This case study examines the 2010 low-budget independent film Monsters. It details how the film was made for only $500,000 using digital cameras and guerrilla filmmaking techniques. It premiered at the SXSW Film Festival and was immediately acquired for distribution in the US and Mexico. Though it only played in 25 screens domestically, it was profitable through international distribution. The case study explores the innovative marketing campaign utilizing the social media platform Foursquare to promote the film's theatrical release.
The Dark Knight - Production Marketing and AudienceElle Sullivan
The Dark Knight had an elaborate viral marketing campaign to promote the film. Warner Bros. created fake websites related to the plot and characters that fans could interact with online. They also held real-world scavenger hunts where fans searched cities for clues. This generated buzz and encouraged fans to share information about the film through word-of-mouth and online discussions. The viral campaign helped The Dark Knight become a box office success and one of the most profitable superhero films ever made.
The Dark Knight Rises was the third film in Christopher Nolan's Batman trilogy. It had an all-star cast including Christian Bale, Tom Hardy, Gary Oldman, and Anne Hathaway. With a $250 million budget, the film was shot on location in India, Pittsburgh, New York, and other locations. It was distributed by Warner Bros and had a massive marketing campaign. The Dark Knight Rises grossed over $1 billion worldwide, making it a major box office success.
This document provides a case study on the 2012 James Bond film Skyfall. It discusses the film's production, which was delayed due to MGM's financial troubles but resumed in late 2010. Skyfall had a large budget of $200 million and filming locations in the UK and abroad. The film was the first Bond movie to be shot digitally. It was also the first in the franchise to be released in IMAX theaters, which proved very successful. The document outlines Skyfall's marketing campaign, which had a budget of $75 million and included extensive product placements, publicity stunts, and synergy partnerships. Social media discussion of Skyfall peaked around key announcements like the film's title and trailer reveals.
The dark knight rises and the woman in black case studyLiamattridge
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.
Skyfall Production Distribution Exhibition & AudienceElle Sullivan
1) Skyfall was produced by Eon Productions and distributed by MGM and Columbia Pictures. It had a budget of $150-200 million and was aimed at a global audience.
2) Key aspects of the film's production included filming in London and overseas locations to control costs, the use of digital filming techniques for the first time in the Bond franchise, and product placements to help finance the film.
3) The film was very successfully marketed through traditional and digital channels. An especially impactful marketing moment was James Bond participating in the opening ceremony of the 2012 London Olympics.
Here are the key terms with definitions:
Production (front)
The process of making a film, including development, financing, filming, editing, etc.
Subs (back)
Short for subtitles, text displayed on screen to translate dialogue or provide other information.
Warp Films and Working Title Films are two British film production companies that differ in several key ways. Warp Films is more traditionally British, producing films focused on domestic stories and audiences with less American influence. Working Title has stronger ties to American partners like Universal Studios and is known for bigger-budget films that appeal more broadly. Both companies started by producing short films that led to funding for feature-length productions. However, Working Title is now a larger company better able to utilize larger budgets for effects-heavy genres like sci-fi that Warp Films typically avoids for financial reasons.
Marketing and promoting superhero filmsHeworthMedia1
This document discusses various marketing and promotional strategies used for superhero films like The Dark Knight trilogy. It explains that half the budget of major blockbuster films is spent on marketing. Some key promotional strategies discussed include trailers, interviews, posters, tie-ins with other brands, film websites, social media, soundtrack albums, novelizations, limited edition merchandise, and creating promotional partnerships between related companies within larger media conglomerates to maximize synergistic opportunities.
The Dark Knight - Production Marketing and AudienceElle Sullivan
The Dark Knight had an elaborate viral marketing campaign to promote the film. Warner Bros. created fake websites related to the plot and characters that fans could interact with online. They also held real-world scavenger hunts where fans searched cities for clues. This generated buzz and encouraged fans to share information about the film through word-of-mouth and online discussions. The viral campaign helped The Dark Knight become a box office success and one of the most profitable superhero films ever made.
The Dark Knight Rises was the third film in Christopher Nolan's Batman trilogy. It had an all-star cast including Christian Bale, Tom Hardy, Gary Oldman, and Anne Hathaway. With a $250 million budget, the film was shot on location in India, Pittsburgh, New York, and other locations. It was distributed by Warner Bros and had a massive marketing campaign. The Dark Knight Rises grossed over $1 billion worldwide, making it a major box office success.
This document provides a case study on the 2012 James Bond film Skyfall. It discusses the film's production, which was delayed due to MGM's financial troubles but resumed in late 2010. Skyfall had a large budget of $200 million and filming locations in the UK and abroad. The film was the first Bond movie to be shot digitally. It was also the first in the franchise to be released in IMAX theaters, which proved very successful. The document outlines Skyfall's marketing campaign, which had a budget of $75 million and included extensive product placements, publicity stunts, and synergy partnerships. Social media discussion of Skyfall peaked around key announcements like the film's title and trailer reveals.
The dark knight rises and the woman in black case studyLiamattridge
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.
Skyfall Production Distribution Exhibition & AudienceElle Sullivan
1) Skyfall was produced by Eon Productions and distributed by MGM and Columbia Pictures. It had a budget of $150-200 million and was aimed at a global audience.
2) Key aspects of the film's production included filming in London and overseas locations to control costs, the use of digital filming techniques for the first time in the Bond franchise, and product placements to help finance the film.
3) The film was very successfully marketed through traditional and digital channels. An especially impactful marketing moment was James Bond participating in the opening ceremony of the 2012 London Olympics.
Here are the key terms with definitions:
Production (front)
The process of making a film, including development, financing, filming, editing, etc.
Subs (back)
Short for subtitles, text displayed on screen to translate dialogue or provide other information.
Warp Films and Working Title Films are two British film production companies that differ in several key ways. Warp Films is more traditionally British, producing films focused on domestic stories and audiences with less American influence. Working Title has stronger ties to American partners like Universal Studios and is known for bigger-budget films that appeal more broadly. Both companies started by producing short films that led to funding for feature-length productions. However, Working Title is now a larger company better able to utilize larger budgets for effects-heavy genres like sci-fi that Warp Films typically avoids for financial reasons.
Marketing and promoting superhero filmsHeworthMedia1
This document discusses various marketing and promotional strategies used for superhero films like The Dark Knight trilogy. It explains that half the budget of major blockbuster films is spent on marketing. Some key promotional strategies discussed include trailers, interviews, posters, tie-ins with other brands, film websites, social media, soundtrack albums, novelizations, limited edition merchandise, and creating promotional partnerships between related companies within larger media conglomerates to maximize synergistic opportunities.
This document provides information about the 2008 low-budget British film "Shifty" including its production, distribution, marketing, and reception. It was made through the UK Film Council's Microwave scheme which funds films with budgets under £100,000. Though the film found success in UK theaters and received international distribution, its marketing relied heavily on viral campaigns and targeting niche audiences through unconventional methods like pirate radio and social media. The case study examines how "Shifty" was able to achieve success on a minimal budget through innovative distribution and audience engagement strategies.
This document provides information about the film 12 Years a Slave including its production, distribution, marketing, audience, and financial performance. It was produced independently but distributed by major studios. It won numerous awards including Academy Awards. It had a budget of $20 million and grossed over $178 million worldwide. Celebrities promoted the film on social media and talk shows which helped its marketing. It was also marketed through posters and trailers on YouTube and websites. The film appealed to broad audiences and was made available through various digital platforms for video on demand.
The Hobbit: An Unexpected Journey had a massive marketing campaign beginning in 2011. It promoted the film through traditional avenues like posters, trailers and magazine articles as well as new techniques like YouTube videos, social media and live streaming events. The film stars Ian McKellen, Martin Freeman, and other beloved Lord of the Rings actors. It utilizes new technologies like 48 frames per second and advanced sound systems. The marketing campaign successfully drove early ticket sales and broke viewership records, demonstrating the power of an extensive, multi-channel approach.
