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Jungle book 04 12 18
- 1. SECTION A –Media Industries and Audiences Jungle Book 1967 and 2016 Industry and Economic and Historical contexts
- 2. Paper 2 EvolvingMedia SECTION A – Media Industries and Audiences FILM Jungle Book RADIO Radio 1 VIDEOGAMES Minecraft Question 1 and 2 will be 2 out of these 3 15 marks each
- 4. SECTION A –Media Industries and Audiences Jungle Book 1967 and 2016 Industry and Economic and Historical contexts 1. Go through Moodle page and explain focus. 2. Terminology Recap (Hollywood Today Slides) 3. Terminology Test 4. Studio System Research task 5. 1967 Case Study. 6. 2016 Case Study.
- 5. Moodle https://moodle.reigate.ac.uk/mod/page/view.php?id=89564 • The HollywoodStudio System • Walt Disney history/timeline • Hollywood today • Confident grasp of terminology specific to the industry • You could use relevant 'academic ideas and arguments' in your discussion of industry developments between 1967 and 2016 https://reigatesixthformcollege.sharepoint.com/:w:/r/sites/filmandme dia/_layouts/15/Doc.aspx?sourcedoc=%7B2d58c50f-3f49-409d-a044- 6207b606d1b0%7D&action=default Student Shared Area
- 6. The Jungle BookTimeline • 1894 Rudyard Kipling book
- 7. The Jungle BookTimeline • 1894 Rudyard Kipling book • 1942 UK Korda Bros made in Hollywood WWII
- 8. The Jungle BookTimeline • 1894 Rudyard Kipling book • 1942 UK Korda Bros made in Hollywood WWII • 1967 Disney’s Animation feature
- 9. The Jungle BookTimeline • 1894 Rudyard Kipling book • 1942 UK Korda Bros made in Hollywood WWII • 1967 Disney’s Animation feature • 1995 Video animation • 1997 The second Jungle Book – Mowgli and Baloo (LA)
- 10. The Jungle BookTimeline • 1894 Rudyard Kipling book • 1942 UK Korda Bros made in Hollywood WWII • 1967 Disney’s Animation feature • 1995 Video animation • 1997 The second Jungle Book – Mowgli and Baloo (LA) • 2016 The Jungle Book (LA CGI Jon Favreau dir)
- 11. The Jungle BookTimeline • 1894 Rudyard Kipling book • 1942 UK Korda Bros made in Hollywood WWII • 1967 Disney’s Animation feature • 1995 Video animation • 1997 The second Jungle Book – Mowgli and Baloo (LA) • 2016 The Jungle Book (LA CGI Jon Favreau dir) • 2018 Mowgli (Warner Bros) • 201? Jungle Book 2 (Jon Favreau dir)
- 12.
- 13. INSTITUTIONS: Our studywill cover: •Ownership - Who owns what? •Why does it matter? •Blockbuster Vs Independent, •Conglomeration and Ownership, •Vertical and Horizontal Integration, •Marketing and Promotion (including Synergy) •and different Exhibition/Circulation/Exchange strategies.
- 14. INSTITUTIONS: Our studywill cover: • Ownership - Who owns what? Why does it matter? • Blockbuster Vs Independent, • Conglomeration and Ownership, • Vertical and Horizontal Integration, • Marketing and Promotion (including Synergy) • and different Exhibition/Circulation/Exchange strategies. We will also discuss some ideas of relevant theorists - Curran and Seaton, and Hesmondhalgh IN MORE DETAIL
- 15. What are Media Conglomerates? Thisis a clue
- 16. Media Conglomerates a companythat owns large numbers of companies in various mass media such as: • Television • Radio • Publishing (magazines/newspapers) • Film production • Internet. How many can you name?
- 17. 1. Walt DisneyCompany 2. BBC 3. Alphabet 4. Comcast 5. Facebook 6. Time Inc 7. TimeWarner 8. Bertelsmann 9. Viacom 10. Bauer Media 11. Microsoft 12. NBC Universal Media 13. NBC Television Network 14. 21st Century Fox 15. Fox Broadcasting Company 16. Warner Bros Television Group 17. ABC Inc 18. CBS Broadcasting Inc / Corporation 19. News Corp 20. SONY 21. Thomson Reuters 22. ITV 23. Yahoo 24. Yomiuru Shimbun Holdings
- 18. RESEARCH and producea presentation • The organisation’s history/origins • Who do they own? • Does anyone own them? (parent company) • What is their net worth? • What is their gross income per annum? • What areas of media to they specialise in • Who is the CEO? (Chief Executive Officer)
- 19. TOP 6 FILM Multi-MediaConglomerates ?
- 20. Top 6 FilmCompanies and their Multi-Media Conglomerates parent companies • Twentieth Century Fox – 21st Century Fox • Universal - Comcast • Paramount Pictures (Viacom owned by National Amusements) • Warner Bros (Warner Media owned by AT&T) • Walt Disney Motion Pictures (Walt Disney Company) • SONY Pictures Entertainment (SONY Corporation)
- 21. NDUSTRIES and INSTITUTION TheFilm Industry
- 22. DEVELOPMENT PRODUCTION PREPRODUCTION POST PRODUCTION EXHIBITION ? ? ? ? Whatorder do these film processes go in?
