Marketing 3x wt case studies

Marketing Film:Marketing Film:
3 Case Studies of3 Case Studies of
WT marketing:WT marketing:
MBL;MBL;
Elizabeth;Elizabeth;
4Weds/BJD/LA4Weds/BJD/LA
We’ll later look at Avatar, and study how digitisation has impacted on film
marketing, further enabling film production company WT to get more involved
with marketing, which is usually the job of the distributor.

WT’S MARKETING STRATEGYWT’S MARKETING STRATEGY
 We will look at three main case studies for this:We will look at three main case studies for this:
 MBLMBL
 ElizabethElizabeth
 Bridget Jones’s Diary/Love Actually/4 Weddings…Bridget Jones’s Diary/Love Actually/4 Weddings…
 In each case we are particularly looking forIn each case we are particularly looking for
evidence of how the US and UK marketingevidence of how the US and UK marketing
strategies differstrategies differ
 We will later consider how new media are used,We will later consider how new media are used,
which will eventually lead us towhich will eventually lead us to Hot FuzzHot Fuzz
Pacman!Pacman!

Total Recall?Total Recall?
What can you tell me aboutWhat can you tell me about MYMY
BEAUTIFUL LAUNDRETTEBEAUTIFUL LAUNDRETTE??
What year was it made?What year was it made?
Production company?Production company?
Setting/characters/style?Setting/characters/style?
What selling points does it have?What selling points does it have?
On the other hand, in what ways is it aOn the other hand, in what ways is it a
hard sell – both today and back in 1985?hard sell – both today and back in 1985?

MBL: Spin CycleMBL: Spin Cycle
To recap then (check you’ve written these points down):To recap then (check you’ve written these points down):
 Made in 1985Made in 1985
 Low budget (£650k)Low budget (£650k)
 No stars to pay for; no studio set-upsNo stars to pay for; no studio set-ups
 WT’s 1WT’s 1stst
release (afterrelease (after The Man Who Shot ChristmasThe Man Who Shot Christmas (1984) as Big(1984) as Big
Science Ltd)Science Ltd)
 Aspects of ‘social realist’ styleAspects of ‘social realist’ style
 Ideological issues tackled: class, race, (homo)sexualityIdeological issues tackled: class, race, (homo)sexuality
 Working class characters as central protagonists rather than incidentalWorking class characters as central protagonists rather than incidental
villains/criminalsvillains/criminals
 US cinema generally reflects/reinforces majority of US public’s self-US cinema generally reflects/reinforces majority of US public’s self-
perception as being middle-class (+ soc. r’m is distinctively British style)perception as being middle-class (+ soc. r’m is distinctively British style)
 Gritty, urban mise-en-scene + handheld cinematographyGritty, urban mise-en-scene + handheld cinematography
 No established stars (…back to budget)No established stars (…back to budget)
 ‘‘Pink pound’Pink pound’ – gay consumers a multi- £billion market– gay consumers a multi- £billion market
 AuteurAuteur? Dir, Stephen Frears went on to establish strong reputation? Dir, Stephen Frears went on to establish strong reputation

SYNOPSISSYNOPSIS
Do a search for the film onDo a search for the film on
www.WorkingTitleFilms.comwww.WorkingTitleFilms.com
Make a note ofMake a note of thethe fullfull synopsissynopsis andand
look at the cast and crewlook at the cast and crew
Anything or anyone stand out yet as aAnything or anyone stand out yet as a
potential selling point?potential selling point?
Daniel Day-Lewis?Daniel Day-Lewis?
Stephen Frears?Stephen Frears?

IMDB.comIMDB.com
Look upLook up the film’s IMDB entrythe film’s IMDB entry. Looking. Looking
just at the initial summary (no need tojust at the initial summary (no need to
scroll down), which area of informationscroll down), which area of information
would be most useful in marketing terms?would be most useful in marketing terms?
ClickClick <more><more> after Awards…after Awards…
Jot down the awards and nominationsJot down the awards and nominations

Selling MBL: Star PowerSelling MBL: Star Power
 Daniel Day-Lewis is now anDaniel Day-Lewis is now an
established star: how/why isestablished star: how/why is
this relevant for the marketingthis relevant for the marketing
of a film released in 1985?of a film released in 1985?
 Click on Stephen FrearsClick on Stephen Frears
name – how/why might hename – how/why might he
also be a useful selling point?also be a useful selling point?
 Can you see any other WT filmsCan you see any other WT films
he’s directed?he’s directed?

Is MBL a Typical WT Production?Is MBL a Typical WT Production?
 Early movies identifiably social realist:Early movies identifiably social realist:
 Tackle social issuesTackle social issues
 Centre on excluded/minority groupsCentre on excluded/minority groups
 Low budgetLow budget
 Did this last for just WT’s 1Did this last for just WT’s 1stst
2 films though?2 films though? [Wish You Were Here][Wish You Were Here]
 Returned to this withReturned to this with Billy EliottBilly Eliott??
 DocudramaDocudrama (Frost/Nixon)(Frost/Nixon) the successor to soc.realism?the successor to soc.realism?
 Creative risk-taking: casting unknown leads (Day-Lewis went on toCreative risk-taking: casting unknown leads (Day-Lewis went on to
become a star)become a star)
 Creative collaborators: like Richard Curtis (+ the Coens!) S FrearsCreative collaborators: like Richard Curtis (+ the Coens!) S Frears
has repeatedly directed for WThas repeatedly directed for WT
 BUT…This was not a movie which madeBUT…This was not a movie which made anyany effort to appeal to aeffort to appeal to a
US audience!!!!US audience!!!!
 It did make some money in the US nonetheless, planting the seedIt did make some money in the US nonetheless, planting the seed
for their later US-oriented strategy (opening an LA offic e just 6for their later US-oriented strategy (opening an LA offic e just 6
years later in 1991!)years later in 1991!)

Tim Bevan on MBLTim Bevan on MBL [quoted from WT book, pp.11-13][quoted from WT book, pp.11-13]
 Bevan, 24, had no idea about film budgets. In a keyBevan, 24, had no idea about film budgets. In a key
meeting with Film Four executives he was surprised tomeeting with Film Four executives he was surprised to
get the £1m asked for.get the £1m asked for.
 ‘‘A number of times over the years new stars haveA number of times over the years new stars have
emerged through Working Title’s films. If the film is goodemerged through Working Title’s films. If the film is good
it is amazing the incremental excitement a rising star canit is amazing the incremental excitement a rising star can
create: Dan[iel Day-Lewis] in thecreate: Dan[iel Day-Lewis] in the LaundretteLaundrette, Emily Lloyd, Emily Lloyd
inin Wish You Were HereWish You Were Here, Hugh Grant in, Hugh Grant in Four WeddingsFour Weddings
and a Funeraland a Funeral, Cate Blanchett in, Cate Blanchett in ElizabethElizabeth, Jamie Bell in, Jamie Bell in
Billy ElliotBilly Elliot.. All these films benefitted hugely bothAll these films benefitted hugely both
commercially and critically from the bonus an audiencecommercially and critically from the bonus an audience
feels in discovering new talent.feels in discovering new talent.

Tim Bevan on MBL(2)Tim Bevan on MBL(2) [quoted from WT book, pp.11-13][quoted from WT book, pp.11-13]
 ‘‘TheThe LaundretteLaundrette was originally intended as a televisionwas originally intended as a television
movie. It was only after the tremendous reception that itmovie. It was only after the tremendous reception that it
received at the Edinburgh Film Festival that we decidedreceived at the Edinburgh Film Festival that we decided
to take it out theatrically.to take it out theatrically. This was a great bit of luckThis was a great bit of luck
because on the back of the movie I really learnt how thebecause on the back of the movie I really learnt how the
movie business worked.movie business worked. I learnt that there wereI learnt that there were
independent distributors in every country whoindependent distributors in every country who
would buy the distribution rights in the movie. Iwould buy the distribution rights in the movie. I
learnt that you could pre-sell those rights andlearnt that you could pre-sell those rights and
make your film with that moneymake your film with that money . I learnt that there. I learnt that there
was a two-tier system in the film business – thewas a two-tier system in the film business – the
Hollywood majors and the independents. I learnt thatHollywood majors and the independents. I learnt that
pretty much everything in the worldwide film businesspretty much everything in the worldwide film business
went back to one place, Hollywood.went back to one place, Hollywood.