The Dark Knight was a major Hollywood blockbuster production by Warner Bros. that utilized both traditional and viral marketing techniques. An extensive viral marketing campaign that resembled an alternate reality game was launched 18 months before the film's release and involved puzzles, websites, and real-world activities that engaged fans. The film had massive commercial success due to this multifaceted marketing approach along with its wide theatrical distribution to over 4,300 theaters domestically, breaking previous records.
The Fifth Estate was a film about WikiLeaks founder Julian Assange that underperformed at the box office. It may have failed to connect with audiences for several reasons: WikiLeaks publicly criticized the film's accuracy; the film's target audience of young, tech-savvy people lacked interest; and the film was overshadowed by other big releases and the Edward Snowden story. As a result, the film mostly appealed to older, big city audiences and had trouble expanding beyond that.
The Dark Knight was produced by Warner Brothers and Legendary Pictures with a budget of $185 million. Christopher Nolan returned as director, working with writers Jonathan and Christopher Nolan. Filming took place in several locations from March to July 2007. Warner Brothers implemented an elaborate viral marketing campaign utilizing websites and real-world activities to generate hype and interest among fans leading up to the film's release.
The viral marketing campaign for The Dark Knight was one of the most spectacular campaigns in Hollywood. It included several websites like www.whysoserious.com and www.ibelieveinharveydent.com that sparked rivalry between fans of the Joker and Harvey Dent. The campaign grew to include more websites that created an immersive "Gotham Universe" and led up to the release date announcement. Participants were rewarded with copies of an online newspaper and instructed to pick up mystery packages around the US that contained cell phones playing birthday messages. In addition to the viral campaign, traditional publicity methods were used including press packs, interviews, premieres, tie-in merchandise, and promotions.
The document discusses the criteria for what qualifies as a "British film" for the BAFTA awards. It explains that 12 Years a Slave, despite having a British director and lead actor, was not considered for best British film because its producers did not select the box indicating it was a British film. Meanwhile, films like Gravity and Mandela: Long Walk to Freedom were considered British films even though they do not take place in Britain or have predominantly British casts, because they involved significant British creative involvement in areas like visual effects, crew roles, and production companies. The criteria for British films considers factors like the director, cast, crew, and location of filming and production, and the definitions have become more complex as the
This document provides a case study on the 2008 British crime thriller film Shifty. It discusses the following key points:
1) The film had an ultra-low budget production of under £100,000 through the National Lottery UK Film Council and Film London Microwave funding scheme.
2) It used nontraditional viral marketing, such as a banned "drugs investigation" email campaign, and film festival screenings for promotion.
3) The film was produced with DVD and online extras in mind for future exhibition and educational purposes.
1) Spectre was produced by Eon Productions and distributed by MGM and Columbia Pictures. It had a budget of $245 million, making it one of the most expensive films ever made.
2) The film was directed by Sam Mendes and starred Daniel Craig in his fourth film as James Bond. It was filmed on location in Mexico, Morocco, Italy and Austria as well as the UK.
3) Marketing efforts for Spectre were extensive and included traditional campaigns as well as partnerships with brands like Heineken, Omega watches, and Sony phones for product placement both in the film and advertisements.
The film Wild Bill was directed by Dexter Fletcher and stars Charlie Creed-Miles and Will Poulter Dean as unknown actors. It focuses on two boys who are left to fend for themselves after their mother abandons them and their independence is threatened when their father is released from prison. The low-budget film of around £700,000 was produced by 20ten Media and STS Media and filmed in locations in London and the Isle of Wight. Though it performed poorly at the box office, making less than 10% of its budget, it became more popular after its DVD release.
This document provides information about various aspects of the film industry, including production, distribution, exhibition, investors, risks, distribution companies, and marketing. It uses The Dark Knight and the low-budget British film Shifty as case studies to illustrate concepts like production funding, distribution, cross-media marketing, and the role of organizations like the UK Film Council.
Attack the Block follows a gang of kids defending their London apartment complex from an alien invasion. It was directed by Joe Cornish and starred John Boyega. Though it received critical acclaim, it was not a major commercial success. Frozen tells the story of Princess Anna's journey to find her sister Elsa and end her magical winter. Directed by Chris Buck and Jenifer Lee, it was a major box office hit and launched a successful franchise for Disney.
This marketing plan summary outlines strategies to promote the DVD release of the James Bond film Skyfall, including:
- Advertising through print, TV, online, radio, and out of home placements emphasizing owning the film forever and commemorating 50 years of Bond.
- Sales promotions including premiums like a USB drive replicating an item from the film, contests, and discounts.
- Public relations activities around the 50th anniversary edition and events recreating scenes from the film.
The plan aims to increase Skyfall DVD sales over previous Bond films and combat threats from piracy and rentals. Target markets include males and females aged 12-50 interested in action and adventure genres.
The document provides production information for the film Star Wars: The Force Awakens including the cast, director, production costs, filming locations, and financial information. It earned $1.8 billion in profit and $2 billion globally on a $200 million budget. Disney owns the Star Wars franchise and other major media companies. The document also provides background on the production of the independent film Ex Machina including its production companies, distributors, filming location, special effects companies involved, and how its distributor A24 promoted it using the dating app Tinder.
Fantastic Beasts and Where to Find Them was released in November 2016. It was directed by David Yates with a budget of $180 million. The film is set in 1920s New York and stars Eddie Redmayne as Newt Scamander. It earned $19.15 million on its opening weekend in the UK and Ireland, setting a new record. The film was distributed by Warner Bros Pictures and produced by Heyday Films, the same companies involved in the Harry Potter films. It was marketed heavily using trailers, posters, merchandise and interviews to promote it as an expansion of the Wizarding World franchise.
A case study on the successful, British Independent Film 'The Inbetweeners Movie'. This highlights many of the pre-production, distribution, marketing and exhibition strategies used by producers to ensure that the film became the highest grossing British Film of 2011, second only to Harry Potter. www.alevelmedia.co.uk Original budget estimated at 3.5 million pounds.
The Dark Knight was distributed globally by Warner Bros. Pictures in theaters in 2008. It had an enormous marketing campaign including viral marketing and promotional partnerships. The film was a major commercial success, becoming one of the highest grossing films ever and receiving widespread critical acclaim particularly for Heath Ledger's performance as the Joker.
This document provides an overview of the British film production company Working Title Films. It discusses how Working Title Films was founded in 1984 and began as a small, independent production company co-producing films with Channel 4. It achieved success with films like My Beautiful Laundrette (1985) but struggled financially. Working Title then began pursuing co-productions with American studios like Universal to gain financial stability and access to international markets. This template of British films with American stars became Working Title's model and led to massive commercial hits like Four Weddings and a Funeral (1994). However, not all of Working Title's films are successful and some have lost money. The document examines both the successes and failures of Working Title's approach over the
Warp Films is an independent British film production company that produces low-budget films, often in the genre of social realism. They co-fund their films through sources like the National Lottery and BBC Films. Their films target UK audiences and art houses. In contrast, Working Title Films is a large, Hollywood studio-backed producer that makes mid-to-large budget films in genres like romcom and heritage drama. They aim their films at both US and UK multiplex audiences. The essay will discuss and compare the production and distribution practices of these two case studies.
This document provides information about the 2008 low-budget British film "Shifty" including its production, distribution, marketing, and reception. It was made through the UK Film Council's Microwave scheme which funds films with budgets under £100,000. Though the film found success in UK theaters and received international distribution, its marketing relied heavily on viral campaigns and targeting niche audiences through unconventional methods like pirate radio and social media. The case study examines how "Shifty" was able to achieve success on a minimal budget through innovative distribution and audience engagement strategies.