- 23. 1: DEVELOPMENT 3: PRODUCTION 2:PRE-PRODUCTION 4: POST PRODUCTION 5: EXHIBITION
- 24. creative idea, pitch filming locationrecce, script, storyboard editing, sound, gfx cinema, TV, internet, VOD Which tasks are carried out at each stage?
- 25. 1: DEVELOPMENT –creative idea, pitch 3: PRODUCTION - filming 2: PRE-PRODUCTION – location recce, script, storyboard 4: POST PRODUCTION - editing, sound, gfx 5: EXHIBITION – cinema, TV, internet, VOD
- 26. The History ofFilm in 3 minutes https://www.youtube.com/watch?v=84v3gV0wkjk
- 27. Since the 1920sthe American Film Industry has grossed more money every year than any other country in the world.
- 28. It is the2nd largest producer of films after India
- 29. 4 Main Periods 1.Silent Era 1900-1927 2. Classical Hollywood (Golden era) STUDIO SYSTEM 1927 - 1949 3. New Hollywood (Post Classical) 1950 -1980 4. Contemporary Hollywood (after 1980)
- 30. Classic Hollywood 1927– 1949 STUDIO SYSTEM ?
- 31. STUDIO SYSTEM -1920s– 1950 Stars, Directors etc were ‘under contract’ to one studio Producers were more powerful than directors ‘The Big 5’
- 32. Under Contract Could onlywork for one studio
- 33.
- 34. Classical Hollywood Vertical Integration •Production (Make) • Distribution • Exhibition (Show- Cinemas)
- 35. Vertical integration Vertical integrationis where a company can control the production, distribution and consumption of its products.
- 36. STUDIO SYSTEM Vertical Integration •Production (Make) • Distribution ? • Exhibition (Show- Cinemas)
- 37. Film Distribution Film Distributor Distributors decide: where,when and to who the film will be shown
- 38. Film Distribution Film Distributor ALSO RESPONSIBLEFOR: •Producing prints or DCDM (Digital Cinema Distribution Masters) •Shipping prints around the world •Promoting/publicising the film
- 39. STUDIO SYSTEM -1920s- 1950 Produced. Distributed & Owned Cinemas ‘The Big 5’
- 40. Universal United Artists Columbia Pictures ‘TheSmall 3’ Didn't own theatres
- 41. STUDIO SYSTEM -1920s– 1950 1938 Sherman Anti-trust Act Eliminate: Block Booking – studios would sell an entire year’s schedule of films (no control of what they showed) ‘The Big 5’
- 42. 1948 ‘Paramount Decision’ SupremeCourt ruled that major studios could not have a monopolyof production, distribution & Exhibition – Studios started selling off theatres and releasing actors and staff from contracts The studios realised that keeping Distribution was keeping power and profit
- 43. Film Distribution Film Distributor Distributors decide: where,when and to who the film will be shown Deciding where a film will be shown and publicising it POWER & PROFIT
- 44. STUDIO SYSTEM Mid 1940s 400movies per year Block booking = risk was spread (Big budget & ‘B movies’) More artistic ventures: Citizen Kane etc POST STUDIO SYSTEM New Hollywood (Post Classical) Less films were made. Bigger Budgets epic blockbusters Competing with TV More risk of failure
- 45. Post 1970s Agencies havebecome the real power brokers in Hollywood Controlling stables of: •Stars •Directors •Screenwriters •Cinematographers •Producers •Other filmmaking personnel HAND IN HOMEWORK!!!
- 46. New Hollywood (postClassical) 1950s-1980 •Offered what TV couldn't – wide screen, 3D, epics, musicals •TV also meant an additional exhibition vehicle (old films) •Independent productions. Directors become more powerful •Package Unit System (no one on a pay roll) •More creative freedom
- 47. 1930 – WillHays – Hays Code Motion Picture Producers and Distributors of America Strict censorship
- 48. The Production Codeis Revised after nearly 40 years - Sweeping revisions were made to the ‘Hays Code’ to reflect changing social morals Jack Valenti MPAA President founded the voluntary film rating system easing restraints on filmmakers' creative and artistic freedom, to inform parents about the content of films VIOLENCE
- 49. Francis Ford CoppolaGodfather (72 & 74) Apocalypse Now (79) Roman Polanski Rosemary’s Baby (68) China Town (74) Martin Scorsese Taxi Driver (76) Raging Bull (80) Brian de Palma Carrie (76) Scarface (83) Wise Guys (86) Change in storytelling methods - flashbacks, twist endings, amoral heroes New Hollywood (post Classical) 1950s-1980 Directors had more freedom and power
- 50. 1980 Heavens Gate Budget$42M Profit $3m – bankrupted United Artists Est. 1917
- 51. 1980 - homevideo market •A 3rd Exhibition market •Old catalogues released - £! •Films that were not successful at cinema but were huge on video – Shawshank Redemption, Terminator •Some films went straight to VHS •Video Nasties – Chainsaw Massacre •Porn Contemporary Hollywood
- 52. Film Distribution Film Distributor Cinema TelevisionVHS – rent/buy High Street – rent/buy
- 53. Contemporary Hollywood • Itsreliance on overseas markets for revenue • a more global focus, • Overseas production to save costs • Not just California-centric • Digital masters = simultaneous global film releases
- 54. l Smith 1999 Legendof Bagger Vance $10m 2001 Ali $20m 2002 Men in Black II $20m + 10% of gross 2004 I Robot $28m 2007 I am Legend $25m Star power – if a producer signs a top star A finance deal generally falls into place quicker Many top stars get involved in the production stage Contemporary Hollywood
- 55. Who were thebiggest earning actors in 2017?