Tim Bevan on MBL(3)Tim Bevan on MBL(3) [quoted from WT book, pp.11-13][quoted from WT book, pp.11-13]
 ‘‘Eric and I have been commuting to Hollywood severalEric and I have been commuting to Hollywood several
times a year for most of the last twenty years. Separatelytimes a year for most of the last twenty years. Separately
and then once we had joined forces, we both realizedand then once we had joined forces, we both realized
that if you are going to work in the film business youthat if you are going to work in the film business you
have to have an ongoing and solid relationship with Loshave to have an ongoing and solid relationship with Los
Angeles. All major decisions in film are made hereAngeles. All major decisions in film are made here
regardless of where the film is being produced. Most filmregardless of where the film is being produced. Most film
finance comes from Hollywood, most worldwide filmfinance comes from Hollywood, most worldwide film
distribution is based in Hollywood and most importantly itdistribution is based in Hollywood and most importantly it
is where the main talent agencies are. Any director,is where the main talent agencies are. Any director,
writer, producer or actor from anywhere in the world whowriter, producer or actor from anywhere in the world who
has had any success will be represented by one of thehas had any success will be represented by one of the
LA talent agencies. Without a relationship with the LALA talent agencies. Without a relationship with the LA
agents you will not go far.’ (pp. 11-13)agents you will not go far.’ (pp. 11-13)

The TrailerThe Trailer
As a made-for-TV movie, despite its run atAs a made-for-TV movie, despite its run at
the UK box office, there seems to be nothe UK box office, there seems to be no
UK trailer! There isn’t one on the DVDUK trailer! There isn’t one on the DVD
(which is in the Library)(which is in the Library)
The trailer has a US voiceover, and citesThe trailer has a US voiceover, and cites
US publications and criticsUS publications and critics
Not surprisingly, though it does highlightNot surprisingly, though it does highlight
issues of race, there is no mention of theissues of race, there is no mention of the
(homo)sexual theme(homo)sexual theme

The TrailerThe Trailer
 Make your own notes on the trailer. Are there any aspectsMake your own notes on the trailer. Are there any aspects
which foreground the comedy aspect of MBL? Why might thiswhich foreground the comedy aspect of MBL? Why might this
help sell the movie to a US audience? (see US trade mag adhelp sell the movie to a US audience? (see US trade mag ad
later)later)
 As YouTube is blocked, you can google ‘my beautifulAs YouTube is blocked, you can google ‘my beautiful
laundrette trailer’ or try any of the following –laundrette trailer’ or try any of the following – BE AWARE:BE AWARE:
THE TRAILER INCLUDES SOME RACIST TERMS, &THE TRAILER INCLUDES SOME RACIST TERMS, &
SHOULD BE LISTENED TO WITH HEADPHONES IFSHOULD BE LISTENED TO WITH HEADPHONES IF
OUTSIDE OF THE LESSONOUTSIDE OF THE LESSON
 http://hollywood.babesite.org/Rita-Gordon/videos/xzSdRNxWJbs/mhttp://hollywood.babesite.org/Rita-Gordon/videos/xzSdRNxWJbs/m
 http://www.spout.com/films/My_Beautiful_Laundrette/23730/479/trahttp://www.spout.com/films/My_Beautiful_Laundrette/23730/479/tra
 http://www.lovefilm.com/film/My-Beautiful-Laundrette/1204/http://www.lovefilm.com/film/My-Beautiful-Laundrette/1204/

Trailer TrashTrailer Trash
There are two versions of the trailer, eachThere are two versions of the trailer, each
providing somewhat different impressionsproviding somewhat different impressions
The short version cuts scenes where theThe short version cuts scenes where the
two leads are topless and physicallytwo leads are topless and physically
intimateintimate

How WouldHow Would YOUYOU Sell MBL?Sell MBL?
 In what ways could you promote this film?In what ways could you promote this film?
 How could some of the potential drawbacks (e.g.How could some of the potential drawbacks (e.g.
working class/gay/ethnic minority characters,working class/gay/ethnic minority characters,
complex socio-political overtones) be turned intocomplex socio-political overtones) be turned into
selling points for some audiences?selling points for some audiences?
 Consider images and any other aspects thatConsider images and any other aspects that
might appear on a poster, ad or DVD covermight appear on a poster, ad or DVD cover
 Can you think of a tagline?Can you think of a tagline?
 What marketing techniques were not available inWhat marketing techniques were not available in
1985? [hint: how has digitisation; the spread of1985? [hint: how has digitisation; the spread of
new media, changed marketing?]new media, changed marketing?]

The Changing Faces of MBLThe Changing Faces of MBL
There is some variation between theThere is some variation between the
original poster, early DVD and moreoriginal poster, early DVD and more
recent DVD sleeves, and even an ad for arecent DVD sleeves, and even an ad for a
trade magazinetrade magazine
Look at each of these in turn and considerLook at each of these in turn and consider
the strengths, weaknesses, andthe strengths, weaknesses, and
differences – and how you might changedifferences – and how you might change
themthem

UK DVDUK DVD
 Shouldn’t Day-Lewis’ nameShouldn’t Day-Lewis’ name
be more prominent?be more prominent?
 Stephen Frears’ nameStephen Frears’ name notnot
usedused
 Note quotes are from UKNote quotes are from UK
papers; specificallypapers; specifically
‘qualities/broadsheets’‘qualities/broadsheets’
 Both titles somewhat left-Both titles somewhat left-
wing; more likely to bewing; more likely to be
favourable to social realistfavourable to social realist
themesthemes
 ‘‘Controversial’/’daring’Controversial’/’daring’
becomes a selling point – thobecomes a selling point – tho
homosexualityhomosexuality notnot
specifically mentionedspecifically mentioned
 Image arguably tooImage arguably too
polysemicpolysemic – relying on prior– relying on prior
knowledge of film (itsknowledge of film (its
reputation) to sell it?reputation) to sell it?

UK DVDUK DVD
 This time cites itsThis time cites its
critical receptioncritical reception
(Oscar/BAFTA(Oscar/BAFTA
nominations)nominations)
 Still doesn’tStill doesn’t
especially highlightespecially highlight
Day-LewisDay-Lewis
 Could have addedCould have added
‘Oscar-winner Day-‘Oscar-winner Day-
Lewis’ or ‘as seenLewis’ or ‘as seen
in…’in…’
 SFrears: why notSFrears: why not
add ‘director of…’?add ‘director of…’?

US DVDUS DVD
 Fun, light, day-glo aspects of UKFun, light, day-glo aspects of UK
release are gonerelease are gone
 Darker, sombreDarker, sombre
 Sepia tones to signify classicSepia tones to signify classic
statusstatus
 All of these anchor the film as aAll of these anchor the film as a
serious drama – links to USserious drama – links to US
trailer, which ends with critic’strailer, which ends with critic’s
quote “[MBL] is a work ofquote “[MBL] is a work of
substance”substance”
 But the critic’s puff, from a USBut the critic’s puff, from a US
magazine, suggests a lightermagazine, suggests a lighter
sideside
 Again, no emphasis on Day-Again, no emphasis on Day-
Lewis’ statusLewis’ status
 No explicit mention of the issueNo explicit mention of the issue
of homosexualityof homosexuality

US Trade Mag AdUS Trade Mag Ad
 Comic-style connotes muchComic-style connotes much
lighter filmlighter film
 No real conveyance of centralNo real conveyance of central
gay narrativegay narrative
 Perhaps intentionally polysemic?Perhaps intentionally polysemic?
– though could be misleading– though could be misleading
 Uses both US and UK sourcesUses both US and UK sources
for reviews:for reviews: Daily Express,Daily Express,
Newsweek, New York MagazineNewsweek, New York Magazine
 Rated R (u-17s need to be withRated R (u-17s need to be with
adult); US censors moreadult); US censors more
squeamish about sexsqueamish about sex
 As always, no explicit mention ofAs always, no explicit mention of
homosexuality – but pink usedhomosexuality – but pink used
prominently to signify this?prominently to signify this?