This document provides information about the film 12 Years a Slave including its production, distribution, marketing, audience, and financial performance. It was produced independently but distributed by major studios. It won numerous awards including Academy Awards. It had a budget of $20 million and grossed over $178 million worldwide. Celebrities promoted the film on social media and talk shows which helped its marketing. It was also marketed through posters and trailers on YouTube and websites. The film appealed to broad audiences and was made available through various digital platforms for video on demand.
The Hobbit: An Unexpected Journey had a massive marketing campaign beginning in 2011. It promoted the film through traditional avenues like posters, trailers and magazine articles as well as new techniques like YouTube videos, social media and live streaming events. The film stars Ian McKellen, Martin Freeman, and other beloved Lord of the Rings actors. It utilizes new technologies like 48 frames per second and advanced sound systems. The marketing campaign successfully drove early ticket sales and broke viewership records, demonstrating the power of an extensive, multi-channel approach.
The Dark Knight was a major Hollywood blockbuster production by Warner Bros. that utilized both traditional and viral marketing techniques. An extensive viral marketing campaign that resembled an alternate reality game was launched 18 months before the film's release and involved puzzles, websites, and real-world activities that engaged fans. The film had massive commercial success due to this multifaceted marketing approach along with its wide theatrical distribution to over 4,300 theaters domestically, breaking previous records.
The Fifth Estate was a film about WikiLeaks founder Julian Assange that underperformed at the box office. It may have failed to connect with audiences for several reasons: WikiLeaks publicly criticized the film's accuracy; the film's target audience of young, tech-savvy people lacked interest; and the film was overshadowed by other big releases and the Edward Snowden story. As a result, the film mostly appealed to older, big city audiences and had trouble expanding beyond that.
The Dark Knight was produced by Warner Brothers and Legendary Pictures with a budget of $185 million. Christopher Nolan returned as director, working with writers Jonathan and Christopher Nolan. Filming took place in several locations from March to July 2007. Warner Brothers implemented an elaborate viral marketing campaign utilizing websites and real-world activities to generate hype and interest among fans leading up to the film's release.
The viral marketing campaign for The Dark Knight was one of the most spectacular campaigns in Hollywood. It included several websites like www.whysoserious.com and www.ibelieveinharveydent.com that sparked rivalry between fans of the Joker and Harvey Dent. The campaign grew to include more websites that created an immersive "Gotham Universe" and led up to the release date announcement. Participants were rewarded with copies of an online newspaper and instructed to pick up mystery packages around the US that contained cell phones playing birthday messages. In addition to the viral campaign, traditional publicity methods were used including press packs, interviews, premieres, tie-in merchandise, and promotions.
The document discusses the criteria for what qualifies as a "British film" for the BAFTA awards. It explains that 12 Years a Slave, despite having a British director and lead actor, was not considered for best British film because its producers did not select the box indicating it was a British film. Meanwhile, films like Gravity and Mandela: Long Walk to Freedom were considered British films even though they do not take place in Britain or have predominantly British casts, because they involved significant British creative involvement in areas like visual effects, crew roles, and production companies. The criteria for British films considers factors like the director, cast, crew, and location of filming and production, and the definitions have become more complex as the
This document provides a case study on the 2008 British crime thriller film Shifty. It discusses the following key points:
1) The film had an ultra-low budget production of under £100,000 through the National Lottery UK Film Council and Film London Microwave funding scheme.
2) It used nontraditional viral marketing, such as a banned "drugs investigation" email campaign, and film festival screenings for promotion.
3) The film was produced with DVD and online extras in mind for future exhibition and educational purposes.
1) Spectre was produced by Eon Productions and distributed by MGM and Columbia Pictures. It had a budget of $245 million, making it one of the most expensive films ever made.
2) The film was directed by Sam Mendes and starred Daniel Craig in his fourth film as James Bond. It was filmed on location in Mexico, Morocco, Italy and Austria as well as the UK.
3) Marketing efforts for Spectre were extensive and included traditional campaigns as well as partnerships with brands like Heineken, Omega watches, and Sony phones for product placement both in the film and advertisements.
The film Wild Bill was directed by Dexter Fletcher and stars Charlie Creed-Miles and Will Poulter Dean as unknown actors. It focuses on two boys who are left to fend for themselves after their mother abandons them and their independence is threatened when their father is released from prison. The low-budget film of around £700,000 was produced by 20ten Media and STS Media and filmed in locations in London and the Isle of Wight. Though it performed poorly at the box office, making less than 10% of its budget, it became more popular after its DVD release.
This document provides information about various aspects of the film industry, including production, distribution, exhibition, investors, risks, distribution companies, and marketing. It uses The Dark Knight and the low-budget British film Shifty as case studies to illustrate concepts like production funding, distribution, cross-media marketing, and the role of organizations like the UK Film Council.
Attack the Block follows a gang of kids defending their London apartment complex from an alien invasion. It was directed by Joe Cornish and starred John Boyega. Though it received critical acclaim, it was not a major commercial success. Frozen tells the story of Princess Anna's journey to find her sister Elsa and end her magical winter. Directed by Chris Buck and Jenifer Lee, it was a major box office hit and launched a successful franchise for Disney.
This marketing plan summary outlines strategies to promote the DVD release of the James Bond film Skyfall, including:
- Advertising through print, TV, online, radio, and out of home placements emphasizing owning the film forever and commemorating 50 years of Bond.
- Sales promotions including premiums like a USB drive replicating an item from the film, contests, and discounts.
- Public relations activities around the 50th anniversary edition and events recreating scenes from the film.
The plan aims to increase Skyfall DVD sales over previous Bond films and combat threats from piracy and rentals. Target markets include males and females aged 12-50 interested in action and adventure genres.
The document provides production information for the film Star Wars: The Force Awakens including the cast, director, production costs, filming locations, and financial information. It earned $1.8 billion in profit and $2 billion globally on a $200 million budget. Disney owns the Star Wars franchise and other major media companies. The document also provides background on the production of the independent film Ex Machina including its production companies, distributors, filming location, special effects companies involved, and how its distributor A24 promoted it using the dating app Tinder.
Fantastic Beasts and Where to Find Them was released in November 2016. It was directed by David Yates with a budget of $180 million. The film is set in 1920s New York and stars Eddie Redmayne as Newt Scamander. It earned $19.15 million on its opening weekend in the UK and Ireland, setting a new record. The film was distributed by Warner Bros Pictures and produced by Heyday Films, the same companies involved in the Harry Potter films. It was marketed heavily using trailers, posters, merchandise and interviews to promote it as an expansion of the Wizarding World franchise.
A case study on the successful, British Independent Film 'The Inbetweeners Movie'. This highlights many of the pre-production, distribution, marketing and exhibition strategies used by producers to ensure that the film became the highest grossing British Film of 2011, second only to Harry Potter. www.alevelmedia.co.uk Original budget estimated at 3.5 million pounds.
The Dark Knight was distributed globally by Warner Bros. Pictures in theaters in 2008. It had an enormous marketing campaign including viral marketing and promotional partnerships. The film was a major commercial success, becoming one of the highest grossing films ever and receiving widespread critical acclaim particularly for Heath Ledger's performance as the Joker.
This document provides an overview of the British film production company Working Title Films. It discusses how Working Title Films was founded in 1984 and began as a small, independent production company co-producing films with Channel 4. It achieved success with films like My Beautiful Laundrette (1985) but struggled financially. Working Title then began pursuing co-productions with American studios like Universal to gain financial stability and access to international markets. This template of British films with American stars became Working Title's model and led to massive commercial hits like Four Weddings and a Funeral (1994). However, not all of Working Title's films are successful and some have lost money. The document examines both the successes and failures of Working Title's approach over the
Warp Films is an independent British film production company that produces low-budget films, often in the genre of social realism. They co-fund their films through sources like the National Lottery and BBC Films. Their films target UK audiences and art houses. In contrast, Working Title Films is a large, Hollywood studio-backed producer that makes mid-to-large budget films in genres like romcom and heritage drama. They aim their films at both US and UK multiplex audiences. The essay will discuss and compare the production and distribution practices of these two case studies.