- 56.
- 57. Independent filmmakers • SpikeLee, Steven Soderbergh, Kevin Smith, and Quentin Tarantino • Low budget locations. • Smaller budgets (Digital formats = less $) Independent Producers/production companies still rely on the power of the Distributor
- 58.
- 59. Top 6 FilmCompanies and their Multi-Media Conglomerates parent companies • Twentieth Century Fox – 21st Century Fox • Universal - Comcast • Paramount Pictures (Viacom owned by National Amusements) • Warner Bros (Warner Media owned by AT&T) • Walt Disney Motion Pictures (Walt Disney Company) • SONY Pictures Entertainment (SONY Corporation)
- 60. Multi-Media Conglomerates – HorizontalIntegration ?
- 61. Horizontal integration iswhere a company uses its subsidiaries to cross promote a brand and/or product across different platforms/subsidiaries. Multi-Media Conglomerates – Horizontal Integration ?
- 63. https://www.thewaltdisneycompany.com/about/#our-businesses Horizontal Integration Revenue US$55.137billion (2017) Operating income US$14.775 billion (2017) Net income US$8.980 billion (2017) Total assets US$95.789 billion (2017) Total equity US$45.004 billion (2017)
- 64. https://www.thewaltdisneycompany.com/about/#our-businesses Horizontal Integration within theircompanies Theme Parks / Disney Cruise Line Merchandise Disney Stores ABC TV
- 65. • Walt DisneyParks, Experiences and Consumer • Marvel Studios • Marvel Entertainment • Walt Disney Studios • Fox Entertainment Group (TBC) inc 40% Sky TV in UK • Buena Vista Distributions (US and International) • ABC Entertainment • Disney ABC Television Group (History channel etc) • National Geographic Partners • Steamboat Ventures (GoPro etc) • ESPN
- 66. VERTICAL INTERGRATION Produce Films OwnsStudios Distributes 0
- 67. https://www.thewaltdisneycompany.com/about/#our-businesses Synergy. Brand Loyalty.Tie-ins. Cross Promotions outside their companies Eg McDonalds Happy Meals JungleBook 2 Licenced to Sega, Gameboy and PC in 1990’s
- 68.
- 69. Walt Disney Filmography https://en.wikipedia.org/wiki/List_of_Walt_Disney_Pictures_films Lookat Disney’s filmography (Animated, Life Action, Documentary, True Life Nature and Hybrid live and animated) • What types of film does Walt Disney specialise in? (genre) • Who is their target audience? • Why do people go to a Disney film? (B&K U&G) • What trends do you notice? (sequels, re-boots, remakes) • Why do you think they do this?
- 70. Family Audiences Global Appeal Mainstream Entertainmentand Escape Good clean fun with a moral narrative Remakes and sequel minimize the financial risk
- 71. 2013 spilt upof News Corporation • Twenty-First Century Fox, Inc. (21st Century Fox and abbreviated 21CF) is an American multinational mass media corporation • It is one of the two companies formed from the 2013 spin-off of the publishing assets of News Corporation, (founded by Rupert Murdoch in 1979)
- 72. July 27th 2018 21stCentury Fox shareholders agreed to sell the company to The Walt Disney Company for $71.3 billion The sale will include key assets such as 20th Century Fox, FX Networks, National Geographic Partners Assets such as the Fox television network, Fox Television Stations, and Fox News Channel will be spun off into a new company owned by current 21st Century Fox shareholders, being referred to internally as "New Fox". The purchase is expected to be completed in 2019 - currently awaiting approval by international regulators.
- 73. • What arethe advantages/disadvantages of being part of a media conglomerate? Media Conglomerates – Horizontal Integration -
- 74. DISTRIBUTORS: What are theirresponsibilities? What do they do?
- 75. •They arrange forexhibition in theatres •They deliver the prints to the cinemas. •Collect receipts from exhibitors. (cinema ticket £) •Market & Advertise the film. •Control the rights to all outlets (cinema, TV, home video etc) DISTRIBUTORS: What are their responsibilities? What do they do?
- 76. Distribution/Distributors - ‘middlemen’ who gets a film from the producers to the audience. •They arrange for exhibition in theatres. •They store and deliver the prints to the cinemas. •Collect receipts from exhibitors. •Market & Advertise the film. •Control the rights to all outlets (cinema, TV, home video, aeroplane versions etc)
- 77. Film Distribution upto 2000 Film Distributor Cinema Television VHS – rent/buy DVD – rent/buy High Street – rent/buy
- 78. Exhibition Exhibitors pay flatfee of % ticket to distributor Loss Leader – more profit on hotdogs etc!
