Research Presention: The Blair Witch Project
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Research Presention: The Blair Witch Project Presentation Transcript

  • 1. The Blair Witch Project
  • 2. How is this project transmedia?  Mythology  The 'Missing' Poster  The Film  The Blair Witch book  The Website “The project was always going to be transmedia, it was a marketing strategy and they knew because of the genre audiences would want to get involved.” -Velikovsky
  • 3. An example of a proactive transmedia text The term PROACTIVE refers to a text that is created to be cross media from the beginning. The Blair Witch Project is an example of this because the success and release of the story was designed to be distributed across multiple platforms. The main platform for this narrative is the website which then led audiences to watch the film. Additional content relating to the film is also published on the website such as  Character information  Mythology  Crime scene photos
  • 4. TIMELINE & RELEASE The Blair Witch Project: “The best viral marketing campaign of all time” -MWP Digital Media June 1998 – Hexan Films (The Production company owned by Sanchez and Myrick created the website. www.blairwitchproject.com January 1999 – The Blair Witch Project featured at the Sundance Film Festival. Artisan Entertainment bought the rights for 1 Million dollars July 1999 – Haxan and Artisan collectivity decided that the website was to be the main marketing platform to make their campaign public. Six months before the films release it was said that they had spend 1 million dollars on promotion. During this time content relating to 'recovered footage' and additional information about the characters is added to the website. 2009 – The website is updated to reflect the 10 year anniversary of the film.
  • 5. “We had created this whole mythology and I just kept massaging it and building more details into it. Really for us, it wasn’t about creating this whole new way of marketing films – people are on the web asking about this movie, how else are we going to get it to them?” -Eduardo Sanchez
  • 6. CONSTRUCTED NARRATIVE TIMELINE
  • 7. Was it a success?  On the films opening weekend it had grossed 1.5 million on 27 full screenings alone  Although critics rated the movie itself poorly the marketing campaign and hype around the movie was strong enough to make a profit.
  • 8. Bibliography Lynn Higley, S, & Andrew Weinstoc, J (eds.) 2004, Nothing that is: Millennial Cinema and the Blair Witch Controversies, Wayne state university press, Michigan. Mathjis, E & Sexton J 2011, 'Fandom and Subculture,' [in] Cult Cinema, Blackwell Publishing, United Kingdom. Olivier Godest 2011, 'The Blair Witch Project, a Transmedia Reference?', Case Study 3rd March, viewed 15th March 2014, < http://www.transmedialab.org/en/the-blog-en/case-study-en/the-blair-w > Velikovsky, JT 2013, Two Successful Transmedia Case Studies: The Blair Witch Project (1999) and The Devil Inside (2012).
  • 9. Bibliography Lynn Higley, S, & Andrew Weinstoc, J (eds.) 2004, Nothing that is: Millennial Cinema and the Blair Witch Controversies, Wayne state university press, Michigan. Mathjis, E & Sexton J 2011, 'Fandom and Subculture,' [in] Cult Cinema, Blackwell Publishing, United Kingdom. Olivier Godest 2011, 'The Blair Witch Project, a Transmedia Reference?', Case Study 3rd March, viewed 15th March 2014, < http://www.transmedialab.org/en/the-blog-en/case-study-en/the-blair-w > Velikovsky, JT 2013, Two Successful Transmedia Case Studies: The Blair Witch Project (1999) and The Devil Inside (2012).