This document analyzes the representation of females in popular films from the 1940s. It discusses how Bambi portrayed the female deer as a weak, maternal figure who sacrifices herself. Pinocchio showed the Blue Fairy using her beauty to get her way, adhering to female stereotypes. Fantasia contained no female figures. Mom and Dad depicted the teenage girl becoming pregnant due to a lack of sex education, showing her as reckless. Forever Amber positively portrayed the strong-willed female protagonist who raises her status through her own actions.
Representation of women in film - very basic overviewAndy Wallis
The document provides an overview of the representation of women in films from the 1940s to 2010s. It discusses the Bechdel test and how few films pass it. It then summarizes some of the common tropes and roles of women in American films for each decade, such as the femme fatale in the 1940s and Marilyn Monroe's roles in the 1950s. It notes that the films only represent white, slim women and calls for further research on a more diverse set of international films.
Veronica Mars Case Study and Digital Distribution Essayjphibbert1979
The Veronica Mars movie was funded through a successful Kickstarter campaign after the rights holders Warner Bros. declined to fund it. Warner Bros. agreed to distribute the film if it raised over $2 million, which it did through crowdfunding. The film was distributed on a limited number of screens and through digital platforms like iTunes. It earned over $1 million its opening weekend and has also generated revenue through digital rentals and purchases.
This document summarizes the portrayal of female characters in popular films from the 1980s. In E.T., a mother protects her children while a rebellious teenager feels blamed. In Star Wars films, Princess Leia transitions from needing protection to taking a more dominant role. In Batman, Vicki Vale helps Batman after initially being a damsel in distress. Marion Ravenwood in Raiders of the Lost Ark is an independent woman who still needs some assistance. Ghostbusters and Indiana Jones films also depicted women as beautiful and sometimes manipulative objects of male attention who show weakness but gain strength. Many other films like Beverly Hills Cop and Back to the Future had few or no female roles.
The document discusses film exhibition in the UK cinema industry. It provides statistics on the number of screens and cinemas in the UK in 2012, as well as box office figures showing growth that year. It also examines the roles and activities of film exhibitors, who work with distributors to book, market, and screen films. Exhibitors manage cinema buildings, undertake local marketing like newspaper ads and promotions, and rely on concession sales to earn profits beyond box office revenues. Their goal is to attract audiences, especially 16-24 year olds who make up the bulk of cinema goers.
AS G322 revision booklet pt1 (Film Industry)Belinda Raji
This document provides an overview of key concepts for the AS G322 exam on media studies, focusing on section B. It discusses media institutions and how they produce and distribute media to audiences. It also examines how digital technologies and convergence have transformed audiences from passive receivers to active participants (prosumers). Students are advised to choose a contemporary film institution for their case study and analyze its relationships with production, distribution, and audience consumption. Competing views are presented on whether institutions or audiences wield more influence over what media gets made and distributed.
Dredd and some stuff stolen from another teacherMr Smith
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.
Representation in culture is an act of power that privileges certain groups over others. Various dichotomies exist, such as between high and mass culture, and between masculine and feminine representations. Patriarchal societies are dominated by men and shape culture in their interests, with women in a subordinate role. Questions of identity must be examined in the context of history, language and power relations. Bodies are represented according to norms that favor certain body types over others based on gender, race, class and other factors. Theoretical perspectives like feminism seek to understand and challenge these power imbalances in representation.
The document provides information about the OCR AS Media Studies exam, including details about the structure, content, and marking scheme. It discusses the 2 hour exam consisting of Section A focusing on TV drama representation from a video extract, and Section B on institutions and audiences. It also lists example exam questions that may be asked and what topics students are expected to know about regarding contemporary media issues, institutions, technologies, and audiences.
This document provides guidance for answering an exam question on technological convergence in the media industry using case studies. It defines key terms like convergence and provides examples of case studies to reference, including Warner Bros.' Rock n Rolla and an independent film edited on AVID & Baselight. It recommends introducing the case studies, comparing and contrasting them, and concluding by summarizing the argument about how convergence impacted production, distribution, marketing and audiences. Another exemplar essay on Slumdog Millionaire and The Dark Knight is provided to help the student generate more points to include in their own response.
1. The document lists the production companies, distributors, and other companies involved in the making of the 2012 animated film "The Pirates! In an Adventure with Scientists!" produced by Aardman Animations and Sony Pictures Animation.
2. Columbia Pictures, a subsidiary of Sony, helped produce and distribute the film worldwide based on the book by Gideon Defoe.
3. The film was distributed internationally but the title was changed for North American audiences, and some voice actors were recast between versions, reflecting differences in cultural references.
This document provides an overview of the film industry, focusing on production, distribution, and exhibition. It discusses how films are funded and made (production), marketed and released in cinemas and other formats (distribution), and consumed by audiences paying to view films (exhibition). The document outlines the key roles of major studios and distributors in controlling distribution deals and prioritizing large Hollywood blockbusters over independent and foreign films. It also notes the challenges that increased costs of production and distribution pose to Hollywood studios and independent filmmakers.
Film Four is a British film studio owned by Channel 4. It relies on partnerships with other companies for production and American studios for international distribution. As its films target Western audiences, they have smaller budgets and audiences than major American films. Film Four uses its digital TV channel to exhibit films to promote new releases and generate audiences. Shorter windows between theatrical and home release, and internet piracy, reduce revenue, especially for smaller British films. However, new technologies also provide low-cost marketing through social media and websites to build wide awareness. Film Four has successfully promoted films through these online methods and international star power.
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 document discusses the British film industry in 2011-2012. It notes that 2011 was a strong year for British film, with successful independent films like The King's Speech and The Inbetweeners Movie. It provides statistics on the UK film industry's performance internationally and success of British talent abroad. Some key points made are that UK films earned 17% of the $33 billion worldwide box office in 2011, the industry generated over £1.5 billion for the British economy, and British films and talent won numerous awards. The summary highlights the success of British films in 2011 both at home and abroad.
1) The document provides guidance on how to structure responses for Section A and Section B of the G322 AS Media exam.
2) For Section A on TV drama, it advises to focus the response on analyzing how technical elements construct representations rather than just describing them.
3) For Section B on film institutions, it recommends discussing the processes of production, distribution, and exhibition in British film by referencing specific case studies and films. Key words related to these processes are defined.
This document summarizes how Monster used Brandwatch to analyze over 1 million tweets about people loving or hating their jobs. They built queries to find relevant tweets and analyzed the data to discover stories. Monster then pitched these stories to media outlets, achieving over 200 press hits reaching 270 million people and 252 TV segments reaching over 4 million viewers. Monster also tracked mentions of the stories on social media and in relevant news articles to measure the success.
Here are some potential pros and cons of digital film piracy from the perspectives of institutions and audiences:
Cons for institutions:
- Loss of revenue from lost sales/rentals of legitimate copies
- Difficulty in enforcing copyright in the digital world
- Threat to traditional business models of production and distribution
Pros for audiences:
- Increased access to films for free or low cost
- Ability to sample films before purchasing
- Convenience of digital copies that can be accessed anywhere
However, piracy also poses challenges for the long-term sustainability of the creative industries. Overall, there are reasonable arguments on both sides of this complex issue.
The document provides an overview of the history and development of the movie industry. It discusses early movie technologies from the late 19th century and the establishment of the first movie studios in Hollywood in the early 20th century. It then summarizes the golden age of Hollywood in the 1930s-40s and how the industry adapted to new technologies and media over time, including television, VCRs, DVDs, and online distribution methods. Finally, it outlines some of the key components and roles within the modern movie production and distribution process and some common controversies involving movie content.
Avatar was directed by James Cameron and produced by 20th Century Fox. It had a budget of $237 million and was filmed using performance capture technology developed by Cameron. The film was distributed worldwide by 20th Century Fox in December 2009 on over 14,000 screens. It became the highest grossing film of all time with $2.78 billion in global box office sales. While praised for its visual effects, the film also received some criticism for its plot and messaging.