- 79. Film Distribution TODAY•Cinema •Television Broadcast Subscription– Sky Movies est.1989 •High Street – rent/buy – Blockbuster, WH Smiths, HMV DVD Blu-ray •Purchase On Line: A la Carte – Amazon, Play.com, HMV.com Subscription service – Love Film.com (rental) •Download •Video On Demand (VOD) – Pay Per View internet or cable (Sky Virgin etc) Film4/4OD via Mobile Phones – Sky Movies 4G via Vodafone Streaming/Subscription: Netflix, Amazon Prime
- 80. Film Distribution forAvatar (2009)
- 81. Avatar (2009) Directed, written& produced by – James Cameron Production Budget: £237m – actual $280-310m Marketing Budget; $150 million 2D, 3D & 3D IMAX versions $232m grossed worldwide in first weekend (2nd highest ever grossing film after Titanic) Grossed – 9th Jan 2011 $9.96 Billion
- 82. Posters Magazines TV & Radioadverts Cinema adverts Internet A Distributor Promotes a film via:
- 83. Tie ins A wayof cashing in on the film
- 84.
- 85. Tie ins Avatar (2009)Certificate 12A Books • Paper back Book • Coffee table – ‘Art of Avatar’ • Movie Scrapbook • Confidential Report on the Biological and Social History of Pandora
- 86. Tie ins Avatar (2009)Certificate 12A DVD/BluRay Pre-selling DVDs Extra scenes promised
- 87. Product Placement When afilm features products and brands prominently
- 88.
- 89. Video on Demandservice
- 90. Prepare a presentationon the following films: 1. Four Lions (Warp Films) 2. Under the Skin (Film4) 3. Gravity (Warner Bros.) 4. Beauty and the Beast (2017) (Disney) • Your presentation should identify what the film tells us about the organisations that made it: production companies, distributors and their nationalities • Comment on the film’s budget, box office sales, cast, director, use of special effects, marketing tools (such as trailers, websites etc.), merchandising and themes (mainstream/non-mainstream). • From researching these aspects of the film’s production, what can you tell about Warp Films, Film4, Disney and Warner Bros. respectively?
- 91.
- 92. •Who produced it? •Whatwas the production budget? •US or UK? •Who distributed it in US? •US Box office takings •Who distributed it in UK? •UK Box office takings •Who owns the distribution company? What were your findings?
- 93. Places to research •BoxOffice Mojo •The numbers.com •Imdb (Internet Movie database) •Wikipedia
- 94. Budget: £2.5 mUK revenue £3.3M Budget: £8 m US revenue £5.2M Budget: £130 m US revenue £723M Budget: £253 m US revenue £1.2 Billon
- 95. Media Conglomerates Indie(Independent Companies)
- 96. Media Conglomerates Indie(Independent Companies) Financial security – if a project or business fails, other companies will make money and support the parent conglomerate Bigger budgets Easier to get financial backing Creative licence – do what you want Innovative. For niche target audience No interference from parent companies Has to appeal to a mainstream audience in order to make back a big budget. Fail safe subjects/minimize failure: sequels, re-boots, franchises, literary adaptations etc Formulaic. No financial security – bankruptcy if film is a failure Difficult to get a big budgets Difficult to get financial backing – takes a long time and from numerous organisations
- 97.
- 98. • Not sodependent on box office takings • Powerful marketing global distribution and selling again and again in a variety of windows Spreading risk Media Conglomerates – Horizontal Integration -
- 99. Multi-Media Conglomerates – Horizontalintegration Have we returned to the major control that he studios had in 1930s and 40s??
- 100. Sequels, Remakes &Theatrical • The Jungle Book (1967, 1994, 1997 an 2016) • Beauty and the Beast (1991, 2017) • Dumbo (1941 and Tim Burton in production) • Cinderella (1950 and in production with Emma Stone) • Peter Pan (1953 and in preproduction) • 101 Dalmations (1961 and LA 1996) 102 Dalmations (2000) Cruella spin off in production) • Mary Poppins (1964 and 2018 sequel) • Aladdin (1992 and in production Guy Ritchie 2019) • The Lion King (1994 and 2019) • Toy Story 1, 2 and 3 (1995, 1999, 2010) Toy Story 4 2019 • Mulan (1998 and remake planned (female empowerment zeitgeist) • Fantasia 2000 • The Incredibles (2004 and sequel 2018) • Pirates of the Caribbean – 4 films • Cars 1 &2
- 101. David Hesmondhalgh • Mediacompanies seek to minimise risk and maximise audiences through vertical and horizontal integration and by marketing products based on Genre, Star and Franchise. • The most successful media conglomerates operate across different media. • The democratic potential of the web has been contained by the influence of large profit orientated ‘new media’ corporations
- 102. INDUSTRIES/INSTITUTIONS James Curran andJean Seaton Media industries are controlled by a small group of companies primarily driven by pursuit of profit and power. Concentration of media ownership limits choice and diversity. Greater diversity in ownership leads to more adventurous and varied forms of media content https://www.youtube.com/watch?v=QcoZZCSdXl8
- 103.
