This document discusses the concept of synergy across three media platforms - film, print media, and online/digital media. It analyzes synergy for the films A Field in England, Star Trek, and Skyfall. Synergy was evident for A Field in England through its simultaneous release in theaters, on demand, and on iTunes. Star Trek benefited from extensive synergy across print magazines, websites, and non-media promotions. Skyfall also had strong synergy through promotion of the soundtrack and ties to Sony products. Overall, the document examines how synergy impacts audience reception and is a key strategy for mainstream commercial films seeking large audiences.
The document discusses factors that influence whether a film will be remade, including financial reasons, technological advancements, and social/political issues. Financially, remakes present lower risks than original films. Technologically, improvements in visual effects, audio quality, and distribution methods impact remakes. Socially, remakes may address issues like LGBT representation or political concerns that have changed since the original.
The document discusses film marketing and distribution. It explains that producers conduct audience research to understand their target audience and appeal to them. Distribution involves releasing films to theaters and home markets through various distributors. Marketing employs advertising, publicity, and promotion techniques like trailers, posters, and tie-in promotions. Case studies of Spectre and Deadpool analyze how their marketing campaigns targeted audiences through specific promotional methods.
Toy story 3 takes social media to infinityZoe Stiling
Disney and Pixar launched an extensive social media campaign to promote Toy Story 3 that targeted multiple age groups across different platforms. They held special early screenings for college students on campuses and created nostalgia-based content on Facebook and YouTube targeting older audiences. The campaign utilized tactics like promoted trends on Twitter before, during, and after the film's release. The social media marketing was highly successful, helping Toy Story 3 become the highest grossing animated film ever with over $1 billion in worldwide box office revenue.
This document discusses various methods used to promote films, including trailers, product placement, interviews, merchandising, viral marketing, and teaser campaigns. Trailers are a main promotional tool as they are shown in theaters before movies and condense the film's story into 2-3 minutes. Product placement involves paid insertion of brand names or products into films. Merchandising involves licensing film characters to manufacturers to sell toys, clothes, and other items related to the movie. The goal of film promotion is to maximize audience interest and box office ticket sales in order to earn back the film's production costs.
The document discusses the impact of developing digital media technologies on media institutions and audiences. For institutions, technologies have led to a rise in blockbuster films through advanced formats like 3D and 4D. However, this has negatively impacted independent films with smaller budgets. New distribution technologies through social media and online platforms allow major studios to heavily promote films, but independents can also use these low-cost tools. For audiences, digital media provides more convenient access to a diverse array of films through streaming services and online distribution across various devices. Overall, digital technologies are changing how both institutions and audiences interact with media.
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.
The document discusses key concepts and institutions related to the film industry. It focuses on issues of media ownership, cross-media convergence and synergy, technologies used in production, distribution and marketing, and how these affect both institutions and audiences. Specific topics covered include the major Hollywood studios ("the big six"), Disney's cross-media structure and use of synergy, the UK film industry and institutions like the BFI, changing distribution technologies, and how proliferation of platforms impacts consumption patterns.
The document discusses factors that influence whether a film will be remade, including financial reasons, technological advancements, and social/political issues. Financially, remakes present lower risks than original films. Technologically, improvements in visual effects, audio quality, and distribution methods impact remakes. Socially, remakes may address issues like LGBT representation or political concerns that have changed since the original.
The document discusses film marketing and distribution. It explains that producers conduct audience research to understand their target audience and appeal to them. Distribution involves releasing films to theaters and home markets through various distributors. Marketing employs advertising, publicity, and promotion techniques like trailers, posters, and tie-in promotions. Case studies of Spectre and Deadpool analyze how their marketing campaigns targeted audiences through specific promotional methods.
Toy story 3 takes social media to infinityZoe Stiling
Disney and Pixar launched an extensive social media campaign to promote Toy Story 3 that targeted multiple age groups across different platforms. They held special early screenings for college students on campuses and created nostalgia-based content on Facebook and YouTube targeting older audiences. The campaign utilized tactics like promoted trends on Twitter before, during, and after the film's release. The social media marketing was highly successful, helping Toy Story 3 become the highest grossing animated film ever with over $1 billion in worldwide box office revenue.
This document discusses various methods used to promote films, including trailers, product placement, interviews, merchandising, viral marketing, and teaser campaigns. Trailers are a main promotional tool as they are shown in theaters before movies and condense the film's story into 2-3 minutes. Product placement involves paid insertion of brand names or products into films. Merchandising involves licensing film characters to manufacturers to sell toys, clothes, and other items related to the movie. The goal of film promotion is to maximize audience interest and box office ticket sales in order to earn back the film's production costs.
The document discusses the impact of developing digital media technologies on media institutions and audiences. For institutions, technologies have led to a rise in blockbuster films through advanced formats like 3D and 4D. However, this has negatively impacted independent films with smaller budgets. New distribution technologies through social media and online platforms allow major studios to heavily promote films, but independents can also use these low-cost tools. For audiences, digital media provides more convenient access to a diverse array of films through streaming services and online distribution across various devices. Overall, digital technologies are changing how both institutions and audiences interact with media.
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.
The document discusses key concepts and institutions related to the film industry. It focuses on issues of media ownership, cross-media convergence and synergy, technologies used in production, distribution and marketing, and how these affect both institutions and audiences. Specific topics covered include the major Hollywood studios ("the big six"), Disney's cross-media structure and use of synergy, the UK film industry and institutions like the BFI, changing distribution technologies, and how proliferation of platforms impacts consumption patterns.
Captain America: Civil War was produced by Marvel Studios, which was purchased by Disney in 2009. Disney distributed the film globally due to their large size and it had a budget of $250 million, grossing over $1.15 billion worldwide. Disney and Marvel effectively collaborated on the film's production, distribution, and marketing. The inclusion of Spider-Man in the film generated significant excitement. Advancements in digital technologies have impacted film production, distribution, and consumption.
The document discusses how digital technology has impacted the film industry in several ways:
1) It has enabled new forms of cross-media convergence and synergy in film production and marketing, with properties being adapted across multiple media.
2) Film studios now use viral marketing and audience interaction online to generate buzz for films during and after production.
3) Audience consumption of films has shifted online as well, with trailers and other marketing materials available on websites and video sharing platforms.