Here are the key terms with definitions:
Production - The process of making or creating something, especially a film, broadcast, or piece of music.
Subsidiary - A company that is owned or controlled by a parent company.
Distribution - The process of making a product available for sale or use, especially on a commercial scale.
Marketing - The action or business of promoting and selling products or services.
Exhibition - The act of publicly displaying objects, artworks, etc. for people to see, especially in an art gallery or museum.
Vertical Integration - When a company owns or controls its suppliers and distributors.
Co-Production - A film or other production made through the financial,
This document provides information about the 2010 science fiction film Monsters directed by Gareth Edwards. It discusses the film's production details such as its $500,000 budget, filming locations in multiple countries over 3 weeks using minimal equipment, and starring Scoot McNairy. It describes the distribution company Vertigo Films and unconventional marketing campaign focused on the app Foursquare to generate hype. Box office earnings are provided, with the film making $237,301 worldwide on its limited release.
This document provides information about the 2014 sci-fi thriller film Ex Machina. It was Alex Garland's directorial debut with a relatively small budget of $15 million. It explores relationships between humans and artificial intelligence through the story of a programmer invited by his CEO to participate in a Turing test evaluating an AI assistant named Ava. The film was successfully marketed using viral techniques like a fake Tinder profile to promote the film at the SXSW festival and using virtual reality to immerse viewers. It received critical acclaim and awards recognition despite its modest budget.
The document analyzes science fiction films and television shows through three eras - modern utopia, science noir, and digital intangible. It discusses the themes, design idioms, and visions of the future portrayed within each era. Key works highlighted include 2001: A Space Odyssey, Blade Runner, Minority Report, and how they shaped expectations and critiques around technology, urban environments, and the integration of digital interfaces. The document also examines how science fiction can be used as an innovation toolkit to explore scenarios and inspire new design approaches.
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
The document provides information on four films produced and distributed by different film companies:
- Vertigo Films produced Monsters (2010) and Streetdance 2 (2012)
- Warner Bros Pictures produced The Dark Knight Rises (2012) and American Sniper (2015)
- Warp Films produced Tyrannosaur (2011)
It then gives details on the directors, actors, budgets, filming locations, distribution and box office performance of each film. Information on Ollie, Tyler and Bertie's involvement with the different films is also provided.
Les Misérables is a 2012 musical film directed by Tom Hooper based on the 1980s stage musical of the same name. It stars Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, and others. The film was produced by Universal Pictures and Working Title Films with a $61 million budget. It received a standing ovation at its premiere and went on to become a major commercial success, breaking box office records for musical films.
This document provides a history of visual effects in film from 1895 to present day. It discusses some of the earliest uses of visual effects like jump cuts in "The Execution of Mary Queen of Scott's" and 2D computer generated imagery in "Westworld". Key developments mentioned include the first fully CGI feature film "Toy Story", the photorealistic dinosaurs in "Jurassic Park", the CGI environments and characters in "Avatar", and performance capture techniques. The document also covers examples of practical effects like the animatronic shark in "Jaws" as well as makeup effects. It profiles two visual effects companies, Method Studios and Artem, and discusses their work on major films.
This document provides a history of visual effects in film from 1895 to present day. It discusses some of the earliest uses of visual effects like jump cuts in "The Execution of Mary Queen of Scott's" and 2D computer generated images in "Westworld". Key developments mentioned include the first fully computer animated feature "Toy Story", photorealistic CGI dinosaurs in "Jurassic Park", the CGI world and characters of "Avatar", and performance capture techniques. The document also covers examples of practical effects and makeup as well as notable visual effects companies like Method Studios and Artem.
This document provides information about the 2014 film X-Men: Days of Future Past. It was directed by Bryan Singer and stars Hugh Jackman, James McAvoy, Patrick Stewart, and Ian McKellen. Filming took place between April and August 2013 in Canada. The film had a budget of $200 million and grossed over $747 million worldwide, making it highly commercially successful. It is based on the 1981 comic book story line Days of Future Past and is part of the popular X-Men film franchise.
The document provides details about the production of several films. It discusses who directed Monster (2010), including Gareth Edwards, and the actors Scoot McNairy and Whitney Able. It notes the budgets and filming locations used for Monster (2010), Street Dance 2 (2012), The Dark Knight Rises (2012), and American Sniper (2015). The document also outlines the distribution companies and marketing strategies employed for each film.
The document discusses different styles and types of films including documentary, avant-garde, and fiction films. It provides information on documentary filmmakers Norman McLaren and Jennifer Baichwal, and analyzes some of their films including Boogie Doodle, Blinkity Blink, and Manufactured Landscapes. The document also discusses Russian constructivism and questions how documentary filmmakers can create a convincing interpretation of reality without distorting evidence.
Pirates of the caribbean production, distribution and exhibitionsandraoddy2
Pirates of the Caribbean: On Stranger Tides was the fourth installment in the Pirates of the Caribbean franchise, released in 2011 with a $250 million budget. It was produced by Walt Disney Pictures and Jerry Bruckheimer Films and distributed by Walt Disney Studios Motion Pictures internationally. The film used international locations, CGI effects, and 3D technology. It had a massive marketing campaign including toys, games, and TV spots. Upon its release on over 4,000 screens in the US and 500 screens in the UK, it earned over $90 million domestically and $11 million in the UK during its opening weekend.
The document provides details about the production, marketing, and release of the 2015 film Jurassic World. It discusses the film's announcement in 2013, the use of teaser trailers beginning in late 2014, and its worldwide theatrical release from May to August 2015. It also summarizes box office records set by the film, with a worldwide gross of over $1.6 billion on a $150 million budget. Key aspects of the film's marketing campaign through social media, trailers, websites, and apps are outlined.
Monsters (2010) was an independent sci-fi film directed and produced by Gareth Edwards. It had a very low budget of $500,000 and was filmed using consumer cameras across locations in Central and North America by a crew of only seven people. The film starred unknown actors Scoot McNairy and Whitney Able. It received a limited theatrical release and modest box office returns but positive reviews for Edwards' special effects and direction. The film is now available to rent or purchase on DVD and streaming platforms.
Pirates of the Caribbean 4 -Production, Distribution & Exhibitionsandraoddy2
This is an impressive box office performance, showing the huge popularity and appeal of the Pirates franchise globally. The film was a major commercial success.
The document discusses the process of film production from development to distribution. It notes that film production requires significant financing to fund all stages of development, production and distribution. The key roles of producer and financier are discussed. Producers are responsible for securing financing, overseeing the project and ensuring it meets the expectations of financiers. Securing financing is a lengthy process that can take years and involves creating packages to convince multiple investors to fund production costs in the hopes of generating profits.
1) The document analyzes and summarizes the filmmaker's short horror film called "The Chalet".
2) The film tells the story of three teenage friends who go to make a film near an abandoned house based on a supposed murder that occurred there. They soon discover their imagination has become a dark reality.
3) The analysis discusses how the film uses techniques like sound, editing, and cinematography to build tension and establish its horror genre. Elements like ominous music and isolating the characters contribute to its unsettling aesthetic and align the viewer with the characters' fear.
1) Short films are typically under 40 minutes and focus on a simple idea or message in a concise way. They allow ideas to be expressed quickly.
2) The documentary "Lost" follows a man struggling with dementia as he believes his wife is missing, but the audience learns it is his memories that are lost.
3) The film uses poetic transitions between scenes and manipulated storytelling to reflect the experience of dementia and create confusion similar to the protagonist.
This document provides an analysis of a short film titled "Contact" made by the filmmaker. The film is about a young woman who encounters a mysterious presence when she arrives home alone. It falls under the horror genre with elements of psychological horror and science fiction. Through cinematography and editing techniques, the filmmaker aims to create a sense of tension, isolation, and ambiguity without dialogue. An open ending is used to leave the resolution ambiguous and require an active interpretation from the audience. The analysis discusses how genre conventions, visual style, narrative structure, and audience reception were considered in the film's production.