- 104. Hollywood Studio System Answerall questions
- 105. Oligopoly? Vertical Integration? Paramount Decree? PressJunket? Viral Marketing?
- 106. TERMINOLOGY EXPLANATION ANEXAMPLE Media Texts The different types of media platforms Print, TV, Radio, Film, Video Games, Internet INSTITUTIONS - FILM INDUSTRY - GLOSSAR
- 107.
- 108. Ownership and Production •Major Studios are vertically and horizontally integrated and are now part of massive media conglomerates which has created an ‘oligopoly’ in form of the ‘Big Six.’ • A ‘package unit’ is put together by a producer and ideas ‘pitched’ to major studios in the hope of accessing finance and distribution. • Big budget Blockbusters often follow the ‘high concept’ model in order to appeal to a mass audience • Films are often sequels, prequels and remakes or based upon a successful book, TV programme or even video game to minimise financial risk and to increase profit.
- 109. Distribution • Distribution isnow the most important sector of the industry. • The major studios have focused upon distribution since the end of the contract system and the ‘paramount decree’. • Studios have sought to create additional ‘distribution windows’ in addition to theatrical exhibition to generate more revenue; • A successful film brand can be ‘sold’ in a number of different ways apart from theatrical exhibition, for example: DVD/Bluray On Demand TV Network TV Streaming Services Soundtrack albums Video games Novelisations Merchandising and Licensing deals. • First films to exploit distribution windows were Jaws (Spielberg, 1975) and Star Wars (Lucas, 1977).
- 110. Distribution • Conglomerates willtry to use synergy within sectors of the corporation to maximise profit. For example a soundtrack album could be produced by the record company, a novel could be produced by the publishing house, a video game could be produced within the computer software division etc. • Synergy is where multiple products and services are created on the basis of a successful brand within the same corporation. Every ‘spin off’ product or service helps create interest in the film, hopefully improving box office receipts and DVD sales. • More money is spent upon marketing and advertising a major studio film than was previously the case. • Press junkets are organised by distributors to generate press interest. • Viral marketing is where a distributor will create content that is designed to be shared by others, through social networking sites and new technology e.g online game, facebook page, youtube video, app. • For a major blockbuster the marketing and advertising budget may will exceed production costs in order to stimulate demand and get people into the cinemas/buy DVDs. This would have been unthinkable during the studio era.
- 111. Exhibition • Films arenormally released across a large number of screens simultaneously. • ‘High concept’ films are usually given what is called a saturation or blanket release, this is where a film is released across a huge number of cinemas simultaneously in order to meet expected demand. • This is because ‘high concept’ films are expected to attract a ‘mass’ audience. • Most Hollywood films are released widely as they try and cash in upon the huge amount of investment put into producing and distributing them. • Most of the money made through theatrical exhibition comes through multiplexes.
- 112. Exhibition • Multiplexes aremore profitable because • they house a large number of screens under one roof (reducing staffing costs and other overheads). • they are usually in close proximity to shopping malls, bowling alleys, bars and restaurants - where they are more likely to attract the casual viewer. • they can respond to demand more flexibly by showing a popular film on several screens. • they can provide a more modern and viewer friendly experience. • Although the amount of people paying to go to the cinema will never reach the levels of the pre television era, box office receipts have increased steadily over the last twenty years thanks to changes in production, distribution and exhibition strategies. The major studies are now also heavily investing in 3D technology as way of distinguishing the cinema experience from that of home viewing.
- 113. Glossary Advertising Paid for promotionsuch as poster campaigns, TV spots and trailers. Big Six The major media conglomerates (click on each one see what they own) Sony, Disney, News Corporation, Viacom, Comcast and Time Warner. Blanket release A release strategy that involves booking a film into as many theatres as possible simultaneously to cash in on the expected demand created through advertising. Conglomerate A large corporation that includes many smaller companies or divisions. Distribution windows Ways is which a film can be sold beyond theatrical exhibition.
- 114. Glossary (cont) High concept Anapproach to filmmaking which prioritises a films marketability, usually emphasising spectacle, action and stars and using genre in ‘loose’ way. Horizontal integration Where direct competitors within the same industry merge. This reduces competition and costs. or where a film studio diversifies into a different industry or merges with a company in a different industry. Recently it is seen as a way in which conglomerates can create synergy e.g AOL/Time Warner merger in 2001
- 115. Glossary (cont) Licensing deals Wherethe rights to produce a 'spin off product or service are agreed with another company Marketing The overall strategy by which a studio attempts to ‘sell’ a film. This will include advertising, but will also include audience research, viral marketing, test screenings, previews, press junkets and interviews. Multiplex An exhibition centre that houses multiple screens under one roof. Usually part of a larger ‘entertainment’ complex.
- 116. Glossary (cont) Oligopoly A stateof limited competition that exists when a small number of companies control an industry. Package unit A group of individuals who are assembled to produce a film. Paramount decree Where the major studios agreed to sell off their exhibition chains to end the American Justice Department’s ‘anti trust’ suit in the late 1940s.
