This document provides information on demographics, psychographics, and Star Trek for marketing purposes. It discusses how producers analyze audience demographics like age, income, and gender to plan media. Psychographics examine social class, lifestyle, and personality. Star Trek generally appealed to higher income brackets due to complex storylines. The document also reviews fan reactions to reboot films, finding mixed reception, and how the films were marketed to both new and existing fans through action scenes and references to the original series.

3. DEMOGRAPHICS
• Demographics: “The statistical data of a population, especially those
showing average age, income, education, etc.” – dictionary.com
• When any media product is planned, one of the main concerns is always
“Does this have an audience?”. Without one, no money will be made off of
the product. So, as a precaution, audience research must be done. This can
be done through questionnaires, focus groups or comparisons to other
media products.
• Producers want to know the income bracket, age, gender, race and
location of their audience. One way to describe audiences is to use a letter
code to show their income.
• Genres such as psychological thrillers would be marketed to higher brackets,
as the genre features complex storylines, which may not be understood by
the potentially less educated.

4. INCOME BRACKET
Class Career
A Top management, bankers, lawyers, doctors and
other highly salaried professionals
B Middle management, teachers, many “creatives” eg
graphic designers etc
C1 Office supervisors, junior managers, nurses, specialist
clerical staff etc
C2 Skilled workers, tradespersons (white collar)
D Semi-skilled and unskilled manual workers (blue
collar)
E Unemployed, students, pensioners, casual workers.

5. PSYCHOGRAPHICS
• Psychographics divide the market by social class, lifestyle and personality
traits. “It is based on the assumption that the types of products and brands
an individual purchases will reflect that person’s characteristics and patterns
of living.” – BigDproductions
http://www.slideshare.net/BigDproductions/demographics-and-
psychographics

6. PSYCHOGRAPHICS TABLE:
HTTP://WWW.SLIDESHARE.NET/BIGDPRODUCTION
S/DEMOGRAPHICS-AND-PSYCHOGRAPHICS
Psychographic Description
Mainstreamers Seek security. Tend to be domestic, conformist, conventional,
sentimental – favour value for money family brands. The largest
group.
Aspirers Seek status. Materialistic, acquisitive, orientated to image and
appearance, persona and fashion. Typically younger people.
Succeeders Seek control. Strong goals, confidence, work ethic and organisation.
Typically higher management and professionals.
Resigned Rigid and authoritarian values. Interested in past and tradition.
Typically older people.
Explorers Seeks discovery. Energy, individualism and experience. Values
difference and adventure. Typically a younger demographic
(students)
Strugglers Seeks escape. Alienated and disorganised. Few resources beyond
physical skills. Buys alcohol, junk food, lottery tickets. Typically lower
demographics.
Reformers Seeks enlightenment. Freedom of restrictions and personal growth.
Social awareness and independent judgement. Anti-materialistic
but aware of good taste.

7. STAR TREK RESEARCH

8. INTRODUCTION TO TV SERIES
• Star Trek is a TV show created in 1966 by Gene Roddenberry. It showed the
journeys of a group of space explorers on the star ship Enterprise and on
alien planets. The show explored philosophical ideals and paralleled There
were 5 TV series in total.
• The Original Series
• The Next Generation
• Deep Space Nine
• Voyager
• Enterprise

9. WHY DO PEOPLE LIKE STAR TREK?
• Social/Political Commentary
• Groundbreaking (first interracial kiss on US television, ethnically varied cast)
• Inspiration for technologies (tablets, flip phones, desktops)