1) Short films are defined as original motion pictures under 40 minutes that are often screened at film festivals. They must draw audiences in quickly by compressing narratives and are more likely to have open endings that leave questions.
2) The student's short film "Luna" falls under the crime mystery genre about a girl searching for her missing cousin. It uses unconventional editing between dream sequences and reality to explore themes like life and death.
3) The film has an open ending through the use of an "enigma code" where the audience is left questioning what happened to the missing cousin, similar to other short films analyzed. This leaves room for different interpretations of the narrative.
The document provides an analysis of Evie Stylianou's short film "Dear Tony". It summarizes that the film tells the story of a cancer patient Grace on her physical and metaphorical journey. It uses elements of dark comedy early on before transitioning to tragedy. The film borrows techniques from documentary like breaking the fourth wall. It follows Grace chronologically on one day using jump cuts between locations. Visual elements like muted tones and the increasing use of the color green are used to reflect Grace's internal struggle and decision to reject treatment. The analysis discusses how various techniques were used to elicit an emotive response from audiences and effectively tell the story within the short time frame.
The document provides an analysis and summary of the short film "The Lottery" by the filmmaker. It discusses the film's narrative structure, characters, themes, filming techniques, and reception. The film uses surreal elements and nonlinear storytelling to depict a man whose life changes when he wins the lottery but squanders the money due to arrogance. It was influenced by other short films and combines drama with comedy. Audience feedback was positive about the characters, story, and visual effects, though some found the plot predictable. Overall the filmmaker was pleased with the technically challenging project and how it brought the comedy to life.
- The document discusses a short psychological thriller film created by the author that follows a male character's daily routine which is disrupted by a female character.
- The film uses montage editing to show the passage of time and develop the characters' repetitive routines. It also incorporates audio motifs and leaves some elements, like what is in the basement, ambiguous.
- At the end, it is unexpectedly revealed that the female character, not the male, is the one who attacks the man, playing with audience expectations of the "serial killer" character type. The open ending leaves the audience to imagine what happens next.
1) Short films have a specific structure that focuses on conveying a story with succinct scope. They allow creative freedom and the chance to be discovered.
2) The student made a short film called "Unexpected Item" on a low budget using natural lighting. It tells the story of a boy ambushing his friend to tell a joke story.
3) The film uses shifts in color tones, editing styles, and an unreliable narrator to create comedy and suspense, surprising the audience with a twist ending like other similar short films. The audience responded positively to the film.
Crystal Chan analyzes several short films and her own short film "Happy Birthday" in relation to short film conventions. She discusses how her film conforms to conventions like runtime, natural lighting, location filming, and character development. Her film tells a coming-of-age story through a series of flashbacks from the perspective of the female protagonist. She uses techniques like color grading and editing to convey emotion and establish tone. While her film has a resolution, some discussed shorts like "Echo" and "Operator" end without resolution, a convention more common in short films.
The document provides an analysis of the film "The Exam" in comparison to other short films based on various criteria such as narrative structure, genre, characters, and intended audience reaction. It examines how "The Exam" uses techniques like flashbacks, editing pace, and character performances to establish certain genres and elicit laughter from viewers. However, it notes some viewers decoded elements differently and did not find parts funny due to how certain issues were portrayed lightly. The analysis draws on theories around narrative, representation, and decoding of texts to understand how "The Exam" was both conventional and unconventional in certain aspects for short films.
This document provides a summary and analysis of a short film created by the author. The short film follows the process of creating a song from sampling an existing song to writing lyrics and recording. It aims to have a documentary style with minimal dialogue. The author analyzes how various film techniques like camera work, editing, sound, and cinematography were used to shape the narrative and create realism. Audience reaction confirmed that the film succeeded in engaging viewers and focusing their attention on the song creation process rather than the characters.
This document provides an analysis of the student's short film "Till Death Us Do Part". It summarizes the plot, which follows the deterioration of a married couple, Rose and Stanley, over 20 years until Rose implies murdering Stanley. The student discusses how they drew inspiration from other short films in terms of genre, narrative structure, editing techniques, and use of sound and mise-en-scene. Feedback from peers is also mentioned, which led to clarifying edits. In analyzing their own film, the student compares elements like genre, locations used, narrative approaches, and how their film fits structural models of storytelling.
Despite similar themes, the endings of ‘Echo’ and ‘Tea Party’ are vastly different. ‘Echo’ leaves the viewer with little hope through its depressing final shot, while ‘Tea Party’ provides a more ambiguous and romantic ending through Noah becoming a guardian angel, granting viewer satisfaction. The film is broken into three clear parts influenced by Tzvetan Todorov’s three-act model: a setup of Noah’s disorientation; a confrontation where Noah tries to understand his situation; and a resolution where Noah realizes his new role. Microelements like Noah’s positioning in light and cinematography position the viewer with Noah to understand his connection to Evie. Doors in the film symbolize passageways
Tim and Tiffany are forced to retake an exam under the supervision of their strict teacher, Mr. Jones. As Tim works through the exam, he has flashbacks providing clues and context for the questions. These flashbacks depict his school experiences and home life. Mr. Jones grows frustrated with Tim's flashbacks, believing them to be cheating. Tiffany also complains. After quickly finishing the exam thanks to his flashbacks, Tim smiles, confident he has passed, while Mr. Jones and Tiffany are startled by the final question.
This document provides a summary of a short film script titled "Lost". It follows an elderly mixed-race man as he goes about his day in his home. Scenes show him in different rooms of the house, interacting with his daughter Claire and an unseen woman named Laura. The man goes up to the attic to search for old photos at Laura's request. While in the attic, he finds a photo album and looks through old blurred photos. Later he goes to the supermarket, where he runs into an old friend. Throughout the script, music is heard which seems to trigger memories or moments of confusion for the man.
1) Joe tells Alice a story about going to the supermarket where he was followed by a strange woman who claimed he looked like her deceased son. She hugged Joe and then told the cashier Joe would pay for her items.
2) When Joe realized what was happening, he abandoned his shopping and chased after the woman in the parking lot.
3) Joe caught up to her and grabbed her leg to stop her from leaving as she tried to get in her car. He tells this story to Alice, eating the biscuit Alice had been eating earlier.
I used a variety of media technologies at different stages of my coursework, including:
- Blogger to document my work and share videos and presentations from other sites.
- Prezi and PowerPoint to plan and explain topics. These were embedded in Blogger.
- After Effects to create graphics for my trailer ident.
- SurveyMonkey and Excel to collect and analyze audience feedback.
- Facebook to get feedback on rough cuts from a private group.
- YouTube to host and share videos and for research.
- iPhone for location footage and voice memos during construction and evaluation.
- Photoshop and FinalCut to construct, edit, and evaluate my work.
1) Film production involves many stages from development to distribution. It is a commercial venture that requires significant financing to be successful.
2) The producer oversees the entire filmmaking process from developing the initial idea through distribution. This includes securing financing, hiring key crew, and ensuring the film meets investor expectations.
3) Making a film is an uncertain process. Many ideas do not make it past development due to creative or financial challenges. Successful producers must have a good sense of public taste and the ability to convince skeptical investors to take on financial risks.
The UK film industry had total revenues of over £4.1 billion in 2016, up from £4 billion in 2013. Cinema admissions were down 2% year-over-year but have remained relatively stable since 2007. Public funding for film in the UK reached £523 million in 2016, up 26% from 2015, largely due to an increase in film tax relief. The top two films of 2016 were Rogue One: A Star Wars Story and Fantastic Beasts and Where to Find Them.