- 117. Glossary (cont) Pitch The processof ‘selling’ an idea for a film to a studio in return for investment and distribution. Press junket An event organised by the distributor when the press are invited to interview cast and crew to generate publicity. Saturation release See blanket release. Synergy Where spin off products and services are created on the back of a successful film from within the same corporation.
- 118. Glossary (cont) 3D A 3-Dfilm is a motion picture that enhances the illusion of depth perception. 3-D films became more and more successful throughout 2000–10, culminating in the unprecedented success of Avatar. Vertical integration Where a company has a stake in production, distribution and exhibition. Viral marketing refer to marketing techniques that use pre-existing social networks to produce increases in sales Word of mouth Where demand for a film increases because of a positive audience response and recommendation to others.
- 120. TERMINOLOGY EXPLANATION ANEXAMPLE Media Texts The different types of media platforms Print, TV, Radio, Film, Video Games, Internet INSTITUTIONS - FILM INDUSTRY - GLOSSAR
- 121.
- 122.
- 123. Sequels, Remakes &Theatrical • The Jungle Book (1967, 1994, 1997 an 2016) • Beauty and the Beast (1991, 2017) • Dumbo (1941 and Tim Burton in production) • Cinderella (1950 and in production with Emma Stone) • Peter Pan (1953 and in preproduction) • 101 Dalmations (1961 and LA 1996) 102 Dalmations (2000) Cruella spin off in production) • Mary Poppins (1964 and 2018 sequel) • Aladdin (1992 and in production Guy Ritchie 2019) • The Lion King (1994 and 2019) • Toy Story 1, 2 and 3 (1995, 1999, 2010) Toy Story 4 2019 • Mulan (1998 and remake planned (female empowerment zeitgeist) • Fantasia 2000 • The Incredibles (2004 and sequel 2018) • Pirates of the Caribbean – 4 films • Cars 1 &2
- 124.
- 125. A new eraof animation - xerography https://www.youtube.com/watch?v=CWwU8jd04-I
- 126. The Sherman Brothers MaryPoppins and most of Disney’s musicals A successful ingredient repeated again and again. Minimises financial risk
- 127. The Making ofJungle Book (1967) https://www.youtube.com/watch?v=XhAZEDiKSsM
- 128. https://www.youtube.com/watch?v=zTebgHNSe_4 The Making ofJungle Book (2016) https://www.youtube.com/watch?v=aZOUWQ6ioxc
- 129.
- 130. Representation – Thenand Now https://theweek.com/articles/617441/how-disneys-new-jungle-book-corrects-years- troubling-racial-under
- 131. Historical Context 1967 • Women’sLiberation • Civil Rights Movement • Beatle mania • Anti-war • ‘Free Love’ • UK Film Production Code reassessed Rating system established – more creative freedom 2016 • Fourth Wave of feminism (#MeToo #Times up) • #OscarsSoWhite 2016 • Syrian War /Pro democracy uprising Arab Spring 2011 • Mass Migration leads to right wing populist politics
- 132. • Representation offemales – Snow White, Cinderella, Sleeping Beauty etc • More recent attempts at progressive role models: Mulan, Frozen, Zootopia Representation – Then and Now
- 133. THE JUNGLE BOOK (1967and 2016) MEDIA INDUSTRIES ECONOMIC AND HISTORICAL CONTEXTS
- 134. AREAS OF STUDY •AUDIENCES •PRODUCTION •MARKETING,DISTRIBUTION and FUNDING •TECHNOLOGY AND CONVERGENCE •OWNERSHIP •REGULATION
- 135. Mainstream films distributedby Disney – one of the so-called Big Six The Jungle Book (1967/2016)
- 136. Mainstream Film Productionand Distribution: The Big ‘Six’ oligopoly (Paramount dropped out in 2016) 1. DISNEY: The Jungle Book, Star Wars: The Force Awakens, Frozen.. 2. 20th CENTURY FOX: Logan, Assassin’s Creed, X-Men Apocalypse.. 3. WARNER BROS: Fantastic Beasts and Where to Find Them, Wonder Woman….. 4. UNIVERSAL STUDIOS: Straight Outta Compton, Minions…. 5. eOne FILMS: Collaborations with other distributors 6. COLUMBIA PICTURES/SONY: Spectre, American Hustle….. 7. PARAMOUNT: Transformers: The Last Knight, Star Trek Beyond..
