71 marketing and promotion
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The document analyzes the marketing of the film '71, which had a budget of £8.1 million and was produced by several UK film companies and distributed by StudioCanal. The film's marketing focused on trailers, magazine features, interviews with stars, and strong reviews, as word of mouth was an important marketing strategy. Most of the marketing efforts were centered in London, the primary target audience as the location where the real-life events took place. Television advertisements were limited due to the low budget.
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'71 | Indie Film Case Study
1) '71 is a 2014 British war thriller film directed by Yann Demange and starring Jack O'Connell as a young British soldier accidentally abandoned by his unit in Belfast, Northern Ireland during violent sectarian conflict in 1971.
2) The film was produced by Film4 and the BFI Film Fund with a budget of £8.1 million and filmed on locations in Lancashire, Yorkshire, and Liverpool, England.
3) '71 received critical acclaim at its premiere at the Berlin Film Festival and has a 97% positive rating on Rotten Tomatoes for its tense and authentic portrayal of the political conflict and the protagonist's struggle to survive alone.
The film 71
71 is a 2014 British historical film set during the Belfast riots of 1971. It tells the story of a British soldier, Jack O'Connell, who is abandoned by his unit during a riot and must attempt to survive on his own. The film was directed by Yann Demange and portrayed the intense situation in a realistic yet engaging way. It received praise for its action scenes and portrayal of the violent conflict in Belfast at the time.
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The riot club task 4
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Lionsgate films
Lionsgate was chosen to distribute the film because they distribute a wide range of genres, including crime thrillers similar to the film, and they distribute both British and American films. The film would receive a theatrical release in national and European cinemas targeting British audiences. It would also be released on DVD, VOD, and streaming platforms like Lionsgate's UltraViolet. Lionsgate effectively markets films through traditional methods like posters, radio, and TV ads as well as online methods using social media platforms and YouTube to promote to targeted audiences.
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'71 | Indie Film Case Study
1) '71 is a 2014 British war thriller film directed by Yann Demange and starring Jack O'Connell as a young British soldier accidentally abandoned by his unit in Belfast, Northern Ireland during violent sectarian conflict in 1971.
2) The film was produced by Film4 and the BFI Film Fund with a budget of £8.1 million and filmed on locations in Lancashire, Yorkshire, and Liverpool, England.
3) '71 received critical acclaim at its premiere at the Berlin Film Festival and has a 97% positive rating on Rotten Tomatoes for its tense and authentic portrayal of the political conflict and the protagonist's struggle to survive alone.
The film 71
71 is a 2014 British historical film set during the Belfast riots of 1971. It tells the story of a British soldier, Jack O'Connell, who is abandoned by his unit during a riot and must attempt to survive on his own. The film was directed by Yann Demange and portrayed the intense situation in a realistic yet engaging way. It received praise for its action scenes and portrayal of the violent conflict in Belfast at the time.
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Question 3
Momentum Pictures, Entertainment One UK, and Entertainment Film Distributors are potential distributors for the film "Sacrament". Momentum Pictures distributes around 20 films per year to theaters in the UK and is owned by one of the top six distributors. Entertainment One has experience distributing popular film franchises like Twilight. Entertainment Film Distributors has distributed award-winning films and box office hits to theaters in the UK and Ireland. All three companies could appeal to potential new audiences for an independent British thriller like "Sacrament".
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2) Vladimir Propp identified common character types that appear in stories, including the hero, helper, villain, false hero, donor, dispatcher, princess, and princess' father.
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Case studies
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- A budget of £750,000 funded by UK Film Council, FilmFour, Screen Yorkshire, and EM Media.
- Distribution in UK theaters by Optimum Releasing and home video by Optimum Home Entertainment. US distribution by Strand Releasing.
- Modest box office returns in UK (£127,290) and US ($7,635) but recouping costs through DVD and Blu-ray sales was the intention.