The film A Field in England had a budget of £316,000 financed by Film4's Film4.0 division to test an innovative multi-platform release model. It was released simultaneously on 17 cinema screens, DVD, VOD and free-to-air television on Channel 4 on July 5th 2013. The marketing campaign utilized the director's social media following as well as Channel 4's large audience to promote the film's day-and-date release. Results for the film's theatrical, television, DVD and VOD releases met or exceeded expectations, showing the multi-platform model did not negatively impact any one platform.
Revision pack AS Institutions and AudiencesNaamah Hill
The document discusses several topics related to media and film studies that could be covered in an exam, including issues of media ownership, the importance of cross-media convergence and synergy, technologies introduced in recent years for production, distribution and marketing, and the impact of technological convergence on institutions and audiences. It provides example films and studios that could be used as case studies, such as Warp Films, Working Title Films, and Warner Bros. It also reminds students to include their own experiences with media in their exam responses.
Digital technologies played an important role in both marketing and consumption of The Avengers film franchise.
For marketing, 14 trailers were made available online through iTunes to generate hype around different characters. A live Twitter chat with directors also helped promote the film online. Digital technologies further aided viral marketing through leaked images online.
Consumption was also enabled digitally, as the film became available for digital download after theatrical release. Apps were created around the franchise, like a augmented reality app, allowing fans to interact with characters in new ways. While merchandise was also successful, digital technologies ultimately helped create more awareness and appeal for the film leading to its commercial success.
Level 4 response section b - digital technologiesCoombeMedia1
Digital technologies played an important role in both the marketing and consumption of the Avengers film franchise. For marketing, 14 trailers of varying lengths were released online through iTunes to generate hype and interest in different characters. Additionally, a live Twitter chat with the director and actors helped promote the film online. Digital technologies also enabled viral marketing through leaked images shared on social media. Audiences were then able to consume the film through various digital formats like DVD, Blu-ray, and digital download. Related apps also allowed fans to interact with the franchise in new ways. While merchandise was also successful without digital technologies, the film's overall success was largely due to how digital marketing created awareness and excitement around the product.
Aardman Animations is a British stop-motion clay animation studio based in Bristol, UK. It is best known for films featuring Wallace and Gromit. While traditionally using stop-motion techniques, the studio has also entered computer animation. Aardman is an independent company that relies on collaboration with producers, distributors, and marketers for funding and distribution of its films.
The document discusses film distribution and the FDA (Film Distributors' Association). It describes several ways that filmmakers distribute movies, such as through DVDs, streaming services, or television broadcasts. It also discusses how distributors market and promote movies through word-of-mouth recommendations, posters, media advertising, digital marketing, and making films accessible. The FDA is described as the UK trade body for film distributors that provides services to members like market research, legal advice, and representation to other groups in the film industry.
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.
This document provides an overview of the film industry, including production, distribution, and exhibition. It discusses how a small number of major film distributors dominate the UK market and primarily distribute Hollywood blockbusters. This limits the variety of films shown in cinemas. Despite increasing screens, fewer films are being distributed. Digital distribution is important for independent films as it reduces costs compared to physical film prints. Hollywood films are very popular in the UK market, but this dominance poses challenges for British film producers.
Unit 1, P4 - Learners investigate how their chosen media product reaches its ...Beth1Blackburn
The document discusses how Star Wars: The Force Awakens reached its intended audience through distribution and advertising. It was distributed through midnight screenings that appealed older fans, showings in over 4,000 screens internationally, and DVD/Blu-ray releases that reflected the tech-savvy audience. Advertising began over a year before with teaser trailers on iTunes and YouTube to reach both young and older audiences. Subsequent trailers received many views and broke records. Advertising capitalized on the built-in hype around the Star Wars franchise to generate excitement among fans without revealing much about the film's plot.
This document provides information about Empire magazine, which is described as the world's biggest movie magazine. It discusses the growth of the UK film market and cinema admissions. It then provides details about Empire's growing readership and circulation, noting it has over 850,000 readers and is the second largest men's magazine in the UK. The document outlines the content of Empire, including main features, interviews, and reviews. It also discusses Empire's online and digital properties, including its website, podcasts, and iPad app. Finally, it briefly describes the annual Empire Awards ceremony.
The document discusses potential distribution methods for a media product. It presents three distribution options from most realistic to most aspirational:
1) Distributing as a low-budget student or independent film by screening for friends and family, uploading to online platforms like Vimeo, and promoting on social media.
2) Distributing 200-300 DVD copies to friends/family and the general public, putting up posters around town, and handing out flyers.
3) Partnering with major studios like Disney or Warner Bros. who have large budgets for promotions on TV, in theaters, online and electronic billboards globally, ensuring widespread awareness and interest in the film.
Discuss the issues raised by media ownership within a media area you have stu...Katie Emily
Warner Brothers is one of the largest Hollywood studios, owning a film industry oligopoly as a subsidiary of AT&T. Their blockbuster films like Wonder Woman have budgets over $300 million and profits over $700 million, allowing risks on less profitable films. In contrast, independent UK studio Belstone Pictures has much smaller $150,000 budgets, using cheaper actors, equipment, and locations. While Wonder Woman was extensively marketed and distributed worldwide, Tank 432 focused on film festivals and social media with more limited distribution and revenue. The structures of the Hollywood system put independent studios at a disadvantage in terms of budgets, marketing, and competing with major studio tentpole films.
Total Film Magazine is a monthly publication focused on movies that has been published since 1997. It has a predominantly male audience of around 561,000 readers. The magazine's biggest competitor is Empire, which has a more sophisticated readership. Total Film aims for a younger audience between ages 15-44. It has evolved its visual style and content over time to maintain relevance in the digital age, and now integrates its website, social media, and other online platforms to engage readers beyond the print magazine.
The document discusses the structure and ownership of media companies. It describes different types of ownership including private, public service, independent, conglomerate, and vertical and horizontal integration. It provides examples of each type, noting advantages and disadvantages. The document also discusses cross-media convergence, synergy, and changes to Apple's structure over time.
The document discusses different aspects of film marketing, including identifying the target audience, establishing unique selling points (USPs), and determining budgets for different marketing activities. It notes that marketing campaigns aim to identify what makes a film different from others in its genre in order to brand it as new and innovative. Both "above the line" costs like trailers and posters as well as "below the line" costs like premieres and interviews are considered. Cross-promotions with other companies and determining release strategies are also discussed.