CASECASE
STUDY 2:STUDY 2:
PeriodPeriod
Drama, WTDrama, WT
StyleStyle
ElizabethElizabeth
((Shekhar KapurShekhar Kapur,,
1998)1998)

Rem Q22/31 on BevanRem Q22/31 on Bevan
book?book? WT’s success in the 90s continued with several Coen
Brothers movies, productions starring Tim Robbins, + Notting
Hill – & French Kiss providing a big European hit. Apparently,
‘Elizabeth was a classic Working Title production’ – it was
produced in a manner a major studio would probably see as
truly quite mad! WT decided to move into Merchant Ivory
territory – but add grit to the familiar period drama (“frock
flick”) genre. (i) Which movie was looked to as a template for
narrative structure; (ii) who was the director and why was he a
seemingly odd choice; (iii) who was the lead and why was she
a risky choice (* consider the film’s budget); (iv) what
evidence is there that these unorthodox choices were
successful? [(i) The Godfather; (ii) Shekhar Kapur
[Bandit Queen] – ‘He knew nothing about English
history’; (iii) Cate Blanchett was an unknown, leading
a $25m movie; (iv) it won 7 Oscar nominations –
winning Best Makeup – and a host of Baftas and other

ElizabethElizabeth: starting points: starting points
 A $25m WT movieA $25m WT movie
 Indian dir. Shekhar Kapur (1998) had no knowledge of this period of history…and that’sIndian dir. Shekhar Kapur (1998) had no knowledge of this period of history…and that’s
why WT picked him, to bring a new, different perspective. He had directedwhy WT picked him, to bring a new, different perspective. He had directed Bandit QueenBandit Queen
(1994), a superb Indie about a poor Indian woman who was jailed but became a hero to(1994), a superb Indie about a poor Indian woman who was jailed but became a hero to
manymany
 It was a modest hit BUT did well enough to spawn a sequel;It was a modest hit BUT did well enough to spawn a sequel; franchisesfranchises are what allare what all
film co’s dream of: a brand that film-goers already recognise that can be mined forfilm co’s dream of: a brand that film-goers already recognise that can be mined for
sequels (and eventually prequels, re-makes, re-imaginings)sequels (and eventually prequels, re-makes, re-imaginings)
 Took £5.3mUK, $30mUS ($90m worldwide) – & that of course excludes (ongoing) DVDTook £5.3mUK, $30mUS ($90m worldwide) – & that of course excludes (ongoing) DVD
sales/rental, TV fees, streaming…sales/rental, TV fees, streaming…
 Another brave choice that paid off: casting the unknown Cate Blanchett as the lead; herAnother brave choice that paid off: casting the unknown Cate Blanchett as the lead; her
subsequent success ensured a sequel could be madesubsequent success ensured a sequel could be made
 Marketing focussed heavily on Blanchett, another risk; attractive enough to beMarketing focussed heavily on Blanchett, another risk; attractive enough to be
considered helpful for attracting a male aud, but the main focus was on a female aud,considered helpful for attracting a male aud, but the main focus was on a female aud,
and the strengths of her character were the focus of this campaign (teaser postersand the strengths of her character were the focus of this campaign (teaser posters
featuring male supporting cast also balanced attracting women with promising action tofeaturing male supporting cast also balanced attracting women with promising action to
men)men)
 As we explore British Cinema further, consider how well/badly it does in its depiction ofAs we explore British Cinema further, consider how well/badly it does in its depiction of
women. Does it serve women well? I’ve written several blog posts on women & cinemawomen. Does it serve women well? I’ve written several blog posts on women & cinema
(see links list on BritCinema blog). Reflect on your own film too as we consider such(see links list on BritCinema blog). Reflect on your own film too as we consider such
issues!issues!

 A skilled semiotician might note the mixA skilled semiotician might note the mix
of feminist signifiers with subtle sexualof feminist signifiers with subtle sexual
signifiers:signifiers:
 ‘‘woman warrior queen’ – the 3-part listwoman warrior queen’ – the 3-part list
is a classic rhetorical or linguisticis a classic rhetorical or linguistic
strategystrategy (cf.(cf. ScreamScream)), used here as a, used here as a
positive, feminist messagepositive, feminist message
 Her independence is signified by theHer independence is signified by the
lack of men in the framelack of men in the frame
 There is a neat binary opposition whichThere is a neat binary opposition which
links into the ‘woman warrior’: thelinks into the ‘woman warrior’: the
chainmail collar and frilly cottonchainmail collar and frilly cotton
covering jutting up over thiscovering jutting up over this
 Blanchett conforms to our WesternBlanchett conforms to our Western
expectation of glamorous women inexpectation of glamorous women in
being slim (tho’ the hair colouring isbeing slim (tho’ the hair colouring is
countertypical)countertypical)
 The parted lips are a classic sexualThe parted lips are a classic sexual
signifier, seen in countless ads forsignifier, seen in countless ads for
chocolate bars!chocolate bars!

Compare & contrast
the marketing of the TV
mini-series and the
movie, focussing
particularly on gender:
Mirren’s bust is a key
part of the frame, and
the male gaze is literal
here. She seems fairly
helpless (there are NO
prominent men beside
Blanchett. The Mirren
text is heavily anchored
on romance,
stereotypically targeting
women: ‘the hardest
thing to govern is the
heart’ (the 3-part
tagline left is as before:
woman warrior queen).
Mirren is weak, passive; Blanchett is leading an army into battle from the
front. The one counterpoint here is their lips: Mirren’s primly closed,
Blanchett’s slightly parted

Finding these ImagesFinding these Images
How would you go about finding theseHow would you go about finding these
images?images?
A simple searchA simple search……
AlsoAlso imdb.comimdb.com

Here’s the teaser posters I found onHere’s the teaser posters I found on
IMDB. They’re appealing to a varietyIMDB. They’re appealing to a variety
of audiences using an arthouseof audiences using an arthouse
aesthetic [adults], + signifiers ofaesthetic [adults], + signifiers of
romance [women] & action [men].romance [women] & action [men].
Note the director’s name is alwaysNote the director’s name is always
included, again a subtle nod to theincluded, again a subtle nod to the
arthouse crowd.arthouse crowd.

How would you marketHow would you market YOURYOUR film?film?
 We may work up posters in the June/July period as part of the A2 (A2We may work up posters in the June/July period as part of the A2 (A2
coursework involves THREE texts, a music video, ad, and digipak)coursework involves THREE texts, a music video, ad, and digipak)
 For now lets try to apply some of this learning to your own work: you’veFor now lets try to apply some of this learning to your own work: you’ve
got 10mins to come up with a poster for your film, including:got 10mins to come up with a poster for your film, including:
 A taglineA tagline
 Reviews by relevant sources (containing some reference/comparison to existingReviews by relevant sources (containing some reference/comparison to existing
movies)movies)
 At least 1 imageAt least 1 image
 Release dateRelease date
 Relevant URL(s) & icons (Twitter? FB?)Relevant URL(s) & icons (Twitter? FB?)
 Info on cast/dir/producer, if you think it usefulInfo on cast/dir/producer, if you think it useful
 BBFC certBBFC cert
 Its only 10mins, so don’t worry if its basic/rough!!! (you canIts only 10mins, so don’t worry if its basic/rough!!! (you can
always polish it up afterwards)always polish it up afterwards)
 Put onto a memory stick I will pass round so it can be screenedPut onto a memory stick I will pass round so it can be screened
and you can talk us through the semiotics & audience appealand you can talk us through the semiotics & audience appeal
NB: Your target audience is British, and 15-24 or 18-24
depending on the BBFC certificate your film would get