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Question 3
Momentum Pictures, Entertainment One UK, and Entertainment Film Distributors are potential distributors for the film "Sacrament". Momentum Pictures distributes around 20 films per year to theaters in the UK and is owned by one of the top six distributors. Entertainment One has experience distributing popular film franchises like Twilight. Entertainment Film Distributors has distributed award-winning films and box office hits to theaters in the UK and Ireland. All three companies could appeal to potential new audiences for an independent British thriller like "Sacrament".
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Based on the document, there are several media institutions that would be suitable to distribute an independent horror film with a low budget:
Universal, Lionsgate, Blumhouse Productions, and Vertigo Entertainment. Universal has a history of distributing indie horror films. Lionsgate is very influential and has found success with horror films like SAW. Blumhouse Productions has produced highly profitable horror films like Paranormal Activity and Insidious. Vertigo Entertainment focuses on horror films, bringing international titles to American audiences. Deal with the Devil, the production company mentioned, could also seek distribution from these established horror film distributors.
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The film One Day follows the characters of Emma and Dexter as they reconnect each year on July 15th over the course of two decades after spending a night together following their university graduation. The film had a production budget of $15 million and was produced by Random House Films, Film 4, and Color Force. It was distributed theatrically by Focus Features in countries like the UK, US, Russia, and Canada. One Day had a worldwide box office intake of approximately $56.7 million.
A Brief History of Thriller Films
Thriller films have been popular since the 1920s when Alfred Hitchcock directed some of the earliest examples, like "The Lodger" and "Blackmail". The genre grew in popularity through the 1940s-1950s as more directors made thrillers. Iconic films from this era included Hitchcock's "Suspicion" and "Shadow of a Doubt" as well as "Gaslight" and "The Night of the Hunter". The 1960s saw many spy thrillers emerge alongside directors like Terrence Young. Popular thrillers continued to be produced in the 1970s-1980s, like "Frenzy", "Play Misty for Me", and "Blow Out". Renowned thrill
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Notting Hill is a 1999 romantic comedy film that follows the unlikely romance between a London bookshop owner (played by Hugh Grant) and the most famous film star in the world (played by Julia Roberts). The film was a major commercial success, becoming the highest-grossing British film of all time and earning over $363 million worldwide against a $43 million budget. It received generally positive reviews from critics and won multiple awards, including Best British Film at the Empire Awards.
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Filming and ancillary tasks must be completed by the end of January. Music videos and short films must include lip-synching and diegetic sound/dialogue respectively. Editing and projects for Courteney and Cory need to be finished by the end of February. Student blogs should have at least 60 posts since September and all coursework will be exhibited to classes at the end of February for feedback. Students must film an evaluation of their final product by the end of April to achieve higher marks.
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The document summarizes several narrative and character theories:
1) Tzvetan Todorov identifies 5 stages in typical narratives: equilibrium, disruption, recognition, repair, and restoration.
2) Vladimir Propp identified common character types that appear in stories, including the hero, helper, villain, false hero, donor, dispatcher, princess, and princess' father.
3) Levi Strauss believed concepts are understood through their opposites, or "binary oppositions," like hero/villain and good/evil.
New wc rep
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Gareth Edwards' 2010 film Monsters used new technology and low-budget filmmaking techniques to create impressive visuals on a small budget. It utilized lightweight digital cameras to film in actual locations instead of studios. Viral marketing through YouTube was also used to promote the film in a new way. Monsters was eventually picked up for distribution by Magnolia Pictures and shown at film festivals, leading it to find an audience through word-of-mouth.
Lesson One - Audience and Institutions
The document provides an overview of the film industry for an exam, including the key areas of production, distribution, and exhibition. It discusses how a film moves through these three stages, from being produced by a production company, to being distributed nationally and internationally by distributors in theaters and home markets, to finally being exhibited in theaters or bought for home viewing. It also explains the concepts of horizontal and vertical integration, where large parent companies own subsidiaries across different stages of the film industry.
Filmcasestudies 130410094206-phpapp01
Here are the key terms with definitions:
Production - The process of making or creating a film. It includes development, pre-production, principal photography, post-production and distribution.
Subsidiary - A company that is owned or controlled by a parent company.
Distribution - The process of making a film available for viewing by an audience. It includes theatrical exhibition, home video, television broadcast, and digital delivery.