The Force Awakens was produced by Walt Disney Motion Pictures with a budget of £306 million. Directed by J.J. Abrams, it starred original Star Wars actors Harrison Ford, Mark Hamill, and Carrie Fisher alongside new actors John Boyega and Daisy Ridley. An extensive marketing campaign included appearances on talk shows and a viral trailer. The film went on to become the highest grossing film of 2015, making over $2 billion worldwide.
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.
The document discusses marketing strategies for the 2012 film Battleship, including the use of trailers, posters, and other media. Trailers were leaked online and shown on TV to promote the $200 million action film. All posters featured a similar layout with main characters in the middle against a dark blue and white color scheme. The fast pacing and editing of the trailers, along with heroic music, signified the action genre. Posters also highlighted the film's technology to appeal to male audiences. Story details were left mysterious to build tension and immerse viewers in the action.
Section B Institutions and Audiences Revision Guidejphibbert
The document discusses several key aspects of the media industries:
1. Media ownership is highly concentrated among a small number of major global conglomerates like Disney and News Corp, creating an oligopoly in the film industry. The "Big Six" studios dominate global box office revenues.
2. These studios benefit greatly from cross-media convergence and synergy between their various subsidiaries. Disney is a prime example, maximizing revenue through properties like Marvel and franchises like Avengers across film, TV, games and merchandise.
3. The British film industry is much smaller and independent productions have less resources, relying more on funding from organizations like the BFI. They also face challenges in distribution dominated by the major US studios.
This document discusses cross-media convergence and media synergy in relation to Netflix's House of Cards series. It explains that House of Cards was created with the knowledge that it would be successful due to Netflix's large audience base. Netflix was able to create an ideal television program by analyzing user data and viewing patterns. Netflix promoted House of Cards through notifications to subscribers and billboards. As the show was exclusive to Netflix subscribers, it encouraged more people to subscribe. Netflix targeted and recommended the show to subscribers based on their individual viewing histories. This example demonstrates how television production, distribution and exhibition are shifting online, with technology being used to further market content across multiple platforms.
Captain America: Civil War was produced by Marvel Studios, which was purchased by Disney in 2009. Disney distributed the film globally due to their large size and it had a budget of $250 million, grossing over $1.15 billion worldwide. Disney and Marvel effectively collaborated on the film's production, distribution, and marketing. The inclusion of Spider-Man in the film generated significant excitement. Advancements in digital technologies have impacted film production, distribution, and consumption.
The document discusses how digital technology has impacted the film industry in several ways:
1) It has enabled new forms of cross-media convergence and synergy in film production and marketing, with properties being adapted across multiple media.
2) Film studios now use viral marketing and audience interaction online to generate buzz for films during and after production.
3) Audience consumption of films has shifted online as well, with trailers and other marketing materials available on websites and video sharing platforms.
The film A Field in England had a budget of £316,000 financed by Film4's Film4.0 division to test an innovative multi-platform release model. It was released simultaneously on 17 cinema screens, DVD, VOD and free-to-air television on Channel 4 on July 5th 2013. The marketing campaign utilized the director's social media following as well as Channel 4's large audience to promote the film's day-and-date release. Results for the film's theatrical, television, DVD and VOD releases met or exceeded expectations, showing the multi-platform model did not negatively impact any one platform.
Revision pack AS Institutions and AudiencesNaamah Hill
The document discusses several topics related to media and film studies that could be covered in an exam, including issues of media ownership, the importance of cross-media convergence and synergy, technologies introduced in recent years for production, distribution and marketing, and the impact of technological convergence on institutions and audiences. It provides example films and studios that could be used as case studies, such as Warp Films, Working Title Films, and Warner Bros. It also reminds students to include their own experiences with media in their exam responses.
Digital technologies played an important role in both marketing and consumption of The Avengers film franchise.
For marketing, 14 trailers were made available online through iTunes to generate hype around different characters. A live Twitter chat with directors also helped promote the film online. Digital technologies further aided viral marketing through leaked images online.
Consumption was also enabled digitally, as the film became available for digital download after theatrical release. Apps were created around the franchise, like a augmented reality app, allowing fans to interact with characters in new ways. While merchandise was also successful, digital technologies ultimately helped create more awareness and appeal for the film leading to its commercial success.
Level 4 response section b - digital technologiesCoombeMedia1
Digital technologies played an important role in both the marketing and consumption of the Avengers film franchise. For marketing, 14 trailers of varying lengths were released online through iTunes to generate hype and interest in different characters. Additionally, a live Twitter chat with the director and actors helped promote the film online. Digital technologies also enabled viral marketing through leaked images shared on social media. Audiences were then able to consume the film through various digital formats like DVD, Blu-ray, and digital download. Related apps also allowed fans to interact with the franchise in new ways. While merchandise was also successful without digital technologies, the film's overall success was largely due to how digital marketing created awareness and excitement around the product.
Aardman Animations is a British stop-motion clay animation studio based in Bristol, UK. It is best known for films featuring Wallace and Gromit. While traditionally using stop-motion techniques, the studio has also entered computer animation. Aardman is an independent company that relies on collaboration with producers, distributors, and marketers for funding and distribution of its films.
The document discusses film distribution and the FDA (Film Distributors' Association). It describes several ways that filmmakers distribute movies, such as through DVDs, streaming services, or television broadcasts. It also discusses how distributors market and promote movies through word-of-mouth recommendations, posters, media advertising, digital marketing, and making films accessible. The FDA is described as the UK trade body for film distributors that provides services to members like market research, legal advice, and representation to other groups in the film industry.
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.
This document provides an overview of the film industry, including production, distribution, and exhibition. It discusses how a small number of major film distributors dominate the UK market and primarily distribute Hollywood blockbusters. This limits the variety of films shown in cinemas. Despite increasing screens, fewer films are being distributed. Digital distribution is important for independent films as it reduces costs compared to physical film prints. Hollywood films are very popular in the UK market, but this dominance poses challenges for British film producers.