- 137. Apart from Disneywho are the conglomerate, each studio is owned multinational organisation WARNER BROS is owned by WARNER MEDIA/AT & T PARAMOUNT PICTURES is owned by VIACOM 20TH CENTURY FOX is owned by the 21st CENTURY FOX (FORMERLY THE NEWS CORPORATION) DISNEY is its own conglomerate. Ownership includes Lucas Film, Marvel Entertainment, Theme Parks, Pixar Animations…. COLUMBIA PICTURES/MGM are owned by SONY UNIVERSAL STUDIOS are owned by COMCAST
- 138. IMPACT OF DISNEYOWNERSHIP ON FILM PRODUCTION Write down 5 ways ownership impacts on film production
- 139. IMPACT OF DISNEYOWNERSHIP ON FILM PRODUCTION https://www.youtube.com/watch?v=ZQpWRenGF_w 1. Big Six ownership provides significant funding for high production value films – Avengers: Infinity War (2018): 19th MCU film, also distributed by Disney (see clip) - $320-400m budget 2. Ability to attract star marketing – e.g. Jungle Book A List voices 3. More time spent on production 4. Access to latest production technology e.g. CGI 5. More synergy e.g. theme parks and convergence - availability of the film cross platform plus importantly cross platform marketing
- 140. Key Facts –2016 Jungle Book • 2016 and 2017 – DISNEY as NUMBER 1 DISTRIBUTOR (£301m UK theatrical revenue) • JON FAVREAU PRODUCED AND DIRECTED - Iron Man, Iron Man 2, Iron Man 3, The Avengers, Avengers: Age of Ultron. DIRECT LINKS/EXPERIENCE WITH NON REALIST, FANTASY HIGH PRODUCTION VALUE FILM GENRES • JUST UNDER BLOCKBUSTER BUDGET AT $177m • SYNERGY – LINKING WITH ORIGINAL SOUNDTRACK/THEME PARKS
- 141. JUNGLE BOOK (2016)TRAILER. BULLET POINT HOW IT IS A MAINSTREAM FILM? https://www.youtube.com/watch?v=5mkm22yO-bs
- 142. The Jungle Book,2016 ‘Mainstream Film’ • High production values incl. CGI and soundtrack • Star marketing – Scarlett Johansson et al voice over • Wide/saturated distribution by one of The Big Six (not always). Synergy with other Disney blockbusters • Commercial success – homage to 1967 film • Safe genre, simplistic emotive narrative – focus on entertainment values e.g. IMAX, 3D availability
- 143. FILM INDUSTRY TERMINOLOGYYOU NEED TO BE FAMILIAR WITH MAINSTREAM FILM INDEPENDENT FILM PRODUCTION/PRODUCTION VALUES DISTRIBUTION & MARKETING EXHIBITION/EXCHANGE CRITICAL SUCCESS COMMERCIAL SUCCESS DIGITAL TECHNOLOGY CONVERGENCE SYNERGY WRITE DOWN A ONE SENTENCE DEFINITION OF BOTH LINKED TO THE JUNGLE BOOK FILMS
- 144. Synergy and ConvergenceExplained • Synergy – where two or more compatible products/organisations sell each other e.g. Jungle Book (1967 and 2016) or theme parks advertising the film. • Media Convergence – where films like Jungle Book (2016) is available/consumed and can be marketed on a number of cross media platforms e.g. cinema, streamed, DVD, X Box, PlayStation…….Film websites often have convergent links to a range of rich media.
- 145. The Jungle Book– 2016 CGI with live action
- 146. The Jungle Book– 2016 See Mowgli meets Baloo clip https://www.youtube.com/watch?v=ww94B3TfqF4 • Homage to 1967 original film production – a ‘cartoon musical’ • Big budget, non realist, entertainment on an ‘epic’ scale • Significant use of CGI with live action • Representation of familiar characters • Emotive narrative (children and animals) • Star marketing (voice overs and characters) e.g. Idris Elba
- 149. Marketing and Distribution “Inthe film industry, to ensure commercial success you need a successful marketing campaign” – this costs money and is funded by the Distributor e.g. Disney (The Jungle Book)”
- 150. Definitions - Distribution The Distributor chooses which films to distribute – often from seeing the film at a film festival for example They decide on the number of digital copies and pay for each Negotiate the release date and site of exhibition – when/where • Agree on a budget and sequence a campaign across a range of online, audio-visual and print platforms • Online platforms include a website as central marketing hub with convergent links to trailers on YouTube, social networking platforms…
- 151. Marketing and Distribution1 (Jungle Book 2016) • Bloggers and entertainment news sites were used by Disney to ‘get the message across’ • Global marketing – cross continents (aggressively targeting an Asian market), synergy at Disney theme parks • High production value trailers and 3D trailers played before Disney brand Star Wars: The Force Awakens, including during Superbowl • All targeting an older/younger primary and secondary audience • Available in IMAX 3D – marketing via ‘the spectacle’
- 152. Marketing and Distribution2 (Jungle Book 2016) • Deliberate ‘viral leaks’ creating hype • Significant online marketing campaign (including trailers and TV spots + a 360 degree Facebook video) • Primary target audience (12-21) targeted via production values and scale, secondary family target audience target via synergy and intertextual links – crucially nostalgia • Merchandising a key factor as always with Disney • Successful box office
- 153. The Jungle Book2016 Triptych Film Poster
- 154. FULL TRIPTYCH FILMPOSTER • Jan 2016 poster campaign (April release) • 3 separate posters before unveiling full triptych • Expansive canvas – ability to show size and scale (production values) but also character representation • Other film posters focussed more exclusively on Mowgli (emotive representations) • Posters also targeted a global market