Marketing - Promoting and selling a film to an audience. It includes advertising, publicity, trailers, posters, etc.
Exhibition - Showing a film to an audience, such as in movie theaters.
Vertical Integration - When a company owns different parts of the production and distribution
Ciandwcrep
This document discusses the representation of the working class in British cinema and television from the 1950s to present day. It notes that historically, the working class were marginalized on screen but this changed with "kitchen sink" films of the 1960s that depicted working class life in a gritty, realistic manner. However, it also discusses how more popular films and television shows have portrayed the working class through stereotypical tropes and icons for mass market appeal. More recently, some critics argue that some reality television programs exploit and demonize the working class for entertainment purposes, though audience research also shows people interpret media in varied, complex ways.
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Vertigo Films was founded in 2002 by film producers and a director to create and distribute commercially successful independent films. The company was formed to produce and distribute two films per year, with a current goal of four films in production and four in distribution annually. Vertigo Films represents a vision of England that some argue is more realistic than other UK production companies. They have used new technologies and careful budgeting to produce and distribute 30 films to date with consistent commercial success.
The dark knight rises and the woman in black case study
The Dark Knight Rises was distributed by Warner Bros. Pictures with a budget of $250-300 million. It was directed by Christopher Nolan and starred Christian Bale and Tom Hardy. Promotion included a viral marketing campaign and trailers with other films. It was released in theaters internationally in July 2012 and on DVD/Blu-Ray in December 2012, being consumed through legal purchases or potentially illegally online. Merchandise included toys, clothing, and sponsoring race cars to generate additional revenue.
C identity
Collective identity of the working class is represented in media like films, TV shows, and online communities. Some argue this representation exploits or marginalizes the working class (Part 1). Others note audiences are active, not passive, in interpreting these representations and forming their own identities (Part 2). Future representation may include user-generated content, but the influence of media on collective identity is complex and impossible to precisely measure (Part 3).
As questions ppt
The document discusses key concepts and case studies relevant to questions about media institutions, audiences, ownership, and technology. It provides guidance on topics to discuss for questions about the impact of media ownership on product availability, the role of convergence and synergy in marketing, the effects of digital distribution on consumption, and the significance of technological developments. Examples mentioned include film case studies like The Dark Knight Rises, The Lego Movie, Monsters, and Wild Bill. The document also provides prompting for questions about the dominance of global media institutions and how independent British films compete within this environment.
Sequential narrative
Our students need to develop skills in analyzing and constructing sequential narratives in visual form. One way to do this is by having students construct their own visual narratives using images from films. Initially, this involved printing out images from films and arranging them with blu-tack. However, using Comic Life software allows students to digitally arrange and annotate images within templates. This helps students learn to deconstruct trailers and other visual texts by analyzing things like editing, camera work, and narrative structure.
Magazine blogging
This document discusses various digital platforms that can be used for media blogging and presenting student work. It describes platforms like Blogger, Slideshare, Prezi, Powtoon and YouTube that allow students to create blogs, present presentations, host videos and audio, and share their projects. The goal is to encourage students to use multiple platforms to present their work in visual and engaging ways, as examiners may prefer different platforms each year.
As evaluation ppt
This document provides instructions for students to evaluate a media production project for an AS level class. It outlines that the planning, preparation, and evaluation must be completed by March 6th. It lists several requirements for the evaluation, including using specific subheadings to address questions about conventions, representation, target audience, and what was learned. Students must illustrate their evaluation with examples from their work and include feedback from their target audience.
Year 13 – to do
The document outlines the tasks that need to be completed for a Year 13 production project. It instructs students to:
1) Evaluate three similar products, produce a pitch emphasizing a unique selling point and discussing the target audience.
2) Create a questionnaire to understand target needs and present findings in graphs with commentary.
3) Produce initial storyboards and breakdown scenes, along with casting, locations work, and addressing music rights and permissions.
4) Create flat-plans for ancillary tasks and regularly update blogs and produce podcasts to document progress. Address any plan changes in blogs.