BRIDGET JONES’ DIARYBRIDGET JONES’ DIARY
(Sharon Maguire, 2001)(Sharon Maguire, 2001)
a Working Titlea Working Title (co-)(co-)productionproduction
+ a wee bit of Love Actually, actually+ a wee bit of Love Actually, actually

Note-TakingNote-Taking
There is a huge amount of detail in whatThere is a huge amount of detail in what
follows. This Powerpoint will appear on thefollows. This Powerpoint will appear on the
blog so you need not write down each andblog so you need not write down each and
every point.every point.
What you do need to do is to pick outWhat you do need to do is to pick out
some details to use for your examsome details to use for your exam
revision, looking especially to find pointsrevision, looking especially to find points
that you can link in with wider argumentsthat you can link in with wider arguments
about how British Cinema worksabout how British Cinema works

WT’s Track Record on Marketing: MBLWT’s Track Record on Marketing: MBL
 The marketing campaign forThe marketing campaign for MBLMBL was a touchwas a touch
confused,confused, hidinghiding the homosexual aspect,the homosexual aspect,
highlightinghighlighting the comedy within the social realistthe comedy within the social realist
drama (& failing subsequently on DVD coverdrama (& failing subsequently on DVD cover
designs to make best use of the names ofdesigns to make best use of the names of
Frears and Day-Lewis), tho’ brave in includingFrears and Day-Lewis), tho’ brave in including
the race issue prominently in the US trailer.the race issue prominently in the US trailer.
 The trailer made heavy use of the exaggeratedThe trailer made heavy use of the exaggerated
‘bubbling’ sound again to emphasise the comedy‘bubbling’ sound again to emphasise the comedy
angle, with a US trade mag ad using a day-glo,angle, with a US trade mag ad using a day-glo,
cartoon style image to ensure that this, and notcartoon style image to ensure that this, and not
the social realism, was the key impression madethe social realism, was the key impression made

WT’s Track Record on Marketing: ElizabethWT’s Track Record on Marketing: Elizabeth
 ElizabethElizabeth was a brave film from the start: using an Indianwas a brave film from the start: using an Indian
director unfamiliar with the historical period & an unknowndirector unfamiliar with the historical period & an unknown
lead in Cate Blanchett (who again became a star afterlead in Cate Blanchett (who again became a star after
getting her break with WT)getting her break with WT)
 –– though of course it did neatly match the non-domestic audience’sthough of course it did neatly match the non-domestic audience’s
fascination with the UK’s castles, kings and queens heritage!fascination with the UK’s castles, kings and queens heritage!
 Its extensive poster campaign highlighted Elizabeth as aIts extensive poster campaign highlighted Elizabeth as a
tough female character, in sharp contrast to a comparabletough female character, in sharp contrast to a comparable
TV mini-series, 2005’s C4/HBO co-production starringTV mini-series, 2005’s C4/HBO co-production starring
Helen Mirren. Publicity for this, at least in the US, lead onHelen Mirren. Publicity for this, at least in the US, lead on
the romantic angle, with Mirren pictured sitting on bedthe romantic angle, with Mirren pictured sitting on bed
wearing a bodice highlighting her cleavage (male gaze,wearing a bodice highlighting her cleavage (male gaze,
though with Jeremy Irons pictured beside her for the corethough with Jeremy Irons pictured beside her for the core
female audience!) whilst Blanchett is pictured horseback infemale audience!) whilst Blanchett is pictured horseback in
armour.armour.
 The teaser campaign used CUs of the four mainThe teaser campaign used CUs of the four main
characters in turn, leading to a poster bringing these fourcharacters in turn, leading to a poster bringing these four
together (tho DVD releases would focus solely ontogether (tho DVD releases would focus solely on
Blanchett)Blanchett)

Marketing BJDMarketing BJD
 Befitting the status of the international hit book its basedBefitting the status of the international hit book its based
upon, the marketing campaign forupon, the marketing campaign for Bridget Jones’ DiaryBridget Jones’ Diary
was complex and high profile, and once morewas complex and high profile, and once more
demonstrated how the same film is sold quite differentlydemonstrated how the same film is sold quite differently
to UK and US audiencesto UK and US audiences
 We will look at:We will look at:
 some of the tie-ins with other companies/brands;some of the tie-ins with other companies/brands;
 the differing poster and DVD sleeve designs;the differing poster and DVD sleeve designs;
 the soundtrack and accompanying music videos;the soundtrack and accompanying music videos;
 plus fan materials on the web that act as a furtherplus fan materials on the web that act as a further
promotional tool for the moviepromotional tool for the movie
 First, though, a run through of the productionFirst, though, a run through of the production
backgroundbackground

KEY CONCEPT INSTITUTION -KEY CONCEPT INSTITUTION -
productionproduction
 FACTS & FIGURES:FACTS & FIGURES:
 Co-produced by WT, Studio Canal & Little BirdCo-produced by WT, Studio Canal & Little Bird
 Can make points on corporate structure & ownership,Can make points on corporate structure & ownership,
drawing on concepts ofdrawing on concepts of synergysynergy as aas a subsidiarysubsidiary (67%(67%
owned by NBC-Universal) of aowned by NBC-Universal) of a conglomerateconglomerate fromfrom
within thewithin the ‘Big Six’‘Big Six’,, concentration of ownershipconcentration of ownership (1 of(1 of
ChomskyChomsky’s’s five ‘filters’five ‘filters’ in the ‘in the ‘propaganda modpropaganda model’), theel’), the
‘Big Six’ & Hollywood –‘Big Six’ & Hollywood – cultural imperialismcultural imperialism (US(US
influence on UK culture, values and identity as well asinfluence on UK culture, values and identity as well as
economic dominance);economic dominance); globalisationglobalisation andand
homogeonisationhomogeonisation [are audiences worldwide being[are audiences worldwide being
served up increasingly similar fare across nationalserved up increasingly similar fare across national
boundaries; are congloms. able to successfully sell inboundaries; are congloms. able to successfully sell in
a global film market]?a global film market]?

KEY CONCEPT INSTITUTION -KEY CONCEPT INSTITUTION -
distributiondistribution
FACTS & FIGURES:FACTS & FIGURES:
Distributed by Miramax Films (USADistributed by Miramax Films (USA
theatrical) & Universal across all othertheatrical) & Universal across all other
territories except Brazil (Colombia TriStar),territories except Brazil (Colombia TriStar),
and United International Pictures (Europe)and United International Pictures (Europe)
Links to previous points, but scope forLinks to previous points, but scope for
contrasting with Warp Films’ tie-ins withcontrasting with Warp Films’ tie-ins with
Optimum Releasing and C4/Film4Optimum Releasing and C4/Film4