- 155. 1967 Exterior Billboard.How is the original trailer similar/different to 2016? https://www.youtube.com/watch?v=LNVTKXIK7q8
- 156. The Jungle Book– 1967 Trailer (see YouTube mash up comparison)https://www.youtube.com/watch?v=oHrDSoVzqNA • Key focus on animation technology at the time • More comedic representations • Disney’s ownership and distribution still foregrounded • Animals have a more obvious identity • Narrative voice over – heightened emphasis (music is the ‘visual grammar’ in the 2016 trailer)
- 159. The Jungle Book1967 Poster
- 160. Marketing and Distribution (1967Jungle Book - longevity) • Personal involvement – Walt Disney (last film) • $4m production budget, $205m box office worldwide • Significant print campaign • Heavily promoted on VHS in 1993, several re-releases on DVD and BluRay • Available as digital downloads – iTunes, Disney Movies anywhere, Google Play
- 161. Iconic, nostalgic representations– marketing focus on ensemble cast
- 162. 1967 - Releasedcinemas 1978 – re-released 1984 Re-released 1990 – re-released 1991 – Out on VHS 2007 – released on DVD BluRay Re-released in different packaging with extra to entice different audiences NOT released to other TV channels (only Disney channels)
- 163. REGULATION AND FILM “Thetraditional regulator” ‘Badges’ of quality below
- 164. Suitable for 12years+. No one younger than 12 can see a 12A film unless accompanied by an adult UK Classification Categories Universal. Suitable for all Parental Guidance. General viewing but some scenes may be unsuitable for young children Suitable for 15 years+ Suitable for adults only
- 165. The Jungle Bookand Regulation • 2016 seen as ‘darker’ than 1967 film – hence PG compared to U because of ‘mild threat’ • Using Curran and Seaton, Disney is driven by profit hence a PG classification maximises audiences • PG = ‘parental guidance’ (some scenes ‘may’ be unsuitable for young children) • Both ratings ensure mass audiences • Politically 1967 Jungle Book depicted racial stereotypes at a time of black civil rights
- 167. Regulation Theory –Livingstone and Lunt The idea that UK regulation policy e.g. the BBFC is driven by conflict – to ‘protect’ from harm but also allow diversity/choice • Desensitisation and deregulation are core concepts here – Disney knew audiences would accept the 2016 film would be a darker - hence hoping for the PG classification • Can link back to Curran & Seaton – theatrical release wanted to target wide demographic to ensure good box office (profit) • Disney carefully controlled the representations in The Jungle Book to appeal to a wider demographic • 15-25 year olds are biggest cinema going category – Jungle Book PG
- 169. Sequels, Remakes &Theatrical • The Jungle Book (1967, 1994, 1997 an 2016) • Beauty and the Beast (1991, 2017) • Dumbo (1941 and Tim Burton in production) • Cinderella (1950 and in production with Emma Stone) • Peter Pan (1953 and in preproduction) • 101 Dalmations (1961 and LA 1996) 102 Dalmations (2000) Cruella spin off in production) • Mary Poppins (1964 and 2018 sequel) • Aladdin (1992 and in production Guy Ritchie 2019) • The Lion King (1994 and 2019) • Toy Story 1, 2 and 3 (1995, 1999, 2010) Toy Story 4 2019 • Mulan (1998 and remake planned (female empowerment zeitgeist) • Fantasia 2000 • The Incredibles (2004 and sequel 2018) • Pirates of the Caribbean – 4 films • Cars 1 &2
- 170. Why? • Nostalgia. Emotionalconnection • Generational market (parents – children repeat pattern) • Minimize financial risk • Audiences have foreknowledge and expectation (Mastery – know what to expect = comforting) • Family entertainment
- 171. Mapping Theory –Curran and Seaton The idea that the media is controlled by a small number of companies which can inhibit creativity (driven by profit)….. • The Jungle Book is distributed by one of the Big Six, Disney – critics have suggested there were racial and political messages in the 1967 film diluted to make an entertaining animated film, exploiting synergy and targeting mass audiences • Mainstream films tend to offer a lack of diversity with the primary objective being commercial success and profit – both films offer escapist narratives without challenging stereotypes
- 173. Mapping Theory –David Hesmondhalgh Cultural companies try to minimise risk and maximise audience through vertical and horizontal integration (pattern of ownership theory) and also operate cross media • Vertical integration – The Jungle Book is produced/funded/distributed (Buena Vista ownership) by Disney in 1967 and 2016 • Horizontal integration – Disney own several companies in the same sector e.g. Lucasfilm and Marvel Studios • Minimising risk - safe genre, established audience
- 175. https://www.youtube.com/watch?v=yXV8xfKGpiQ Watch the followingshort video to consolidate your understanding of Disney and patterns of ownership
- 176. Resumé 1. What isa Multi Media Conglomerate? 2. Name 5 3. What are the benefits of being part of a media conglomerate? 4. What are the disadvantages of being part of a media conglomerate? 5. What are the advantages of being an indie (independent) film company? 6. What are the disadvantages of being an indie (independent) film company?
- 177. INSTITUTIONS Film Industry –Production Roles https://estream.reigate.ac.uk/View.aspx?id=2 153~4l~LqqhFjRd EXTENSION