10. INTRODUCTION TO FILM SERIES
• Alongside the TV series, there were feature films
that were released. There were 6 that were
based on the original series, 4 that were based
upon The Next Generation and 2 films that
rebooted the series. Number Title Release date Director Cast
1
Star Trek: The
Motion Picture
December 7,
1979
Robert Wise
The Original
Series
2
Star Trek II: The
Wrath of Khan
June 4, 1982 Nicholas Meyer
3
Star Trek III: The
Search for Spock
June 1, 1984
Leonard Nimoy
4
Star Trek IV: The
Voyage Home
November 26,
1986
5
Star Trek V: The
Final Frontier
June 9, 1989 William Shatner
6
Star Trek VI: The
Undiscovered
Country
December 6,
1991
Nicholas Meyer
7
Star Trek
Generations
November 18,
1994
David Carson
The Next
Generation
8
Star Trek: First
Contact
November 22,
1996
Jonathan Frakes
9
Star Trek:
Insurrection
December 11,
1998
10
Star Trek:
Nemesis
December 13,
2002
Stuart Baird
11 Star Trek May 8, 2009
J. J. Abrams Reboot films
12
Star Trek Into
Darkness
May 16, 2013

11. FAN RECEPTION TO REBOOT FILMS
• Fan reactions to the 1st reboot film were pretty positive
with fans and critics praising the relationships between
the characters, action, CGI, makeup that’s faithful to
the original show and so on.
• Fan reactions in particular to the 2nd reboot film, Star Trek
Into Darkness were overwhelmingly negative. At a
Las-Vegas convention, it was voted the worst out of all
12 Star Trek films and Galaxy Quest, a film that satirized
the TV show. The film was booed at mention of it and
one fan got on the stage, took the microphone and said
that the reboot films shouldn’t even be considered on
this list. I simply couldn’t list everything that’s wrong with
this.
Rank Film
1 II: The Wrath of Khan
2 First Contact
3 VI: The Undiscovered
Country
4 IV: The Voyage
Home
5 The Search For Spock
6 Star Trek (2009)
7 Galaxy Quest
8 Generations
9 The Motion Picture
10 Nemesis
11 Insurrection
12 V: The Final Frontier
13 Into Darkness

12. MARKETING THE REBOOTS
• The challenge with creating a new Star Trek movie would be making it
appealing to the masses, yet still retaining everything that made it appealing
to Trek fans in the first place.
• Fan service in the form of memorable quotes, locations, character(s/istics)
etc would be suitable to retain the interest of old fans.
• Promotional material served to strip away the sci-fi elements while focusing
on the new, younger cast and action to attract a new audience.

14. This is a shot of Kirk in a bar fight. It
may be appealing to fans of the TV
show, as Kirk is partially known for
getting into fistfights often with his
enemies.
This informs the viewer that this will go
into Kirk’s origin, as a student at
Starfleet academy. It could be
pleasing to fans, as they may’ve
wanted to know what Starfleet was
for Kirk.
This is a shot of three characters
being sent down to the surface of a
planet. This indicates a focus on
intense setpieces.
This is a shot of the Enterprise being
attacked by a ship. This will appeal
to those that enjoyed the spacecraft
battles of the TV series.

15. This is a shot of a structure in low
orbit, firing a laser down onto a
planet. This makes it seem like the
threat is great which makes it
appealing to general audiences.
This is a shot of a massive arctic plain.
It highlights the effort that’s going
into the CGI, as this scene was filmed
in California.
This is a shot of a spaceship coming
out of a black hole, right in front of a
sun. This, coupled with the orchestral
score, emphasises the scale of the
threat and makes it seem more epic,
and thus draws in the audience.
This is a shot of a planet being
devoured by a black hole at the
centre. It makes the danger look like
it’s on a grand scale.

16. This is a shot of Spock embracing
Uhura. Because Spock is half-Vulcan,
a race which doesn’t feel emotion,
this retconning may displease fans of
the TV show.
This is a shot of Sulu fighting a
Klingon. This highlights the focus on
action, presenting one-on-one fights
instead of ship-to-ship battles.
This is a shot of the Enterprise
approaching Nero’s ship. Nero’s ship
seems to be much more intimidating
than the Enterprise, which may make
the odds seem hopeless for the
protagonists.
This is a shot of Spock’s mother
observing a laser piercing the clouds.
Despite the trailer not making it clear
that is Spock’s mother, it still works
because it makes it seem like Nero
will hurt the innocent.