KEY CONCEPT INSTITUTION –KEY CONCEPT INSTITUTION –
budget & box officebudget & box office
 FACTS & FIGURES:FACTS & FIGURES:
 $26m budget$26m budget
 Compare to TisEng (£1.5m) etc, link back to corporate structure;Compare to TisEng (£1.5m) etc, link back to corporate structure;
stress WT is a giant amongst UK producers due to links tostress WT is a giant amongst UK producers due to links to
Hollywood (and European co-financing deal with Studio Canal inHollywood (and European co-financing deal with Studio Canal in
recent years)recent years)
 $72m takings in US box office; £42m in UK$72m takings in US box office; £42m in UK
 Again, comparisons/put in contextAgain, comparisons/put in context
 Can bring in points about size of US cinema audience,Can bring in points about size of US cinema audience,
giving stats on typical no. of screens for hit US/UK films,giving stats on typical no. of screens for hit US/UK films,
& link to WT’s strategy to build-in& link to WT’s strategy to build-in cross-overcross-over appeal toappeal to
US audsUS auds
 Richard Dyer’s ‘star system’Richard Dyer’s ‘star system’ && above-the-line costsabove-the-line costs::
casting (often A-lister: Julia Roberts, Notting Hill; hercasting (often A-lister: Julia Roberts, Notting Hill; her
salary main cost in that film!) US stars to widen appealsalary main cost in that film!) US stars to widen appeal
leads to huge rise in costsleads to huge rise in costs
 Links to marketing/distribution strategiesLinks to marketing/distribution strategies

auteur theory & critical receptionauteur theory & critical reception
 Sharon Maguire has directed (also co-wrote) just oneSharon Maguire has directed (also co-wrote) just one
film since: 2008’s romantic-thriller,film since: 2008’s romantic-thriller, IncendiaryIncendiary, starring, starring
the ubiquitous Ewan McGregor (whose taming of histhe ubiquitous Ewan McGregor (whose taming of his
Scots accent for Star Wars was controversial)Scots accent for Star Wars was controversial)
 Although the auteur theory, deriving from FrenchAlthough the auteur theory, deriving from French
intellectuals’ 1950sintellectuals’ 1950s Cahiers du CinemaCahiers du Cinema journal, isjournal, is
centred as the director as ‘author’ of a film, any criticalcentred as the director as ‘author’ of a film, any critical
acclaim for BJD went to writer Richard Curtisacclaim for BJD went to writer Richard Curtis
 His WT rom-coms have grossed well over $1bn worldwideHis WT rom-coms have grossed well over $1bn worldwide
 Has now directed 2 WT films, evolving from scripting/producerHas now directed 2 WT films, evolving from scripting/producer
duties:duties: The Boat That RockedThe Boat That Rocked (2009) &(2009) & Love ActuallyLove Actually (2004)(2004)
 This identification is reflected in the savage satire of the cartoonThis identification is reflected in the savage satire of the cartoon
(viewed on YouTube) “Curtisland” from the BBC3 sketch show,(viewed on YouTube) “Curtisland” from the BBC3 sketch show,
Monkey DustMonkey Dust
 Even so, RC’s work is unlikely to ever see him acclaimed as theEven so, RC’s work is unlikely to ever see him acclaimed as the
new Hitchcock…new Hitchcock…

auteur theory & critical receptionauteur theory & critical reception
 Does Sharon Maguire’s failure to win recognition (orDoes Sharon Maguire’s failure to win recognition (or
further work) reflect a sexism within the UK/global filmfurther work) reflect a sexism within the UK/global film
industry? There are very few lauded female film-makersindustry? There are very few lauded female film-makers
(Sofia Coppola, …???)(Sofia Coppola, …???)
 Is this ‘simply’ the genre not being considered worthy?Is this ‘simply’ the genre not being considered worthy?
 This debate around ‘worthy’ genres is raised around theThis debate around ‘worthy’ genres is raised around the
Oscars, which often favour ‘weepies’?Oscars, which often favour ‘weepies’?
 Can link in Pierre Bordieu’s theory of ‘cultural capital’ here, andCan link in Pierre Bordieu’s theory of ‘cultural capital’ here, and
also reflect on how most ‘feminine’ media texts are criticallyalso reflect on how most ‘feminine’ media texts are critically
panned (TV soaps, celeb gossip mags etc), and consideredpanned (TV soaps, celeb gossip mags etc), and considered
‘popular’ (even tabloid, ‘trashy’) culture, not high culture (Coen‘popular’ (even tabloid, ‘trashy’) culture, not high culture (Coen
Brothers’ output, also generally lauded as auteursBrothers’ output, also generally lauded as auteurs
 Is Danny Boyle emerging as a contemporary Brit auteur? He’sIs Danny Boyle emerging as a contemporary Brit auteur? He’s
highly unusual in NOT focussing on any genre (Wes Craven –highly unusual in NOT focussing on any genre (Wes Craven –
horror etc)horror etc)

MARKETING BJDMARKETING BJD
TIE-INSTIE-INS
OST/MUSIC VIDEOSOST/MUSIC VIDEOS
POSTERS/DVD SLEEVESPOSTERS/DVD SLEEVES
FAN-PRODUCED MEDIA/USER-FAN-PRODUCED MEDIA/USER-
GENERATED CONTENTGENERATED CONTENT

MARKETING BJD (PartMARKETING BJD (Part
1)1)
TIE-INSTIE-INS

Marketing BJD: Tie-InsMarketing BJD: Tie-Ins
"Does This '2 For 1' Offer To London Make Our Butt Look Big?“"Does This '2 For 1' Offer To London Make Our Butt Look Big?“
 Although product placement can net producers seriousAlthough product placement can net producers serious
revenue (the Bond franchise is thought to have netted anrevenue (the Bond franchise is thought to have netted an
incredible $100m forincredible $100m for Quantum of SolaceQuantum of Solace!) film marketing!) film marketing
cuts both ways…cuts both ways…
 Major companies can be paid to launch tie-in adMajor companies can be paid to launch tie-in ad
campaigns, often centring on special offers and/orcampaigns, often centring on special offers and/or
competitionscompetitions
 Typically it is the distributor who takes on this role, butTypically it is the distributor who takes on this role, but
WT are unusual as a production co in being heavilyWT are unusual as a production co in being heavily
involved in the marketing of their filmsinvolved in the marketing of their films
 The published budget forThe published budget for BJDBJD does not include the $10mdoes not include the $10m
spent on setting up tie-in campaigns with some majorspent on setting up tie-in campaigns with some major
brands in the US: Virgin, MSN, Body Shop, Diet Coke,brands in the US: Virgin, MSN, Body Shop, Diet Coke,
Premiere (mag)Premiere (mag)

 The Virgin Atlantic tie-in, using the sell-line above, wasThe Virgin Atlantic tie-in, using the sell-line above, was
just one example. Its especially useful though, as itjust one example. Its especially useful though, as it
shows how comfortable the corporate world is with theshows how comfortable the corporate world is with the
image of the UK projected in movies like BJD.image of the UK projected in movies like BJD.
 Can you see the Virgin brand being linked to the centralCan you see the Virgin brand being linked to the central
characters in either of the Shane Meadows/Warp filmscharacters in either of the Shane Meadows/Warp films
TiEnglandTiEngland oror Dead Man’s ShoesDead Man’s Shoes?!?!
 More details follow on this:More details follow on this:

 Miramax Films' Bridget Jones's Diary opens Friday with about $10Miramax Films' Bridget Jones's Diary opens Friday with about $10
million in estimated promotional partner buildup from The Bodymillion in estimated promotional partner buildup from The Body
Shop, MSN.com, Virgin Megastore and Virgin Atlantic, with theShop, MSN.com, Virgin Megastore and Virgin Atlantic, with the
airline using a particularly cheeky tack.airline using a particularly cheeky tack.
 Airline ads play off Bridget's weight worries, with copy reading,Airline ads play off Bridget's weight worries, with copy reading,
""Does This '2 For 1' Offer To London Make Our Butt LookDoes This '2 For 1' Offer To London Make Our Butt Look
BigBig?"?"
 "If Miramax were an airline, we'd be Virgin and if Virgin was a movie"If Miramax were an airline, we'd be Virgin and if Virgin was a movie
studio, ditto," said Lori Sale, the Miramax svp-worldwide promotionsstudio, ditto," said Lori Sale, the Miramax svp-worldwide promotions
who just finished marshalling promo muscle for Miramax's hitwho just finished marshalling promo muscle for Miramax's hit
children's film Spy Kids.children's film Spy Kids.
 Virgin Atlantic's premium economy two-for-one offer targets LondonVirgin Atlantic's premium economy two-for-one offer targets London
because it is home to star Renee Zellweger's fictional, thirtyishbecause it is home to star Renee Zellweger's fictional, thirtyish
Bridget Jones and the destination for four separate sweepstakesBridget Jones and the destination for four separate sweepstakes
prizes from MSN.com, Virgin Megastore/Virgin Atlantic, The Bodyprizes from MSN.com, Virgin Megastore/Virgin Atlantic, The Body
Shop and a joint Miramax/Diet Coke/Premiere "Visit Bridget"Shop and a joint Miramax/Diet Coke/Premiere "Visit Bridget"
contest.contest.