More from Alleyn's School Film Studies Department (20)
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
Assessment and Planning in Educational technology.pptxKavitha Krishnan
In an education system, it is understood that assessment is only for the students, but on the other hand, the Assessment of teachers is also an important aspect of the education system that ensures teachers are providing high-quality instruction to students. The assessment process can be used to provide feedback and support for professional development, to inform decisions about teacher retention or promotion, or to evaluate teacher effectiveness for accountability purposes.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
2. Case Study – Monsters (2010)
• G322 Key Media Concepts (TV Drama)
• Section B: Institutions and Audiences
1. AUDIENCE - UK film aimed at a international audience
2. PRODUCTION – Very low budget production – produced by Vertigo
Films – untypical independent UK film funding – traditional film genre –
guerrilla style filming
3. DISTRIBUTION – Vertigo Films (UK) - Magnet Releasing (US)
4. MARKETING - Interesting use film festivals to gain an international
audience – interesting use of foursquare social networking
5. EXHIBITION – Exhibitors helped with localised marketing of the film
6. DIGITAL – use of digital cameras to film – guerrilla style filming feasible
as cameras very light -
3. Case Study - Monsters
• STORYLINE
• Six years ago previously, a NASA probe returning
to earth with samples of an alien life form,
crashed over Central America. Soon after, new life
forms began to appear, and half of Mexico was
quarantined as an INFECTED ZONE. Today, the
American and Mexican military still struggle to
contain "the creatures"... The story begins when
a US journalist agrees to escort a shaken
American tourist through the infected zone in
Mexico to the safety of the US border.
4.
5. • PRODUCTION
• The film was devised, storyboarded and directed by Gareth
Edwards, who also worked as the visual effects artist.
• Allan Niblo and James Richardson of Vertigo Films work as
producers on the production.
• The filming equipment cost approximately $15,000, with the budget
coming in at under $500,000.
• USE OF DIGITAL - The film was able to be made on such a low
budget due to the use of prosumer (Professional grade/Consumer
cost) cameras to capture digital video rather than more expensive
35mm film.
• Any settings featured in the film were real locations often used
without permission and the extras were just people who happened
to be there at the time.
Case Study - Monsters
6. • PRODUCTION – GUERRILLA FILMMAKING
• “We really set out to try and take a different
approach with making this film. It’s all shot very
guerrilla-style, and apart from our main actors,
everyone else is just ‘real people’ going about
their real lives, with the crazy sci-fi elements
added later in the computer. The final effect is
something very subtle that I’m really proud of,
but it’s hard to explain to people who haven’t
seen it...”
Case Study - Monsters
7. • INDEPENDENT, LOW-BUDGET PRODUCTION IS EASIER
• “When you have a big crew, it becomes a bit restrictive. Shooting
everything guerrilla-style means you can go with the flow and have
ideas on the spot. The best, most realistic stuff in the film came
from moments that happened by accident as we were shooting.
Because of my background in digital effects, I could just roll with it,
knowing I’d be able to manipulate scenes later in the computer to
better fit our sci-fi/horror genre.”
• THE TYPICAL BIG-BUDGET MOVIE
• "Sometimes you'd have 100 people on the set and you'd ask, 'Can
we do this? Can we do that?' And they'd say, 'No, we can't, because
we'd have to move all these people. It's too expensive and it would
take too long.' That felt very back to front: to be told you can't do
something because you're spending too much money. Shouldn't it
be the other way round?"
Case Study - Monsters
8. Case Study - Monsters
• PRODUCTION
• The film was shot in Belize, Mexico, Guatemala, Costa
Rica and Texas over three weeks.
• For about 90% of the filming the crew comprised seven
people transported in one van: Ian Maclagan (sound
operator), Jim Spencer (line producer), Verity Oswin,
the Mexican 'fixer', the director, a driver, and Able and
McNairy, the stars.
• As the low-budget production didn't run to a camera
dolly, Edwards made do by sticking the camera out of
the van window, cushioned on some bundled-up
clothing.
9. Case Study - Monsters
• PRODUCTION
• Most of the extras were non-actors who were persuaded to
be in the film.
• "As a result of all this random behaviour, the idea of
scripting the film went out of the window. Instead I had a
loose paragraph describing the scene with just the main
points that had to be hit; how the actors carried this out
was left up to them."
• Each night during the shooting period, the editor Colin
Goudie and his assistant Justin Hall would download the
day's footage so the memory sticks could be cleared and
ready for the next day's filming.
• While new footage was being captured, the previously
captured footage was being edited back at the hotel in
which the production team was staying.
10. • SWSX FILM FESTIVAL PREMIERE
• “I’m a massive fanboy myself, and genuinely
can’t think of a better audience to premiere
this film to. I don’t believe our film really
hangs on a particular detail or piece of
information; it’s a lot more about the
atmosphere and journey of following these
characters through this crazy situation.”
Case Study - Monsters
11. • WHAT IS THE SXSW FILM FESTIVAL
• The first South by Southwest Music Conference and Festival
(SXSW) was held in 1987 in Austin, Texas. The music event
has grown from 700 registrants in 1987 to over 16,000
registrants. As Austin has grown and diversified, film
companies and high-tech companies have played a major
role in the Austin and the Texas economies.
• In 1994, SXSW added a film and interactive component to
accommodate these growth industries. SXSW's original goal
was to create an event that would act as a tool for creative
people and the companies they work with to develop their
careers, to bring together people from a wide area to meet
and share ideas. That continues to be the goal today
whether it is music, film or the internet.
Case Study - Monsters
12. Case Study - Monsters
• HOW THE FILM GOT AN AMERICAN DISTRIBUTOR
• Within hours of its world premiere at SXSW Film Festival -
Monsters was sold to the Wagner/Cuban Company's Magnet
Releasing (genre arm of Magnolia Pictures) for North America
and Mexico.
• "We were blown away by 'Monsters' - I can't think of a more
exciting addition to the Magnet slate. Gareth Edwards is an
extraordinary talent and we're thrilled to bring his vision to
American audiences."
• Producers Allan Niblo and James Richardson commented:
"Having kept the film a secret for so long, Vertigo is thrilled to
have Magnet not only discover it at this year's SXSW but
immediately become our US partner on this groundbreaking
movie. We are all looking forward to releasing 'Monsters'
together onto an unsuspecting world."
13. Case Study - Monsters
• WHO ARE THE AMERICAN DISTRIBUTORS?
• Magnolia Pictures (www.magpictures.com) is the
theatrical and home entertainment distribution arm
of the Wagner/Cuban Companies, a vertically-
integrated group of media properties co-owned by
Todd Wagner and Mark Cuban that also includes the
Landmark Theatres chain, and the high definition
cable network HDNet.
• Magnolia's releases include Lars Von Trier's
Melancholia, Blackthorn starring Sam Shepard, Jo
Nesbo's Headhunters, Marley the documentary,
BAFTA winning Man on Wire, Bel Ami, etc.
• What kinds of films do they release?
14. Case Study - Monsters
• US Box Office - $237,301
• UK Box Office - $1,442,663
• International Box Office - $2,668,337
• Shown in 25 screens in US… !
• Cost $500,000 to make – have they made a
profit?
• What revenue can they add to International
Box Office?
15. Case Study - Monsters
• WHO WAS THE UK DISTRIBUTOR?
• Vertigo Films is a UK Media company founded in 2002 to create and
distribute commercially driven independent cinema. 2010 was a
sensational year for Vertigo with Europe's first 3D live action movie,
STREETDANCE 3D, entering the UK Box Office charts at No.1 beating
Disney's Prince of Persia and becoming one of the most successful
UK independent films of all time.
• In addition, Vertigo's co-production MONSTERS received
exceptional buzz, acclaim and a host of awards including three
British Independent Film Awards.
• Films in production in 2011 include a big screen adaptation of the
much anticipated THE SWEENEY, written and directed by Nick Love
and starring Ray Winstone and Plan B as the infamous Regan and
Carter. And STREETDANCE 2 from the same team that brought you
the original with glitzy European locations and the best dancers in
the world.
16.