Unit 1, P4 - Learners investigate how their chosen media product reaches its ...Beth1Blackburn
The document discusses how Star Wars: The Force Awakens reached its intended audience through distribution and advertising. It was distributed through midnight screenings that appealed older fans, showings in over 4,000 screens internationally, and DVD/Blu-ray releases that reflected the tech-savvy audience. Advertising began over a year before with teaser trailers on iTunes and YouTube to reach both young and older audiences. Subsequent trailers received many views and broke records. Advertising capitalized on the built-in hype around the Star Wars franchise to generate excitement among fans without revealing much about the film's plot.
This document provides information about Empire magazine, which is described as the world's biggest movie magazine. It discusses the growth of the UK film market and cinema admissions. It then provides details about Empire's growing readership and circulation, noting it has over 850,000 readers and is the second largest men's magazine in the UK. The document outlines the content of Empire, including main features, interviews, and reviews. It also discusses Empire's online and digital properties, including its website, podcasts, and iPad app. Finally, it briefly describes the annual Empire Awards ceremony.
The document discusses potential distribution methods for a media product. It presents three distribution options from most realistic to most aspirational:
1) Distributing as a low-budget student or independent film by screening for friends and family, uploading to online platforms like Vimeo, and promoting on social media.
2) Distributing 200-300 DVD copies to friends/family and the general public, putting up posters around town, and handing out flyers.
3) Partnering with major studios like Disney or Warner Bros. who have large budgets for promotions on TV, in theaters, online and electronic billboards globally, ensuring widespread awareness and interest in the film.
Discuss the issues raised by media ownership within a media area you have stu...Katie Emily
Warner Brothers is one of the largest Hollywood studios, owning a film industry oligopoly as a subsidiary of AT&T. Their blockbuster films like Wonder Woman have budgets over $300 million and profits over $700 million, allowing risks on less profitable films. In contrast, independent UK studio Belstone Pictures has much smaller $150,000 budgets, using cheaper actors, equipment, and locations. While Wonder Woman was extensively marketed and distributed worldwide, Tank 432 focused on film festivals and social media with more limited distribution and revenue. The structures of the Hollywood system put independent studios at a disadvantage in terms of budgets, marketing, and competing with major studio tentpole films.
Total Film Magazine is a monthly publication focused on movies that has been published since 1997. It has a predominantly male audience of around 561,000 readers. The magazine's biggest competitor is Empire, which has a more sophisticated readership. Total Film aims for a younger audience between ages 15-44. It has evolved its visual style and content over time to maintain relevance in the digital age, and now integrates its website, social media, and other online platforms to engage readers beyond the print magazine.
The document discusses the structure and ownership of media companies. It describes different types of ownership including private, public service, independent, conglomerate, and vertical and horizontal integration. It provides examples of each type, noting advantages and disadvantages. The document also discusses cross-media convergence, synergy, and changes to Apple's structure over time.
The document discusses different aspects of film marketing, including identifying the target audience, establishing unique selling points (USPs), and determining budgets for different marketing activities. It notes that marketing campaigns aim to identify what makes a film different from others in its genre in order to brand it as new and innovative. Both "above the line" costs like trailers and posters as well as "below the line" costs like premieres and interviews are considered. Cross-promotions with other companies and determining release strategies are also discussed.
The Force Awakens was produced by Walt Disney Motion Pictures with a budget of £306 million. Directed by J.J. Abrams, it starred original Star Wars actors Harrison Ford, Mark Hamill, and Carrie Fisher alongside new actors John Boyega and Daisy Ridley. An extensive marketing campaign included appearances on talk shows and a viral trailer. The film went on to become the highest grossing film of 2015, making over $2 billion worldwide.
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.
The document discusses marketing strategies for the 2012 film Battleship, including the use of trailers, posters, and other media. Trailers were leaked online and shown on TV to promote the $200 million action film. All posters featured a similar layout with main characters in the middle against a dark blue and white color scheme. The fast pacing and editing of the trailers, along with heroic music, signified the action genre. Posters also highlighted the film's technology to appeal to male audiences. Story details were left mysterious to build tension and immerse viewers in the action.
Section B Institutions and Audiences Revision Guidejphibbert
The document discusses several key aspects of the media industries:
1. Media ownership is highly concentrated among a small number of major global conglomerates like Disney and News Corp, creating an oligopoly in the film industry. The "Big Six" studios dominate global box office revenues.
2. These studios benefit greatly from cross-media convergence and synergy between their various subsidiaries. Disney is a prime example, maximizing revenue through properties like Marvel and franchises like Avengers across film, TV, games and merchandise.
3. The British film industry is much smaller and independent productions have less resources, relying more on funding from organizations like the BFI. They also face challenges in distribution dominated by the major US studios.
This document discusses cross-media convergence and media synergy in relation to Netflix's House of Cards series. It explains that House of Cards was created with the knowledge that it would be successful due to Netflix's large audience base. Netflix was able to create an ideal television program by analyzing user data and viewing patterns. Netflix promoted House of Cards through notifications to subscribers and billboards. As the show was exclusive to Netflix subscribers, it encouraged more people to subscribe. Netflix targeted and recommended the show to subscribers based on their individual viewing histories. This example demonstrates how television production, distribution and exhibition are shifting online, with technology being used to further market content across multiple platforms.
This document discusses potential film institutions that could distribute a media product. It analyzes several major Hollywood film studios like Warner Bros. and Universal Studios, noting that Universal has distributed many famous thriller films like the target genre. It also considers independent British distributors like Film4 and BBC Films as options. The document decides that the group will create their own production company, KLS Picture-House Productions, and their own distribution company, HAGE Studios, to hypothetically distribute their opening title sequence. If choosing from major studios, Universal would be a good fit to reach both male and female audiences.
The document discusses branding, 360 degree branding, synergy, and convergence in relation to films. It provides examples of how films use various marketing techniques across different media platforms to build recognition and target audiences. Specifically, it discusses how films employ branding conventions like logos and slogans in advertising. It also gives examples of how films use 360 degree branding by targeting audiences across print, social media, technology, and broadcast. The document further explains how production companies form synergistic partnerships and how films demonstrate convergence by combining different media like apps and websites to promote the film to wider audiences.
DNA Films would be the best media institution to distribute 'The Cycle'. As an independent British film production company, DNA Films has experience distributing similar small, independent British films. They have a distribution agreement with Fox Searchlight, allowing DNA Films' films access to Fox's funding and global distribution network. This partnership has proven successful for films like 28 Days Later and The Last King of Scotland. In comparison, while Lionsgate has successfully distributed large-budget films like The Hunger Games, their size would make it difficult for a small, independent British film like 'The Cycle' to secure a distribution deal with them.