 Virgin Atlantic hyped Bridget with e-mails sent to its 175,000 FlyingVirgin Atlantic hyped Bridget with e-mails sent to its 175,000 Flying
Club members. Lifetime TV runs 30-second vignettes aboutClub members. Lifetime TV runs 30-second vignettes about
Zellweger April 7-13 and Entertainment Weekly has teamed withZellweger April 7-13 and Entertainment Weekly has teamed with
Miramax for top 10 market advance screenings this week hyped onMiramax for top 10 market advance screenings this week hyped on
radio and in print ads, Sale said. MSN.com offers sweeps, onlineradio and in print ads, Sale said. MSN.com offers sweeps, online
Bridget cards and soundtrack clips.Bridget cards and soundtrack clips.
 Like the Virgin contest, The Body Shop's 282 U.S. stores promoteLike the Virgin contest, The Body Shop's 282 U.S. stores promote
their London sojourn with window banners and POP materials plustheir London sojourn with window banners and POP materials plus
free sample skincare products with contest entryfree sample skincare products with contest entry
 SOURCE: Virgin, MSN Get Behind Weighty Bridget Push -SOURCE: Virgin, MSN Get Behind Weighty Bridget Push -
marketing for Bridget Jones's Diary - Brief Article.marketing for Bridget Jones's Diary - Brief Article. BrandweekBrandweek,,
April 9, 2001April 9, 2001 byby David FinniganDavid Finnigan ((
http://findarticles.com/p/articles/mi_m0BDW/is_15_42/ai_73409406/http://findarticles.com/p/articles/mi_m0BDW/is_15_42/ai_73409406/))

Selling BJD in Malaysia…Selling BJD in Malaysia…
 There are plenty of other examples to be found, with distributors inThere are plenty of other examples to be found, with distributors in
each region seeking to maximise their returns by forming cross-each region seeking to maximise their returns by forming cross-
promotional tie-ups with other media outlets and brands generallypromotional tie-ups with other media outlets and brands generally
 CANADA: ‘The campaign for Bridget Jones's Diary for instance,CANADA: ‘The campaign for Bridget Jones's Diary for instance,
brought together Women's Television Network (WTN) and Signaturebrought together Women's Television Network (WTN) and Signature
Vacations, which provided a trip for a mystery date promo. AllianceVacations, which provided a trip for a mystery date promo. Alliance
Atlantis brokered the deal and did all the leg work.’Atlantis brokered the deal and did all the leg work.’ [[
http://www.strategyonline.ca/articles/magazine/20010604/starpower.htmlhttp://www.strategyonline.ca/articles/magazine/20010604/starpower.html]]
 MALAYSIA: ‘Malaysian loyalty marketing expert Bonuslink hasMALAYSIA: ‘Malaysian loyalty marketing expert Bonuslink has
collaborated with United International Pictures to launch a mobilecollaborated with United International Pictures to launch a mobile
campaign promoting "Bridget Jones: The Edge of Reason".campaign promoting "Bridget Jones: The Edge of Reason".
As explained onAs explained on Cinema OnlineCinema Online, the initiative features a mobile, the initiative features a mobile
blogging section which allows fans to have their own diaries just likeblogging section which allows fans to have their own diaries just like
Bridget Jones. Entrants can win free trips to Bangkok and enjoy theBridget Jones. Entrants can win free trips to Bangkok and enjoy the
mobile-based "Secret Admirer", "Love Calculator", and "Lovemobile-based "Secret Admirer", "Love Calculator", and "Love
Pollingï¿½ services.’Pollingï¿½ services.’ [[http://www.adverblog.com/archives/2005_01.htmhttp://www.adverblog.com/archives/2005_01.htm]]

Selling BJD in the UKSelling BJD in the UK
 The UK wasn’t left out of this worldwide marketing blitz…The UK wasn’t left out of this worldwide marketing blitz…
 UK fans could sign up to receive texts from Bridget.UK fans could sign up to receive texts from Bridget.
Tragic!Tragic!
 This appeared to be a money-making exercise timed toThis appeared to be a money-making exercise timed to
coincide with the film’s release by the book’s authorcoincide with the film’s release by the book’s author
Helen Fielding rather than an official tie-in, but eachHelen Fielding rather than an official tie-in, but each
effectively promoted the other nonethelesseffectively promoted the other nonetheless
 Details are given on the next slide, quoted fromDetails are given on the next slide, quoted from
http://news.bbc.co.uk/1/hi/entertainment/new_media/1259889http://news.bbc.co.uk/1/hi/entertainment/new_media/1259889
(there is much more in the article)(there is much more in the article)

Selling BJD in the UKSelling BJD in the UK
 ‘‘Fans of the best-selling novel Bridget Jones's Diary by Helen Fielding willFans of the best-selling novel Bridget Jones's Diary by Helen Fielding will
soon be able to commune with their heroine by mobile phone text message.soon be able to commune with their heroine by mobile phone text message.
The chain-smoking, wine-swilling, singleton will send daily text message onThe chain-smoking, wine-swilling, singleton will send daily text message on
the topics dear to her heart.the topics dear to her heart.
 Expect calorie counts, relationship angst and tallies of glasses ofExpect calorie counts, relationship angst and tallies of glasses of
chardonnay consumed.chardonnay consumed.
 So popular is the Bridget Jones phenomenon that the BBC ran a singletonsSo popular is the Bridget Jones phenomenon that the BBC ran a singletons
night in 1998night in 1998
"For singletons like Bridget, the phone is becoming a major means of"For singletons like Bridget, the phone is becoming a major means of
human contact," Bridget creator Fielding said.human contact," Bridget creator Fielding said.
 "Texting allows followers to hear from Bridget more often than they hear"Texting allows followers to hear from Bridget more often than they hear
from some of their own friends."from some of their own friends."
 Life and lovesLife and loves
 Finnish wireless entertainment publisher Riot Entertainment is launching theFinnish wireless entertainment publisher Riot Entertainment is launching the
service in conjunction with Fielding on 13 April.service in conjunction with Fielding on 13 April.
 That is the day the film version of Bridget Jones's Diary - starring RenéeThat is the day the film version of Bridget Jones's Diary - starring Renée
Zellweger alongside Colin Firth and Hugh Grant as the love-interests, opensZellweger alongside Colin Firth and Hugh Grant as the love-interests, opens
at cinemas across the UK.’at cinemas across the UK.’

Tat for mugs?Tat for mugs?
From top left:
audiobook cover; music
scores book; [sequel]
mug; t-shirt print

2)2)
TIE-INSTIE-INS

Marketing BJD: the OSTMarketing BJD: the OST
 Historical or social realist dramas don’t particularly lendHistorical or social realist dramas don’t particularly lend
themselves to smash hit chart singles, but the rom-comthemselves to smash hit chart singles, but the rom-com
is the perfect vehicle for such a cross-marketing tool: theis the perfect vehicle for such a cross-marketing tool: the
music videos produced as an off-shoot ofmusic videos produced as an off-shoot of BJDBJD carefully-carefully-
selected soundtrack promoted the film (by featuring clipsselected soundtrack promoted the film (by featuring clips
and characters from it) as well as the acts performing,and characters from it) as well as the acts performing,
and of course the CD soundtrack itself. Merchandise canand of course the CD soundtrack itself. Merchandise can
rival a film’s box office takings, especially with sci-rival a film’s box office takings, especially with sci-
fi/fantasy films (fi/fantasy films (BatmanBatman andand Star WarsStar Wars are keyare key
examples)examples)
 There aren’t so many toys or video games to flog for aThere aren’t so many toys or video games to flog for a
rom-com, so the OST (official soundtrack) CD isrom-com, so the OST (official soundtrack) CD is
especially important…especially important…