17. This is a shot of the Enterprise coming
out of light speed into a debris field
from the view of the bridge. This can
please fans because it looks quite
faithful to the bridge for The Original
Series.
This is a shot of George Kirk being
thrust forward on the Enterprise
bridge. This presents an alternate
version of James Kirk’s father which
could please fans of the TV show.
This shot of Simon Pegg as
Montgomery Scott indicates that the
film may not just have a focus on
grandiose action, that it could also
have some comic relief.
This is a shot of Kirk being chased by
a creature in the snow. This can
appeal to the general audience, as
it provides a sense of excitement
and danger.

18. FANDOM
• There are two terms that are used to describe the fan base of Star Trek,
Trekkie, the original word created by Gene Roddenberry, and Trekker, the
term that the fans created for themselves because at the time, “Trekkie” was
typically used as an insult.
• Trekkies are stereotyped as overweight, socially awkward people who
become ecstatic over any reference to Star Trek. This has a negative effect
on those who may consider beginning to watch the show as it may put them
off it.

21. Thriller conventions
• Can, and does frequently take place in constricted locations.
• Protagonists tend to be unprepared for the situation so it’s easier to
relate to the protagonist.
• Tracking to inform the audience of who they should be interested in
• POV Shots to immerse the audience in the film
• Slow panning shots to maintain mystery and/or tension
• Close-up shots to convey character emotions
• Usually uses dim lighting to convey mystery and maintain the
audience’s fear

22. Action film conventions
• Usually takes place in multiple locations (usually urban areas)
• Protagonists usually muscle-bound men
• Racing against time
• Quick-cut editing to convey urgency or tension
• Star Power: Particular actors known for action films cast, highlighted in
posters and trailers
• Big budget for special effects (True Lies cost $115 million to produce)

23. Thriller Iconography
Knives have connotations of
pain, death and brutality.
Alfred Hitchcock’s Psycho
immortalized this as a weapon
synonymous with keeping
audiences scared.
Silhouettes and shadows create
mystery for the audience because it
indicates that the protagonist is being
watched by someone/thing.
Woods are often used for
thrillers as they make the
audience feel as if they are
lost. The woods also have
connotations of isolation
and vulnerability.
Street lights at night are
used in thrillers to
emphasise the fact the
protagonist is surrounded
by darkness.
Using confined spaces makes the
audience feel as if they are trapped.
The protagonist starts to breathe
heavily and wonder how they can
escape.

24. Thriller Iconography

25. Action Iconography
Explosions are synonymous with action
films as they are exciting for the
audience. The effect is increased when
the character walks away from an
explosion, as it makes the protagonist
seem much cooler to the audience.
Car chases are one of the most exciting sequences that are
created in action films. Bullitt is considered to have the first car
chase, The French Connection increased the tension by having
cars drive against traffic and the Watchowski Brothers
discovered that tension can be increased by having characters
on top of cars while they’re moving in The Matrix Revolutions.
Spy gadgets such as the underwater
car in The Spy Who Loved Me
immerse the audience in the idea
being a secret agent.
Guns are one of the most integral parts of action
movies and are usually absolutely essential to
creating action scenes. They are even used in
“gun-fu”, a sophisticated form of close-quarters
gunplay. This is used in The Matrix trilogy.
Muscle-bound protagonists are
very commonplace in action
films. They are the ultimate
image of masculinity and it
draws immerses men into that
character. It makes the audience
want to be them. The 80’s were
the golden age of action movies
and most big blockbusters such
as Predator had muscle-bound
actors like Arnold
Schwarzenegger, Sylvester
Stallone and Jean Claude Van
Damme in them.
Hand-to-hand fighting is very
common in Asian action films.
Kung-fu in particular is popular
amongst that industry. Bruce
Lee is a legendary martial arts
actor who appeared in 33
movies prior to his death at 32.
Jackie Chan was a martial arts
superstar in the west in the
2000s.