A2 evaluation ppt
This document provides guidance and reminders for an A2 evaluation assignment. It emphasizes illustrating work thoroughly, varying presentation methods, using filmed presentations and podcasts, breaking answers into shorter parts, properly labeling answers, and completing all work on time. It also stresses using coursework to earn marks if the exam is difficult.
A2 question 1
This document outlines the structure and requirements for Section A of a media studies exam. Section A focuses on theoretical evaluation of candidate's production work. It consists of two questions: 1) Describe and evaluate skills development from foundation to advanced portfolio, focusing on one or two specific production practices, and 2) Select one production and evaluate it in relation to a theoretical concept such as genre, narrative, or media language. The document provides guidance on how candidates should approach answering these questions.
Henry jenkins
Henry Jenkins sees fans as cultural producers who participate in self-constructing their cultural identities using various media. He refers to the concept of "convergence culture" where old and new media intersect and consumers can control media narratives. Jenkins believes that individuals construct personal mythologies by extracting bits of information from various media sources. Collective identities are shared online through blogs, YouTube, and social networks, allowing grassroots groups more control over the media landscape.
Ci etc etc
The document discusses media representation of the working class over time and across different media. It notes that while the working class was once marginalized in media, films and television in the late 1950s/early 1960s featured working class stories and characters at the center. However, more recent representations show greater dysfunction and aggression. This can negatively impact collective identity if audiences interpret media at face value, but the impact depends on how texts are decoded. While some argue negative portrayals influence policy, others believe audiences can negotiate meanings and the working class is representing itself through new media.
Genre theory
1. Genre theory proposes that genres are conventions of content and form shared by texts belonging to them, though genres are dynamic and constantly changing rather than fixed.
2. Genres position both producers and audiences in certain ways, with genres providing expectations for audiences around plot, characters, and pleasures like emotional responses and sharing the experience with others.
3. However, genre classification is problematic, as individual texts may belong to multiple genres, genres are not clearly defined and change over time and between cultures, and their functions and borders are debated.
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The dark knight rises and the woman in black case study
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Distribution lesson1 24.11.11
Film distribution involves marketing films to audiences and exhibitors like movie theaters and television networks. A film distributor promotes and distributes films to maximize the number of viewers. For large studio films, the distributor is often affiliated with the studio. Independent films have a harder time finding distributors to help finance and promote their films. Distributors arrange for films to be shown in theaters, on television, and other platforms to generate revenue from ticket and disc sales.
Distribution lesson1 24.11.11
The document discusses how film distribution works, focusing on the role of distributors in marketing films to audiences and getting them exhibited in cinemas or on television. It notes the differences between film distribution systems in the US and UK, with US studios often controlling production and distribution, while UK distributor Film4 helped finance and distribute independent British films but struggled to appeal to both domestic and international audiences. The role of distributors in the film industry and challenges of independent films finding distribution are also examined.
Evaluation question 3: Renewed
Optimum Releasing would be a suitable distributor for the independent British thriller film. As an independent UK film company, Optimum specializes in distributing similar low-budget, British independent films and thrillers. They have had success distributing films with small budgets that appeal to younger audiences. Their marketing strategies, like using social media, would be a cost-effective way to promote the film to its target teen-adult demographic. Optimum also has experience distributing similar thriller genres to the one in the film, so they understand how to market and release that type of film.
Evaluation question 3
Summit Entertainment is a film production, distribution and sales company founded in 1991. They initially handled foreign film sales but later expanded into fully financing and producing their own films by the late 1990s. Summit distributes their films both theatrically and on home video formats internationally through partnerships with other major studios like Universal and Sony. As an independent studio with access to over $1 billion in financing, Summit would be capable of distributing films internationally but likely requires partnerships for domestic theatrical distribution in large markets like North America.
Film Industry Answers
The document discusses the distribution of the films Straight Outta Compton and I, Daniel Blake. It provides information on what film distribution entails, such as releasing and marketing films. For Straight Outta Compton, Universal Pictures distributed the film internationally using a saturated release pattern. I, Daniel Blake was distributed internationally through various smaller distributors suited for its independent and niche audience. Both films used platform release patterns to build audiences through word-of-mouth in key territories.