You can see here
(clockwise from
top left) the UK,
French, US and
German OST CD
covers. The
European covers
are basically the
same.
Interstingly, the
US version
doesn’t include
any artist details,
presumably
concluding that
there are too
many UK artists
which the US
audience won’t
know

UK v USA OST TRACKLISTING:UK v USA OST TRACKLISTING:
spot the difference!spot the difference!
 1.1. Out Of ReachOut Of Reach
 GabrielleGabrielle
 2.2. RespectRespect
 Aretha FranklinAretha Franklin
 3.3. It's Raining MenIt's Raining Men
 Geri HalliwellGeri Halliwell
 4.4. Have You Met Miss Jones?Have You Met Miss Jones?
 Robbie WilliamsRobbie Williams
 5.5. I'm Every WomanI'm Every Woman
 Chaka KhanChaka Khan
 6.6. Kiss That GirlKiss That Girl
 Sheryl CrowSheryl Crow
 7.7. Killin' KindKillin' Kind
 Shelby LynneShelby Lynne
 8.8. Someone Like YouSomeone Like You
 Dina CarrollDina Carroll
 9.9. Not Of This EarthNot Of This Earth
 10.10. LoveLove
 RoseyRosey
 11.11. Stop, Look, Listen (To Your Heart)Stop, Look, Listen (To Your Heart)
 Diana Ross & Marvin GayeDiana Ross & Marvin Gaye
 12.12. DreamsomeDreamsome
 13.13. It's Only A DiaryIt's Only A Diary
 Patrick DoylePatrick Doyle
 14.14. Pretender Got My HeartPretender Got My Heart
 Alisha's AtticAlisha's Attic
 15.15. All By MyselfAll By Myself
 Jamie O'NealJamie O'Neal
 16.16. Ring, Ring, RingRing, Ring, Ring
 Aaron SoulAaron Soul
 1.1. Killin' KindKillin' Kind
 2.2. Kiss That GirlKiss That Girl
 Sheryl CrowSheryl Crow
 3.3. LoveLove
 RoseyRosey
 4.4. Have You Met Miss Jones?Have You Met Miss Jones?
 5.5. All By MyselfAll By Myself
 Jamie O'NealJamie O'Neal
 6.6. Just PerfectJust Perfect
 Tracy BonhamTracy Bonham
 7.7. DreamsomeDreamsome
 8.8. Not Of This EarthNot Of This Earth
 9.9. Out of ReachOut of Reach
 GabrielleGabrielle
 10.10. Someone Like YouSomeone Like You
 Dina CarrolDina Carrol
 11.11. It's Raining MenIt's Raining Men
 Geri HalliwellGeri Halliwell
 12.12. Stop, Look, Listen (To Your Heart)Stop, Look, Listen (To Your Heart)
 Diana Ross & Marvin GayeDiana Ross & Marvin Gaye
 13.13. I'm Every WomanI'm Every Woman
 Chaka KhanChaka Khan
 14.14. Pretender Got My HeartPretender Got My Heart
 Alisha's AtticAlisha's Attic
 15.15. It's Only A DiaryIt's Only A Diary
 Partick Doyle, Instrumental ScorePartick Doyle, Instrumental Score
The US OST drops 1
track (Aaron Soul), but
more importantly
transforms the
tracklisting so the CD
starts with several US
artists before coming
onto the UK acts.
This isn’t an issue for a
UK audience used to
American acts – though
maybe not country
singer Shelby Lyne
whose tracks are here
primarily for the US
audience

How 3 Acts Widen BJD AppealHow 3 Acts Widen BJD Appeal
 Marketing is all about targeting a specific audience … but movies strive toMarketing is all about targeting a specific audience … but movies strive to
get as many bums on seats as possibleget as many bums on seats as possible
 This helps explain the rise of theThis helps explain the rise of the hybrid genrehybrid genre, eg the rom-com is, eg the rom-com is
designed to help appeal to both men (com) and women (rom)designed to help appeal to both men (com) and women (rom)
 The OST was marketed through 3 music videos, all featuring moments fromThe OST was marketed through 3 music videos, all featuring moments from
the films, each helping to draw in slightly different audiencesthe films, each helping to draw in slightly different audiences
1.1. Shelby LyneShelby Lyne: country has little mainstream appeal in the UK or anywhere: country has little mainstream appeal in the UK or anywhere
outside of the US, where it is a major genre, so Lyne simply taps into aoutside of the US, where it is a major genre, so Lyne simply taps into a
mature US marketmature US market
2.2. GabrielleGabrielle: fairly limited profile in the US, this UK artist, as a black: fairly limited profile in the US, this UK artist, as a black
performer, helps reach out to what is often termed the ‘urban market’ (ie theperformer, helps reach out to what is often termed the ‘urban market’ (ie the
black audience)black audience)
3.3. Geri HalliwellGeri Halliwell : works on several levels: sex appeal/male gaze (so male: works on several levels: sex appeal/male gaze (so male
audience); Spice Girls fans (15-34 women) and aspirational tweenagersaudience); Spice Girls fans (15-34 women) and aspirational tweenagers
seeing her as a female icon; the extremely camp video is designed to drawseeing her as a female icon; the extremely camp video is designed to draw
in the gay male audience (‘pink pound’). The video also blatantly includesin the gay male audience (‘pink pound’). The video also blatantly includes
an intertextual reference to the 80s classic moviean intertextual reference to the 80s classic movie FlashdanceFlashdance, using a, using a
record player as part of this, so helping to ensure some appeal to a maturerecord player as part of this, so helping to ensure some appeal to a mature
30/40-something audience nostalgic for the 80s.30/40-something audience nostalgic for the 80s.

3)3)
TIE-INSTIE-INS
POSTERS/DVDPOSTERS/DVD
SLEEVESSLEEVES

Applying Richard Dyer’s ‘StarApplying Richard Dyer’s ‘Star
Persona’ theoryPersona’ theory
 The marketing for BJD and its sequel centred onThe marketing for BJD and its sequel centred on
either three-shots with Zellwegger between theeither three-shots with Zellwegger between the
male co-leads, or simply of RZ by herselfmale co-leads, or simply of RZ by herself
 According toAccording to Richard DyerRichard Dyer’s theory, we are not’s theory, we are not
just consuming the specific fictional characterjust consuming the specific fictional character
but also buying into the wider image of the starbut also buying into the wider image of the star
portraying themportraying them
 As the American, Hollywood A-lister, naturallyAs the American, Hollywood A-lister, naturally
RZ was the main focus of the campaign; the 2RZ was the main focus of the campaign; the 2
Brits simply didn’t have as high a profileBrits simply didn’t have as high a profile

Like it? Love it, ActuallyLike it? Love it, Actually
 Which is one way of saying we get a clearer example ofWhich is one way of saying we get a clearer example of
different US/UK approaches with the posters and sleevesdifferent US/UK approaches with the posters and sleeves
for another WT rom-com, Richard Curtis’for another WT rom-com, Richard Curtis’ Love ActuallyLove Actually
 The music video for thisThe music video for this is also very relevant to establish theis also very relevant to establish the
point on producers seeking to maximise audiences, usingpoint on producers seeking to maximise audiences, using
‘ironic’ sexism to give the rom-com a laddish touch‘ironic’ sexism to give the rom-com a laddish touch

UK v US DVD Covers/PostersUK v US DVD Covers/Posters
Marketing for the UK made heavy use ofMarketing for the UK made heavy use of
thethe domesticdomestic fame of thefame of the ensemble castensemble cast
while US marketing led on showingwhile US marketing led on showing
recognisable scenes tied into Xmasrecognisable scenes tied into Xmas
There is an excellent study
specifically of how the WT rom-
coms are marketed differently in
the UK/US at
http://www.ejumpcut.org/archive/jc48.2006/DVDMktg/index.htm
[DVD marketing in the U.S. of
Working Title's British romantic
comedies: Framing reception and
strategies of cultural appropriation
by Pavel Skopal in JumpCut ezine]

