perform duties that may harm their health (De Massis, & Kotlar, 2019).
The home box office requires that Vendor treat all employees with dignity and respect and will not use corporal punishment or threats. The code of conduct also requires that Home Box Office comply with governmental laws rules and regulations. The company expects that the Vendor provides employees with a safe working environment with hygiene and access to sanitary facilities. It also requires that all vendors comply with environmental laws and regulations and all permits obtained (Furtwangler, Furtwangler & Furtwangler, 2018).
Brown, C. (2018). HBO: Richard Plepler.
Crawford, C. W., Crumley, J., Egan, A., Elmore, R., Grosse, I., Jensen, K., ... & Williams, H. (2017). True Detective: Critical Essays on the HBO Series. Lexington Books.
De Massis, A., & Kotlar, J. (2019). Case studies, movies, TV shows, and other family business resources.
Furtwangler, S. N., Furtwangler, B. C., & Furtwangler, N. J. (2018). U.S. Patent Application No. 15/725,446.
Mesce Jr, B. (2015). Inside the Rise of HBO: A Personal History of the Company that Transformed Television. McFarland.
Weeks, R. (2016). The HBO Effect by Dean J. DeFino. Film & History: An Interdisciplinary Journal, 46(2), 82-84.
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