L5 l7 - production and distribution
This document provides homework assignments and lesson plans for a film studies class. It includes assignments to research emerging film markets threatening Hollywood dominance, analyze a film trailer, and complete a compare and contrast table analyzing the production and distribution of four film case studies. It also provides lesson objectives on developing understanding of how differing film industries produce and distribute products to audiences.
Media AS Revision 009 (Section B)
The document provides information about FilmFour, a British film production company. It discusses some of FilmFour's most successful films like Trainspotting and Four Weddings and a Funeral. It also addresses issues like representing diversity in British cinema, competing with major Hollywood studios, and adapting to changes in film consumption and technology.
Dredd and some stuff stolen from another teacher
The document discusses the British film industry. It identifies key organizations that support the industry, such as the British Film Institute which promotes British film culture and heritage. It also discusses major British production companies and how a film qualifies as a British film. The document examines audience types for films and how British films attract both domestic and global audiences. It provides box office figures for the industry and analyzes the 2012 film Dredd.
ITV America
The document provides details on ITV's plans to expand into the US television market by launching ITV America. Some key points:
1) ITV is the largest commercial television network in the UK and wants to leverage its brand and programming internationally.
2) The US market was selected for its large size, cultural similarities to the UK, and potential for advertising revenue.
3) The launch of ITV America will involve securing promotional partnerships, bringing over popular UK programs, and creating customized advertising for the US audience.
4) An extensive marketing campaign utilizing television, online, print, and celebrity appearances is planned to build awareness of the new channel.
4 film4 and trainspotting section b exam prep
FilmFour is a British film production company established in 1982 to finance British films. It was originally known as Channel 4 Films and was part of Channel 4's mandate to experiment and cater to underserved audiences. FilmFour now funds around 20 films per year, many by first-time directors or screenwriters. They look for distinctive films that will stand out in the competitive film market. Television premieres air on FilmFour Channel and Channel 4 two years after theatrical release. The document discusses the marketing of Trainspotting (1996) and Slumdog Millionaire (2008), both funded by FilmFour and directed by Danny Boyle. It also covers issues FilmFour faces such as competing for cinema space and adapting to changing viewing habits with new
Film 4 and trainspotting
The document discusses FilmFour, a British film production company. It provides background on FilmFour, describing some of its successful and groundbreaking films from the 1980s-2000s like My Beautiful Laundrette, Trainspotting, and Four Weddings and a Funeral. The summary also notes that FilmFour faces challenges competing for cinema space with large Hollywood studios and lacks distribution clout.
Distribution question 3
This document discusses film distribution and the process of getting a film seen by audiences. It notes that distributors spend around £300 million marketing and distributing films. The author would want their low-budget horror film/TV series to be picked up by Channel 4 and distributed widely through urban multiplex cinemas and a Spanish version. They identify Entertainment UK as a distributor that helps with casting and would appreciate working with them. The document also provides examples of successful low-budget British films and their distributors, such as Bullet Boy distributed by Verve Pictures and Dexter Fletcher's films through Entertainment Film Distribution.
Cue cards for film industry as revision
A Field in England utilized synergistic partnerships with Film 4, Channel 4, and BFI to fund, market, and distribute the film across multiple platforms simultaneously. It targeted a niche audience of older, middle-class viewers interested in history and independent films. Pacific Rim had a large budget from parent company Time Warner and worked with subsidiaries like NECA for merchandise and Legendary Pictures for production. It used extensive viral and cross-platform marketing techniques to appeal to both male and female audiences around the world. Both films leveraged technological convergence for digital distribution while A Field in England was more limited by its smaller budget.
Cue cards for film industry as revision
A Field in England utilized synergistic partnerships with Film 4, Channel 4, and BFI to fund, market, and distribute the independent film simultaneously across theaters, DVD, television, and online platforms. Pacific Rim was produced by Legendary Pictures and co-financed by Disney, with distribution from Warner Bros. It employed viral marketing techniques including an interactive website and merchandise partnerships to promote the large-budget action film to broad audiences. Both films leveraged digital technologies and cross-platform distribution strategies, though A Field in England had a minimal budget while Pacific Rim benefited from the financial resources of its studio backers.