The document discusses key aspects of successful film marketing campaigns. It notes that advertising is crucial to raise public awareness of a film and shape its perception. Today, the movie itself is just one part of a wider narrative that extends across media platforms. Successful campaigns use multiple cross-media platforms like print, radio, TV, and the web to reach mass audiences. They maintain continuity across marketing products in areas like layout, fonts, colors and imagery to create a cohesive brand identity and user experience. The document examines Christopher Nolan's highly successful Inception campaign as an example, highlighting its cryptic trailers, extensive poster campaign, comic book prequels, and use of online and social media to build anticipation among consumers.
This document discusses how films are produced and distributed through case studies of three production companies: Working Title Films, Warp Films, and Twentieth Century Fox. It explains that Working Title Films, as part of a major studio, has financial backing that allows it to greenlight films based on their marketability and profit potential. Independent Warp Films has stricter financial constraints and relies on public funding. While major studios have advantages in equipment and resources, digital technology has helped independent films compete on similar levels through lower production costs.
The document discusses FilmFour, a British film production company. It provides background on FilmFour, describing some of its successful and groundbreaking films from the 1980s-2000s like My Beautiful Laundrette, Trainspotting, and Four Weddings and a Funeral. The summary also notes that FilmFour faces challenges competing for cinema space with large Hollywood studios and lacks distribution clout.
British Independent Film Company - Warp Filmsamelibentley
Warp Films is an independent film production company based in Sheffield and London that has produced notable films such as This is England and Four Lions. The company focuses on lower-budget films than Hollywood and targets niche audiences through genres like social realism. Warp Films relies on partnerships with other companies to fund, produce, distribute and exhibit its films.
This presentation will introduce to the key term convergence and offer you some information that will help you answer a short essay question on the likely effects of film piracy on audiences and institutions.
British Independent Film Companies - Warp Filmsamelibentley
Here are some key differences in the production processes and technical specifications between an independent British film like 'This is England' and a major Hollywood blockbuster:
- Budget: 'This is England' had a much smaller budget of £1.5 million compared to tens or hundreds of millions for a blockbuster. This impacts the scale and scope of production.
- Crew/Cast: A blockbuster would have a much larger crew and be able to afford A-list Hollywood stars. 'This is England' likely had a smaller, independent crew and cast unknown actors.
- Technology: A blockbuster would utilize the best and latest cameras, lenses, film/digital formats for high production values. 'This is England' probably used
This document discusses key topics related to media production, distribution, and audiences. It provides sample past exam questions focusing on how media products reach audiences within specific media areas. Key areas to study include production, distribution, marketing, exhibition, the impact of new technologies, convergence, and specific film industries. The importance of cross-media convergence and synergy for institutions and audiences is emphasized. Digital screens are growing in number, and case studies of films like Avatar, The Dark Knight, Harry Brown, and Street Dance 3D are presented to illustrate these concepts.
Warp Films is an independent British film company that struggles to compete with large conglomerate studios like Disney due to a massive budget gap. For example, the budget for Disney's Pirates of the Caribbean was $300 million, compared to just £1.5 million for Warp Film's 2007 movie This is England. New technologies like HD filming and digital distribution have helped Warp promote and distribute films at a lower cost. However, conglomerates have more resources to combat piracy and reach a much broader audience with big-budget blockbusters aimed at all ages.
Empire Production Distribution OwnershipMissMoore866
Empire magazine is produced and distributed through both traditional and digital methods to reach its target audience. It began as a monthly print magazine in 1989 and still relies on print subscriptions as a stable revenue source. It has expanded distribution through an iPad edition, iPhone app, and website which allow on-demand access to updated content. While Empire is owned by the large global media company Bauer Media, it prides itself on showcasing British talent to its primarily UK audience.
Summit Entertainment is a film production, distribution and sales company founded in 1991. They initially handled foreign film sales but later expanded into fully financing and producing their own films by the late 1990s. Summit distributes their films both theatrically and on home video formats internationally through partnerships with other major studios like Universal and Sony. As an independent studio with access to over $1 billion in financing, Summit would be capable of distributing films internationally but likely requires partnerships for domestic theatrical distribution in large markets like North America.
Warp Films, Heyday Films, Lucasfilms, and The BFI are film production companies with different specialties and levels of success. Warp Films focuses on distinctive British films and has seen success with films like 71. Heyday Films produces big budget films and has generated billions from the Harry Potter franchise. Lucasfilms is known for Star Wars and Indiana Jones and has profited over $2 billion from Star Wars alone. The BFI is a British organization that provides funding for independent films and aims to promote diversity, with 12 Years a Slave being one of its most successful supported films.
This document discusses film distribution strategies, focusing on independent films. It explains that distribution involves releasing films in the marketplace and marketing them locally. For independent films, producers typically do not have long-term ties to distributors. The document recommends Momentum Pictures as a potential UK distributor and discusses simultaneous streaming/cinema releases as an option. It also explores releasing the film on streaming services like Netflix or television channels like Sky Movies.
Millennials are skeptical of traditional advertising but have significant spending power. To market to them effectively, brands need to get their message across without it seeming like an advertisement. One way is through web-series partnerships, where the brand works with online influencers to create content that engages Millennials organically. BMW and Kohls have both seen success using this approach, with BMW's "The Hire" series boosting sales and Kohls' partnership increasing traffic and correlated sales. Branded web-series take advantage of influencers' existing audiences and social interactions to introduce the brand in a natural, non-intrusive way.
This document discusses Paramount Pictures, a major film studio owned by Viacom. It also mentions Vertigo Films, a smaller British film company. The document covers several topics related to these companies and the film industry, including issues of media ownership, the importance of budgets for marketing/distribution, and the impact of technology on production and audiences. Proliferation of technology has led to more options for how audiences consume media content.
The document discusses News Corporation's production and promotion of the 2009 film Avatar. It details how News Corp used its cross-media platforms and convergence across video games, toys, books and television promotions to market the film globally. Specifically in the UK, News Corp targeted British audiences through an IMAX trailer premiere and partnerships with Coca-Cola for an augmented reality marketing campaign. The film was a major commercial success and broke several box office records.