4 DVD/CD
SLEEVES; 2
FROM UK, 1
FROM RUSSIA…
WHICH 2 ARE
NOT FROM UK;
WHAT
DENOTES
THIS; CAN YOU
EXPLAIN THE
DIFFERENCE?

4)4)
 TIE-INSTIE-INS
 OST/MUSIC VIDEOSOST/MUSIC VIDEOS
 POSTERS/DVD SLEEVESPOSTERS/DVD SLEEVES
FAN-PRODUCEDFAN-PRODUCED
MEDIA/USER-MEDIA/USER-
GENERATEDGENERATED
CONTENTCONTENT

Fan Media as Viral MarketingFan Media as Viral Marketing
 Although there are still some self-defeating efforts atAlthough there are still some self-defeating efforts at
blocking content fromblocking content from YouTubeYouTube etc, when fans post theiretc, when fans post their
favourite clips from films, often set to a song by theirfavourite clips from films, often set to a song by their
favourite artist, they are effectively helping thefavourite artist, they are effectively helping the
multinational conglomerates market their films!multinational conglomerates market their films!
 Search YouTube and you’ll see many such efforts, egSearch YouTube and you’ll see many such efforts, eg
http://www.youtube.com/watch?v=DC2KVGVZ-6Ihttp://www.youtube.com/watch?v=DC2KVGVZ-6I byby
Lizzy Bennett, which has had 223,900 views. HerLizzy Bennett, which has had 223,900 views. Her
description: ‘Yes, it's a rather sappy song but for somedescription: ‘Yes, it's a rather sappy song but for some
reason it's always been the Bridget Jones song for me. ’reason it's always been the Bridget Jones song for me. ’

The Spoof TrailerThe Spoof Trailer
As an alternative, you can see a cleverAs an alternative, you can see a clever
fake trailer atfake trailer at
http://www.youtube.com/watch?v=_8fccHjYDMhttp://www.youtube.com/watch?v=_8fccHjYDM
named simply “the bridget jones diarynamed simply “the bridget jones diary
spoof trailer”spoof trailer”
While poking fun at the movie, I’d suspectWhile poking fun at the movie, I’d suspect
that some of its 34,455 viewers have gonethat some of its 34,455 viewers have gone
on to buy the DVD!on to buy the DVD!

Fan Media as Viral MarketingFan Media as Viral Marketing
This isn’t always the intention though;This isn’t always the intention though;
there are also some sharp pastiches outthere are also some sharp pastiches out
there…there…

Not a Fan?Not a Fan?
If all publicity isIf all publicity is
good publicitygood publicity
then thethen the
following alsofollowing also
help to markethelp to market
the movie,the movie,
notwithstandingnotwithstanding
their satirising ittheir satirising it

SeeSee
http://www.telegraph.co.uk/culture/culturepicturegalleries/6227378/Movie-poster-mash-ups-Star-Wahttp://www.telegraph.co.uk/culture/culturepicturegalleries/6227378/Movie-poster-mash-ups-Star-Wa

Wallpapering over the CracksWallpapering over the Cracks
 Various freebies are also often on offer,Various freebies are also often on offer,
especially digital, new media items such asespecially digital, new media items such as
‘wallpapers’ which can be used to replace the‘wallpapers’ which can be used to replace the
default computer desktop setting (please DON’Tdefault computer desktop setting (please DON’T
do this on the Macs!!!)do this on the Macs!!!)
 We’ll look in more detail at what the WT websiteWe’ll look in more detail at what the WT website
offers shortly.offers shortly.
 The following are egs of LA wallpapers, fromThe following are egs of LA wallpapers, from
http://www.kapanlagi.com/wp/a/love-actually-keira-knhttp://www.kapanlagi.com/wp/a/love-actually-keira-kn

Further Resources & ReadingFurther Resources & Reading
 JumpCut article:JumpCut article: http://www.ejumpcut.org/archive/jc48.2006/DVDMktg/index.htmlhttp://www.ejumpcut.org/archive/jc48.2006/DVDMktg/index.html
 Various Gdn arts on product placement, egVarious Gdn arts on product placement, eg
http://www.guardian.co.uk/film/filmblog/2008/may/08/allfilmwritersgetaskedhttp://www.guardian.co.uk/film/filmblog/2008/may/08/allfilmwritersgetasked
http://www.guardian.co.uk/film/filmblog/2008/sep/05/quantumofsolaceacokezerohttp://www.guardian.co.uk/film/filmblog/2008/sep/05/quantumofsolaceacokezero
http://www.guardian.co.uk/film/2008/nov/02/quantum-of-solace-product-placementhttp://www.guardian.co.uk/film/2008/nov/02/quantum-of-solace-product-placement
 Various on product placement:Various on product placement:
http://www.indiescene.net/archives/movie_marketing/product_placement/http://www.indiescene.net/archives/movie_marketing/product_placement/
 http://www.universalexports.net/Movies/quantumofsolace-productplacement.shtmlhttp://www.universalexports.net/Movies/quantumofsolace-productplacement.shtml
 http://listverse.com/2008/03/21/top-10-blatant-examples-of-product-placement-in-movies/http://listverse.com/2008/03/21/top-10-blatant-examples-of-product-placement-in-movies/
 http://news.bbc.co.uk/1/hi/business/2488151.stmhttp://news.bbc.co.uk/1/hi/business/2488151.stm
 http://www.brandingstrategyinsider.com/2008/10/james-bond-shak.htmlhttp://www.brandingstrategyinsider.com/2008/10/james-bond-shak.html
 http://www.mi6.co.uk/sections/movies/tswlm_trivia.php3http://www.mi6.co.uk/sections/movies/tswlm_trivia.php3
 On the rom-com http://www.moviesmackdown.com/2008/12/bridgetharry.htmlOn the rom-com http://www.moviesmackdown.com/2008/12/bridgetharry.html
 On tie-ins http://findarticles.com/p/articles/mi_m0BDW/is_15_42/ai_73409406/ andOn tie-ins http://findarticles.com/p/articles/mi_m0BDW/is_15_42/ai_73409406/ and
http://www.strategyonline.ca/articles/magazine/20010604/starpower.html +http://www.strategyonline.ca/articles/magazine/20010604/starpower.html +
http://news.bbc.co.uk/1/hi/entertainment/new_media/1259889.stm +http://news.bbc.co.uk/1/hi/entertainment/new_media/1259889.stm +
http://www.textually.org/picturephoning/archives/2004/10/005592.htm +http://www.textually.org/picturephoning/archives/2004/10/005592.htm +
http://www.textually.org/textblog/mt_search.php?IncludeBlogs=3&search=bridget+joneshttp://www.textually.org/textblog/mt_search.php?IncludeBlogs=3&search=bridget+jones
 BJD wallpaper http://www.cinematicwallpaper.com/wallpaper-comedy/Bridget-Jones-BJD wallpaper http://www.cinematicwallpaper.com/wallpaper-comedy/Bridget-Jones-
wallpaper.htmwallpaper.htm
 Various BJD postersVarious BJD posters
http://www.moviegoods.com/movie_poster/bridget_joness_diary_2001.htm orhttp://www.moviegoods.com/movie_poster/bridget_joness_diary_2001.htm or
http://www.impawards.com/2001/bridget_joness_diary_ver2.html orhttp://www.impawards.com/2001/bridget_joness_diary_ver2.html or
http://www.cdcovers.cc/search/all/bridget-jones-diaryhttp://www.cdcovers.cc/search/all/bridget-jones-diary
 A PowerPoint on BJD written for Media Studies studentsA PowerPoint on BJD written for Media Studies students
http://www.doxtop.com/browse/54a9f919/working-titles-bridget-jones--bridget-jones.aspxhttp://www.doxtop.com/browse/54a9f919/working-titles-bridget-jones--bridget-jones.aspx

Task: Re-design for US aud, +Task: Re-design for US aud, +
tie-instie-ins
What tie-ins might a film like yoursWhat tie-ins might a film like yours
develop?develop?
Re-design your poster for a US audience!Re-design your poster for a US audience!

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