Revision Tips
This document provides revision tips and information about institutions and audiences in media studies. It discusses synergy and cross-media convergence in the film industry using Vivendi Universal as an example. Technological convergence is also examined by looking at different devices that can be used to watch films such as smartphones, MP4 players, games consoles, laptops, and home cinema systems. An overview of the film production cycle is given including the stages of production, distribution, exhibition, and marketing. Examples of different types of films and studios in both the UK and US industries are analyzed.
A Field in England (Ben Wheatley)
A Field in England was a low-budget British film directed by Ben Wheatley that was financed by Film4 and distributed simultaneously across multiple platforms including theaters, VOD, DVD, and television on Film4. The unconventional release strategy was a success, with the film performing well above expectations across all platforms and its marketing campaign effectively building momentum around the film. Its target audience of 18-35 year old cinephiles engaged well with the film both in theaters and online.
Presentation2
The document discusses which type of media institution would be best for distributing a low-budget horror film. It argues that a smaller, independent company like Warp Films would be more suitable than a major studio. Warp Films supports lower budget, culturally significant films. Examples like 28 Days Later were successful despite small budgets due to strong stories and characters. The summary also notes that the target audience for the film would be predominantly male ages 18-25, further supporting the choice of a smaller distributor suited for niche films within the mass market.
A field in england
A Field in England was Ben Wheatley's fourth film with a small budget of £300,000 financed by Film4.0, Rook Films, and the BFI. It had an experimental simultaneous release in 2013 across cinemas, DVD/Blu-ray, download, VOD, and Film4 channel. This distribution strategy helped the film reach over 367,000 viewers despite limited cinema screens. While its box office was modest, the simultaneous release was deemed a unique and effective way to maximize audience for an independent production.
Evaluation distribution gg
The document discusses film distribution in the UK. It notes that the UK Film Council supports independent filmmakers through various funds that help with development, bigger budgets, and distribution/marketing. It also discusses Unstoppable Entertainment, a UK production company founded by Noel Clarke that produces commercial films for international audiences. The document provides box office numbers for the film Adulthood, which was distributed in cinemas and on DVD/Blu-ray in various countries, as an example of distribution.
Film 4
Film 4 is a British film production and distribution company owned by Channel 4. It aims to develop British talent and support innovative independent films. Film 4 invests around £500,000 in 20 films per year. It also co-invests in international independent films. Film 4 offers a platform for British and independent cinema by committing to show the films it produces on Channel 4 and Film 4 TV channel. Key advantages are its links to Channel 4 for promotion and its remit to support culturally diverse and innovative films.
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Bandcamp
Bandcamp is an online music store and platform for independent artists founded in 2007 that allows artists to sell their music directly to fans. It provides a way for unknown artists to make their music available without a record label and to receive payments directly from fans. Bandcamp gained recognition in 2010 when established artists began using it to self-release albums and promote themselves on social media. It offers advantages for both artists and fans by cutting out the middleman and enabling artists to set their own prices.
Shot list
This shotlist summarizes the visual elements and sequence of shots planned for a music video. It includes shots of objects at a party, the artist walking and flashing back to the party, shots of her changing clothes and getting into bed, images representing her memories and thoughts, footage of her and a partner together and then arguing, and final shots of her alone in the bath tub sinking underwater while crying. The shotlist follows the artist through the events of a party, interactions with a partner, and ending in solitary reflection in the bath tub.
Mark past videos
Niamh Barrett marked three music videos according to a level 4 criteria. For the video "Message in a Bottle", Niamh gave it 30 marks but noted it deserved higher. The video used crosscutting well and had good transitions, but some shots were too long or overexposed. For "The Past Six Years", Niamh gave 27 marks and critiqued the cliche car window shot, out of sync lip syncing, and lack of narrative clarity. For "Ms Mr Hurrican", Niamh gave 33 marks and praised the editing, use of locations, and steady shots, but noted the dancing was repetitive.