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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Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
Physiology and chemistry of skin and pigmentation, hairs, scalp, lips and nail, Cleansing cream, Lotions, Face powders, Face packs, Lipsticks, Bath products, soaps and baby product,
Preparation and standardization of the following : Tonic, Bleaches, Dentifrices and Mouth washes & Tooth Pastes, Cosmetics for Nails.
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.
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.
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
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.
हिंदी वर्णमाला पीपीटी, hindi alphabet PPT presentation, hindi varnamala PPT, Hindi Varnamala pdf, हिंदी स्वर, हिंदी व्यंजन, sikhiye hindi varnmala, dr. mulla adam ali, hindi language and literature, hindi alphabet with drawing, hindi alphabet pdf, hindi varnamala for childrens, hindi language, hindi varnamala practice for kids, https://www.drmullaadamali.com
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
Film vocab for eal 3 students: Australia the movie
Section b exemplars
1. Section b Exemplars
“Synergy is the process by which media institutions use
a range of platforms to promote, sell and distribute their
products. Assess the impact of synergy in your cross-
media study. Support your answer with reference to a
range of examples from three media platforms.”
Synergy can be defined as when two or more compatible products sell each
other e.g. Facebook and Farmille/Candy Crush Saga, or a film and soundtrack
but for the purposes of this responseI willbe analysing synergy from an
institutional point of view in terms of how it works across platformsbutalso
exploring whether the impact of synergy on audience reception and response
is significantor not.
My cross media study topic is film fiction – for moving image I researched Star
Trek (2009), Skyfall and A Field in England while for printI looked at Empire
Magazine, Total Filmand Sight and Sound and for E Media - Netflix, YouTube
and iTunes. Synergy was very much evident during the multi platform
release of A Field in England on 5th July 2013 and relates directly to the
concept of ownership – developed and financed by Film 4.0, Film4’s digital arm
this low budget (£300,000) independent filmwas simultaneously released at
PictureHouseCinemas (The Ritzy in Brixton, London), through Film4 video on
demand and through iTunes whereaudiences could purchasethe HD version
for £13-99. Ben Wheatley, the director wanted build the maximum amount
of industry hype by reaching an audience traditionally it would be hard to
connect with. The coordination of platforms also had the key advantage of not
justselling the film, but also selling Film4, the PictureHouseCinema chain and
also iTunes to audiences.
In terms of synergy, A Field in England benefitted from association with a
respected and innovative broadcastchannel, a cinema chain that is well known
for mixing independent, art houseand somemainstream films in terms of
programming and Apple’s iconic, commercially successful digital distribution
platformiTunes - the film was also available on Viooz
and http://www.vodzilla.co which markets itself as the firstvideo on demand
magazine and the film is available to this day as a free stream on YouTube
ensuring viral talkability. Synergy wasalso evidentthrough 40% of consumers
with older televisions who usetheir HDMilead to connect to a consolelike
PS3’s media server, Wii or X Box to watch films online. The cross platform
2. release enabled A Field in England to focus less on advertising spend, ensuring
the multi platform allowed the film to become an Event Movie. Here, synergy
did have an impact on audience reception ensuring A Field in England which
ordinarily would have gone straightto DVD after a limited theatrical
release wentviral and was consumed and discussed by a broader audience.
Sight and Sound, a BFI publication also associated itself with the release with
their July 2013 edition having a shortcover line at the bottom of the page
advertising the film – this reflected their involvement, in terms of synergy of
wanting to be linked with an independent film that was likely to achieve critical
success butalso their partfunding of the projectunder the BFI Distribution
Fund. Non-media tie ins even ensured that Welton’s Brewery made a limited
edition beer that PictureHousecinema goers could buy going into the screen
with the tagline, “Open up and Let the Devil In”.
Synergy tends to me moreassociated with mainstreamtexts aimed at mass
audiences and with Star Trek (2009) this was very much the case – ownership
by Paramountas one of the ‘big six’ of the oligopoly of film distributors
allowed for maximum investment in production but also the ability to
synergisein the promotion and marketing of their film. Using the director, JJ
Abrams as one of the unique selling points, digitalmarketing appeared on the
websites of high production value television dramas he had been associated
with including Lost and Fringe. This enabled a wider male and female audience
who were fans of these shows to be made awareof the up and coming film
with its more emotive approach in regards to science fiction marketing –
developing a wider female demographic was one of the main intentions of the
campaign. Sky Sports also ran ‘super headers’ ensuring that a traditionally
male science fiction audience were also targeted. Standard, above the line
marketing e.g. trailers also ran alongside the synergy used in the campaign.
This synergy was further evidenced by Facebook fan kits and wallpaper
downloads butcrucially in print media with not justfilm magazine covers of
Empire and Total Film devoted to the film’s release but also a Big
Issue cover, GQ and Esquire magazine. Esquireran a challenging cover showing
a light bulb, identifying the edition as the ‘Genius Issue’ with ’21 Ways to
Appear More Intelligent (withouthaving pointy ears) referring to the cover
image of Zachary Quinto as Spock framed centrally in medium shot. GQ chose
to run with a cover showing Chris Pine who played James T. Kirk in a suit as
part of its ‘Men of the Year’ issue. Synergy certainly helped in marketing the
film to a broader audience (it was the 7th mostsuccessfulfilm in terms of box
office in 2009) butcynics would suggestthat the amount spent on marketing
and publicity placed synergy as only partly responsiblefor the selling of the
film to a wide, non-gender specific audience.
3. Again, as with A Field in England non-media tie ins included a free movie toy
with Burger King meals, Phones4u and Hamleys competitions and also a promo
in Heat magazinewhich targeted a female audience. Total Film magazineran
with black and white, full closeup covers of Spock and Kirk and were happy to
extensively market the blockbuster film(as a mainstream film magazinethat
focuses themselves on the mainstream, commercially successfulmarket
of safe genre films like Star Trek as science fiction). Crucially, Total Film is
published by FuturePublishing who as well as releasing 150 UK magazine titles
are also the official magazine of all the console game manufacturers. Itwould
be commercially essential to synergisewith Star Trek as a successful
franchise butalso as a film that had spawned a single/multi player action video
game (Star Trek) that is available on X Box, PS and Windows platforms. Empire
Magazine ran with less iconic covers, choosing instead to focus on the whole
cast in uniform, acknowledging and promoting the fact that this is a film that is
likely to be a 2009 globalsummer blockbuster – it is this global aspect that
again references synergy with Empire as a magazinepublished by the large
global consumer magazineand media institution, Bauer; Empire alone is
published in the US, Australia, Turkey, Russia and Portugal.