17. Case Study - Monsters
• PRODUCTION – HOW DIGITAL WILL CHANGE THINGS!
• “The history of cinema has always been an
industrial process where you needed
hundreds of people to make a movie, and
that's just not true any more. Now you can
just do it with a handful.”
18. Case Study - Monsters
• PRODUCTION & DIGITAL TECHNOLOGY
• “There's more processing power in a decent
PC now than it took to make Jurassic Park.
Monsters was made using Adobe's After
Effects software, a widely available cousin of
Photoshop. Finding no plug-in for alien
tentacles, I adapted a program that models
rope. The CGI planes and cars you see were all
bought off the internet.”
19. Case Study - Monsters
• WHAT DIGITAL TECHNOLOGY OFFERS
• “Anyone who says they know what's going to happen in
film-making is lying, but it's definitely changing. It
reminds me of that era when people like Spielberg and
Scorsese turned up, when the studios didn't
understand this new young audience and all those
people got a chance to play and make artistic films. No
one's too sure what the future's going to be, so if you
can grab a camera and tell a story, there's a good
chance you can do something. In the chaos, there's
always opportunity.”
20. Case Study - Monsters
• PRODUCTION – THINGS ARE CHANGING…
• Right now, there are a number of companies
chasing the success of last year's Paranormal
Activity and District 9, realizing that the idea of
what you can do on film and how much you can
make certain films for has changed.
• Paramount's got a new division that wants to
make ten movies for a total of a million dollars.
• This is what independent filmmaking in the 21st
century is going to look like.
21. Case Study - Monsters
• DIGITAL TECHNOLOGY - CGI
• Once the film was locked, Edwards had five
months to create all 250 visual effects shots, a
process he undertook in his bedroom.
• "[I was] churning out about two shots a day,
which was fine until I got to the first creature
shot. Then suddenly two months went by and I
still hadn't finished a single creature shot; it
turned out to be the hardest part of the whole
process."
22. Case Study - Monsters
• EXHIBITION
• Monsters premiered at the South by Southwest Film
Festival on 13 March 2010.
• On 17 March, Magnet Releasing acquired the rights for the
North American distribution.
• In May, the film was screened at the Cannes Film Market.
• Monsters had its UK premiere as part of the 64th Edinburgh
International Film Festival, on 18 June 2010.
• The film's theatrical release took place in Russia on 30
September, distributed by Volgafilm and was released in
the UK on the 3rd December.
• Magnolia Pictures released Monsters in U.S. theatres on 29
October 2010.
23. Case Study - Monsters
• DIGITAL TECHNOLOGY - VIRAL MARKETING
• What is Foursquare?
• Foursquare is a location-based social networking
website (www.foursquare.com) and set of mobile
applications.
• The concept is for users with GPS-enabled
smartphones to ‘check-in’ when they are at certain
venues. This allows their friends to see where they are
or have been, and lets people leave tips and reviews
about places they have visited.
• Along with the social interactions, it also allows users
to interact with venues - who can track the visits, and
also offer incentives for visitors and repeat visits
24. Case Study - Monsters
• DIGITAL TECHNOLOGY - VIRAL MARKETING
• To promote the theatrical release, the film’s distributor,
Vertigo Films, teamed up with the digital agency
Thinkjam to conceive a location-based campaign that
would draw on the film’s central themes.
• The activity was through the location-based social
networking site Foursquare, and was designed to boost
overall visibility of the film and add an element of
something new and exciting to the main, more
traditional PR campaign, which tied in with the
‘infected zones’ elements of the film.
• All activity was intended to drive people to the cinema
on the night of release on December 3rd.
25. Case Study - Monsters
• Key aims were:
• a presence on the latest platform in social
networking
• continuous direct communication with customers
• to raise awareness of cinemas showing the film
and their locations
• to encourage bookings at those cinemas
• to have the option for developing further
promotions for members
• and also encourage new members
26. Case Study - Monsters
• Wider aims included:
1. fuelling debate and discussion around the film
2. highlighting the film’s originality and unique
filmmaking process
3. pushing Gareth Edwards as a talented director
to watch
4. generating sustained coverage on both
mainstream and niche tastemaker sites
27. Case Study - Monsters
• Campaign Stage 1: Education / teaser
• The teaser press release was sent out to notify
online publications of the Foursquare
initiative. Information remained vague at this
stage, with fans only being made aware of
‘infected zones’ being created in select Vue
and Cineworld venues across the country, as
well as a number of independent zones.
28. Case Study - Monsters
• Campaign Stage 2: Adventure
• Week 2 users were engaging with the
promotion, logging in to infected zones across the
country. Random prizes were awarded to those
who emailed the email address left in all infected
zone tips.
• To reward early adopters, an exclusive clip was
made available through Foursquare. The exclusive
clip also warranted a second press release which
helped entice publications to push to the
Foursquare profile for readers to catch a sneak
peak.
29. Case Study - Monsters
• Campaign Stage 3: The Big Reveal
• For the week before release, the 10 swarm
sites that would be giving users the discount
code were revealed. This was done via the full
trade press release as well as a general PR
release which generated further news stories.
30. Case Study - Monsters
• Campaign Stage 4: Swarm!
• For the week of release, the campaign
unleashed limited infected zones that, when
checking in as part of a group or ‘Swarm’ and
unlocking a badge, allowed bulk discount on
tickets. All PR messaging included links and
information of the Foursquare presence. The
activity was covered by select press invited
down to Vue Westfield.
31. Case Study - Monsters
• PROBLEMS WITH THE INNOVATIVE MARKETING
• The key promotion for the release was to run the Foursquare
activity over consecutive weeks and although the end result was
not what Vertigo had hoped for, it still raised awareness, generated
PR coverage and drummed up a wealth of buzz in appropriate
forums.
• The campaign required early buy-in from exhibitors, as specific sites
needed to be identified for Foursquare set-up.
• This was a problem as the exhibitors were yet to adopt Foursquare
and the site list was not confirmed with Vertigo until two weeks
prior to release.
• Vertigo found exhibitors sceptical to begin with, but they achieved
buy-in from Vue and Cineworld.
• Despite this, in the end the biggest problem on the release date
was the weather, with up to 10cm of snow causing major transport
issues and low turnouts for films across the board.
32. Case Study - Monsters
• RESULTS
• The film’s box office for the opening weekend was just over £1m.
Overall performance of the film was affected by the extreme
weather. For the weekend of release there were no prints in Ireland
or Edinburgh due to courier deliveries being suspended. Vertigo
estimate to have lost 30% of opening Box Office due to the weather.
• Although the night of 3rd December didn’t produce the number of
check-ins to the cinemas that had been anticipated, the overall
coverage it received, and its contribution to the increase in
awareness of the film in the run-up to the release, was a huge
success.
• Vue Westfield was the most successful with 42 check-ins on the
evening, despite very poor weather conditions. There were also
increased check-ins at Vue Leeds, Vue Bristol and Cineworld
Edinburgh.
33. Case Study - Monsters
• Q. What was it that lead what should've been a big hit, to be just a sleeper hit?
• In short, the film didn't have enough marketing muscle behind it.
• It takes a lot of effort and money to generate awareness and interest for a film,
especially if that film is 1) an original property 2) lacks a major director or stars 3)
has a difficult or uninteresting premise and 4) lacks a natural audience that will see
the film.
• The film was fraught with challenges.
• It's a ‘monster movie’ but not really. It's supposed to have monsters but you can't
see any in the marketing materials (e.g. trailer). Lastly, is the film supposed to be
an action movie/road movie/adventure/romantic drama?
• Clearly, the former is the most commercial sell but that goes against what the film
truly is.
• Generally speaking, if audiences can't grasp what it is you're selling, they will not
vote with their wallet.
• Unless the film is truly great and generates substantial word-of-mouth, a small-
scale film won't remain in cinemas very long because exhibitors will replace it in
favour of something that will make money (thereby sealing its fate).