Star theory – richard dyer
Richard Dyer argues that a star is an image created by the media to engage audiences, not the actual personality of the artist. A star's image should be incomplete so fans strive to complete it, and the artist should seem both present yet distant and ordinary yet extraordinary. Stars are crafted with similar appealing traits to produce profit for record labels and film studios, and their image depends on how the media portrays them after death as much as during life.
Photoshoot and photoshop
The document discusses editing photos using Photoshop and Pixlr. It describes several edits made to photos, including adding geometric shapes and text, changing hues and saturation, creating collages, and using layer masks and selection tools to modify specific elements. The edits resulted in effects like an Andy Warhol piece, a rainbow background behind bricks, and giving a photo a disco feel.
History of music videos
The document traces the history of music videos from early films in the 1920s that incorporated music and choreography to promote songs, to the emergence of dedicated music video programs and channels in the 1960s and 1970s. It highlights milestones like Walt Disney animating to classical music in Fantasia in 1940, Elvis Presley popularizing rock and roll in the 1950s, and Michael Jackson combining music videos with film in Thriller in 1982. The introduction of MTV in 1981 made music videos widely accessible on television for the first time.
Class feedback
This document contains class feedback for the student Niamh Barrett. While Niamh participates actively in class discussions, the feedback notes that she could improve by asking more insightful questions of her classmates. Overall, Niamh is encouraged to continue sharing her thoughts and perspectives while also seeking to understand other viewpoints in discussions.
Evaluation:Q2
This document discusses how different groups are represented in a student film thriller. It notes that the film features both a female victim and hero/villain to show women can be vulnerable or dominant. All the cast are young to represent a lack of wisdom and relate to the target audience. One character has a mental illness, though the film could have shown this sensitivity better. The rural setting isolates one character and follows thriller conventions. Both main characters are white, which risks the film only appealing to white audiences despite aiming for equality.
Conventions of a thriller
Thrillers can be shown through different media like literature, films, television and games. There are literary techniques commonly used in thrillers like red herrings, suspense and cliffhangers. Thrillers usually involve a beloved hero defeating a villain, though sometimes the hero is killed off unexpectedly. Thrillers can overlap with other genres and include subgenres like spy thrillers, crime thrillers, horror, psychological thrillers and erotic thrillers. Common filming locations for thrillers include abandoned places like warehouses and convenient places increase suspense.
Storyboard
The document provides production notes for a scene, describing that credits will dissolve out at the beginning while fox music plays. It then notes that Courtney has headphones in so her music can be heard, and when removed natural sounds take over. Hyleana is behind her in all black looking suspicious as tense music plays. As Courtney walks through a creaking door, Hyleana walks around the corner in what appears to be CCTV footage. Both characters are then shown in a classroom with no music as dialogue begins.
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71 marketing and promotion
- 1. '71 marketing and promotion I've decided to analyse the film '71's marketing. This will also help me with the second part of the course. Budget: £8.1 million Production company Crab Apple Films Warp Films Film4 BFI Film Fund Screen Yorkshire Creative Scotland Distributed by StudioCanal Film was able to promote through: trailers(both British and American) magazines(small section compared to bigger budget films who would have the front cover) interviews with stars reviews(96% rotten tomatoes,4/5 telegraph, 7.2/10IMBd) and one of the main ones- word of mouth(Most trusted source of marketing) A main part to the marketingin America was havingthe star Jack O’Connell,who starred in a film with Angelina Jolie recentlybefore the release of '71, Unbroken. • Most of '71's marketing was focused in London because it was seen as the primary audience. It's the most popular area around where the event happened. There was promotion through selected TV campaigns.This shows that the film had a low budget therefore could not advertise on a big scale • Don't have any merchandise except DVD and Blu-ray
- 2. UK trailer https://www.youtube.com/watch?v=J-BaKfl1Ms4 This trailer has less information aboutthe events that are happening becauseit assumes the British public knowaboutthe event- due to it happeningin the UK. American trailer https://www.youtube.com/watch?v=xLH7wBnqy2U This trailer fillstheaudience in on the background of the event which is happeningin the film.