Skyfall, like Star Trek has been a commercially successfulfilm that has
exploited synergy and also is now available digitally on a number of platforms
including Netflix reflecting shorter non theatrical window releases (although
Netflix might argue with the length of time it takes them to acquire a film).
With the commercial backing of Sony (MGM/Columbia) Skyfallused a rangeof
media to promote the 23rd Bond film to audiences but crucially the title
soundtrack by Adele became iconic and evidenced synergy in terms of its own
commercial success. Theinstitution of Sony is crucial in understanding the
ability to synergisewith the film promoting the Adele soundtrack, promoting
the DVD, promoting the computer game, Sony Phone (and many other non-
media ties ins e.g. Jaguar and Coca Cola) and promoting the TV – all owned by
Sony. The CD was released at the sametime as the film while a new Sony TV
featured Skyfallin the promotionaladverts. Even the Daily Mail used the film
to launch a British Tourismpromotional campaign while Empire and Total Film
magazine dedicated several covers to Skyfallas a globally successful film
reflecting aglobal brand.
While synergy is very much a key factor in my cross media study, the
commercial success of all texts are not exclusively dependent on it – moving
image media is still seen as the best way to sell moving image texts, e.g. trailers
selling films and video games but print media is increasingly dependent
on synergy and convergence whilecirculation continues to decline and is
replaced by online variants and other new media. Empire and Total Film for
4. example will often direct audiences through convergent links to online media
and interactive social networking through Tumblr, Twitter and Facebook.
Online film streaming sites like Netflix go from strength to strength using
synergy, with their latest venture producing its own range of original feature
films. There is already a Facebook sharing feature to the Netflix interface with
the announcementof further institutional synergy planned for 2015 involving
Disney and MarvelTV providing Netflix with live action series.
30/32: Level 4
“Social Media has only served to reinforce existing
values and ideologies.” Does your case study
suggest social media has played a positive or
negative role in the construction of identities?
Identity is the way we see ourselves and in turn, the way different groups in
society see us while social media, despite its iconic status, is a relatively new
concept that allows audiences the luxury of digital social interaction as well
and importantly the ability to produceand distribute media via peer topeer
sharing. The key question in the essay title is, has social media reinforced or
liberated values and ideologies and to answer this question I will be exploring
the representation of celebrity culture in the media. The construction of
identity in social media is an interesting concept as sites like Facebook and
Twitter suggesta formof self-identity within theframework of the identity of
others. Social media, whether referencing blogging culture, file sharing sites
like YouTube, general social media like Facebook, photo sharing sites like Flickr,
film social media like MUBI or even the online sharing pinboard Pinterest, has
widened media consumption across a range of convergent platforms. Using
celebrity culture as a case study, this arguably has meant more celebrity
culture, more constructed memes, moreways of accessing celebrity and the
ability to create and originate celebrity. With this, constructing an identity on
these platforms has become commonplace. David Gauntlett’s prosumer
evidences this concept as the boundaries of media celebrity and self identity
are blurred across digital platforms, arguably making the notion of celebrity
identity moreabstract.
Celebrity culture is historical, promoted in tabloids like The Sun and the Daily
Star, gossip magazines like Heat, Closer, Reveal, Now and Take a Break and
also through television genres. Reality TV has reinforced celebrity appeal with
5. commercially successfulprogrammes like The X Factor creating a production
line of celebrities. Social media is another platform that has allowed for
audiences’ obsession with celebrity identity to be maintained and extended
using a range of rich media. Social media has indeed played a positiverole in
the construction of identities but for commercial reasons perhaps rather than
artistic. Comedy programmes like The Mighty Boosh and Black Mirror’s 15
Million Credits haveoffered postmodern parodies and pastiches of celebrity
obsession as theorist Fredric Jameson would argue. Social media has acted like
an opinion leader using Katz and Laserfeld’s TwoStep Flow model by acting as
a conduit for the creation of celebrity identity. Users of social media have the
ability to engage in interactive participation in terms of discussing celebrity
lifestyles but also having the ability to offer opinion and pass it on via file
sharing.
Examples of memes in recent years that supportthe argumentthat celebrity
identity has become abstractare Sy and his video Gangnam Style butalso the
song One Pound Fish that on YouTube has received nearly 14 millions hits with
the performer securing a record contract with Warner Music Group on the
strength of the interest and popularity from social media. This evidences the
positive impact of social media in constructing identity but again for
commercial reasons. Celebrity identity always had been a commodity to be
bought and sold with social media acting as a distribution platform. Facebook
also promotes celebrity identity through file sharing and is a platform where
users create their own online identity using categories including name and
profile. Anthony Giddens would arguethe concept of Facebook and Twitter
ensures self reflexivity and the ability to constructand develop ones own
biographicalnarrative or identity. Identity is created as a reflection of society
and in many ways, using the work of ZygmuntBauman, this identity can be
problematic. Facebook is frequently used as a vehicle for vehement criticism of
anything from media products and celebrity identity to political ideological
doctrine.
Celebrity identity tends to be associated with mainstreammedia with
magazines like Heat and Reveal having a stable circulation with the primary
objective of directing readers to their websites. On socialmedia, fans often
own constructions and fake celebrity sites are common media as followers
seek to possess part of the identity of a celebrity. Celebrity identity positions
audiences through association with popular culture and ideas of ‘the fake’ are
not restricted to fan based social media. Twitter has been a social media site
that for sometime has allowed celebrities to create and maintain the myth of
personal relationshipswith their fans. Twitter has allowed the constructof
celebrity to havemore longevity as performers/artists etc. who may previously
6. have been ‘replaced’ with newer versions by a fickle public have managed to
maintain a presencein social media. Social media has also promoted a culture
of nostalgia that has been positivefor the representation of celebrity identity.
I agree with the statement that socialmedia has reinforced existing values and
ideologies. In terms of celebrity identity, socialmedia has promoted the
construction of an identity in a culture that frequently constructs identity in
other media like Reality TV, print and online newspapers and magazines. For
celebrity identity, socialmedia has had a significant positiveimpact but of
coursewith the ability, as in some traditional media, to rapidly disseminate
information and gossip that is not always positivein its reflection of celebrity
culture.
“We are defined by the Media we use.” How does your
case study suggest that audiences use the media to
construct their own identity?
Identity is the way we see ourselves and in turn the way different groups in
society see us. I will be using the representation of the male hero in film as a
case study platformto develop a responseto this question while also exploring
notions of audience active and passive consumption of media, importantin
understanding how Hollywood male action heroes areconsumed as a media
representation. Key texts that I will be exploring reflect the changing nature
of cultural identity in how weconstructour own identity in relation to ‘the
other’ but also linking with patriarchal ideology. Hollywood films reflect
mainstreamculture and as such are more likely to evidence hegemonic
cultural stereotypes, perhaps within a framework of evolving liberal pluralism.
The key texts I will be exploring are Locke and The Doubleboth from 2013 but
within a wider framework of film culture.
Spectatorshipis importantfor both films. We havecontrasting characters in
the aspirationalbut fundamentally broken Ivan Lockewhosedominantbrand
of masculinity unravels as the film’s narrative progresses whileSimon in The
Doubleseems weak and passiveallowing for him to be dominated by his
doppelganger, James. While Ivan on the surfaceconforms to John Berger’s
historical but relevant theory ‘men act, women appear’ his masculinity can be
analysed using David Buckingham’s theory of identity fragmentation as
this stereotypefalls apartduring his journey. Lockeis a film about masculinity.
Simon does not conformto any stereotypical collective identity and can be
studied as a pluralistic representation whileJames conforms much moreto a
7. familiar cultural identity of a professionally successfulwitty man who is also
successfulwith women. Audiences would see Ivan as an aspirational role
model, in terms of reflecting their own cultural identity he is hyper masculine,
a successfulsiteengineer with a stable happy family and two sons who
worship him. The secondary personaof Tom Hardy would also contribute to
this identity fromrumours of a Bond role to previous performances playing
dominant male characters e.g. in Bronson (2009); however, his identity in this
film is escapist not realist.
Simon in The Double is a character that audiences would identify as a
more realist representation and as such would have closer links to their own
identity, perhaps empathising with his vulnerability in terms of his lack of
progression in the workplaceand lack of success with the opposite sex. James
is deliberately placed, using Levi Strauss’ theory, in binary opposition to
Simon, serving to empathise further his emasculation. Ivan and Simon are
complex and contradictory suggesting to audiences there is not one fixed
identity they musthave and that media representations aremore diverse in
film texts, which is dependent on a number of factors and variables. This
conforms to David Gauntlett’s much used butrelevant statement in his book
‘Media, Gender and Identity’: “Identity is complicated, everyone’s gotone”
suggesting an argumentagainst collective identity. However, culturalidentity
in relation to masculinity mustbe understood as
more stereotypical in mainstreamHollywood filmtexts likeEscape
Plan (2013) with Arnold Schwarzenegger and Sylvester Stallone reprising their
action hero representation and roles from the 1980s or as in Man of
Steel and Iron Man 3 again both from 2013. David Gauntlett again can provide
a framework for understanding this often repeated and circulated hegemonic
mainstreamrepresentation with his suggestion that the media: “offers narrow
interpretations of certain roles or lifestyles”. Examining this statement
Gauntlett is basically saying that it is in the interests of certain mainstream
media to do so.
The key difference is in how audiences use these texts and the relationship to
their own identity. Using Blumler and Katz’s Uses and
Gratifications framework, audiences would referencepersonalidentity in
terms of their expectations of cultural identity and representation in genre
pieces like Man of Steel and the Iron Man franchisewhile understanding and
expecting a dominant male representation in relation to Schwarzenegger and
Stallone using their cultural capital. The same could be said of Bronson as
audiences expect Hardy to play a specific role whereas JesseEisenberg who
plays Simon and James in The Doubleplayed the enigmatic Facebook founder
Mark Zuckerberg in the 2010 film The Social Network. Arguably, Eisenberg is
8. cast to ensureaudiences recognisethe geeky stereotype of masculinity and
working in information technology (Simon is an office bound worker). Personal
relationships, again referencing the Uses and Gratifications model, ensure
gendered roles in film culture providean interactive viralplatform using social
networking and micro blogging. Audiences have the ability to reflect on their
own identity as much as discuss it. Convergence culture offersa surveillance
aspect with enhanced information available across digital platforms, assisting
is helping to develop what John Ellis would describeas the male action
hero’s secondary persona. Finally diversion or escapism can be applied to
ensureaudiences can differentiate between a realist andnon-realist
construction of identity with obvious links to passive consumption in terms of
the representation.
In turn, cultural identity and the construction of one’s own identity has a direct
link to ideological constructs,particularly in film culture. Dominant male roles
like Ivan Lockereflect a more historical patriarchal concept that sees the man
in control in work based situations (Ivan is a construction worker overseeing
the biggestconcrete pour in Europe), in control as a husband and father (his
wife and sons areat home, waiting for him in their football shirts to come
home and watch the match) and also in control in terms of the decision making
process. Ivan is fanatically wishing to control everything and referencing a male
stereotype thinks he can ‘fix’ every problem . To anchor this representation he
is rugged and muscular, sports a heavy masculine beard and has a deep Welsh
accent. However, this ideological construct splinters during thefilm as his wife
leaves him, he loses his job and he keeps having hallucinations of his ‘weak’
alcoholic father sitting in the back seat of his BMW 4x4. The filmmaker shows
him as losing almost everything by the end of the film and turning his back on
what is seen as an archaic old-fashioned brand of masculinity. The decision is
then left up to the spectator how to interpret meaning. Using Stuart
Hall’s theory, the dominant preferred meaning suggests a fragmentation of his
cultural identity while an oppositional reading would suggesthe maintains this
patriarchaltradition by continuing to be ‘on top’ of the decision making
process, albeit with negative narrativeoutcomes.
Representation of masculinity in film through the male action hero can be a
forcefor progress or an agent for changebut is dependent on commercial or
cultural priorities. Independent filmsuggests a rangeof diverse
representationstargeting an educated culturally awareaudience who are less
likely to be victim to passiveconsumption and pride themselves on
their individualismwhereas mainstream film has more power to influence the
construction of one’s own identity. Different media produce a different
identity for different audiences