26. Action Iconography

27. Notable Thrillers

28. Notable Action films

29. Notable Thriller directors
• Alfred Hitchcock (Rear Window, Psycho, Vertigo)
• Marin Scorsese (Goodfellas, Taxi Driver, The Departed)
• Steven Spielberg (Jaws, Raiders of the Lost Ark, Minority
Report)

30. Notable Action directors
• Michael Bay (Armageddon, Bad Boys II, Transformers)
• John McTiernan (Die Hard, Predator, The Hunt for Red
October)
• John Woo (Hard Boiled, Mission Impossible II, Hard Target)

31. These words are the first thing you see in the
trailer, giving the scientific reasons why space is a
scary place.
This sentence simply serves to put a fine point on
the previous information. It does create a slight bit
of suspense because it’s on a black background.
The first bit of sound in the trailer is an explosion
caused by some debris hitting a space station.
Despite the fact that there’s no sound in space, it
still scares the audience.
Dr Stone, the astronaut on the arm is repeatedly
asking “What do I do?” She has been horrified by all
of this. In the background, another part of the
station explodes, leaving very little for her to get to
in case she survives this.
The debris has caused the station to start spinning, and
there is someone caught on an arm. They are practically
fixated to it, preventing them from getting off. If they
were to get off somehow, they’d probably be flung off
into space, so they have to stay on.
Suddenly, another piece of debris hits the arm, sending
the arm spinning around on it’s own. The astronaut on it
is terrified as you can briefly hear her scream. There is
now a lot more debris around, which could foreshadow
more collisions.

32. The viewpoint now stays in front of Dr Stone who is
still spinning on the arm. You can see the Earth in
her visor which may give the audience a sense of
how much she misses it.
The viewpoint now shifts down to Dr Stone’s clasp. Another
astronaut keeps telling her to detach otherwise she will die.
The intense background music continues to heighten. Keep in
mind that everything since the first explosion has been done
over one consistent shot. This highlights Alfonso Cuaron’s
ability as a director.
Dr Stone detaches and you hear her voice echo
for a split-second. She begins to tumble into
complete darkness, which may make the
audience question if she will be able to come
back.
This part of the trailer pulsates along with Dr Stone’s terrified panting. There is no
additional sound currently in the background which adds tension.

33. This shot also promotes the potential for
great cinematography that really takes
advantage of the amazing CGI alongside
all of the tension, as this is set in space.
You see Dr Stone colliding with some
equipment that she’s trying to grab onto so
she can briefly be safe. It quickly goes wrong
so the audience’s relief is turned into worry.
One of the following shots shows Dr Stone
simply spinning in space. There is light on some
parts of her spacesuit, but otherwise she has
been submerged into darkness. She has been
contacted, but is still scared out of her mind.
The juxtaposition of this shot and Dr Stone saying “I had
a daughter” makes her seem more human instead of
something that millions aspire to be. The fact that she’s
not wearing the spacesuit makes her seem more
vulnerable to the explosion inside the space station.
One of the following shots shows Dr Stone simply
spinning in space. There is light on some parts of her
spacesuit, but otherwise she has been submerged into
darkness. She has been contacted, but is still scared out
of her mind.
George Clooney’s character, Matt Kowalski is holding a
rope for dear life. You can see the utter darkness behind
him. If he lets go, he will start drifting into space. The
darkness creates fear of space, the ultimate threat in this
film, despite how quickly this shot is shown.

34. The pieces of debris travelling quickly while
ignited may suggest that they’ve begun to fall
through the atmosphere. Could Dr Stone have
gotten into one of these and on the way home?
And if so, can she survive the heat?
You can see that one of the astronauts is simply
hanging from some wires. They can do very little to
help themselves other than hope that these wires will
pull them back. It shows how easily you can slip away
from any kind of foundation in space.
The destruction that the debris causes in this
scene is catastrophic and goes to show just how
well the CGI is used in this film. It may make
some people want to see it simply for the eye
candy.
This portrait of Dr Stone and her family
gives both her and the audience
something to lose; a reason to survive all
of these catastrophes.
You can see that that one of the astronauts is holding
onto a structure, and the motion blur makes it very
clear that both it and her are moving very fast. It’s a
very raw kind of thrill in comparison to simply
watching the space station get utterly destroyed.
The first-person POV shot here suggests
the immersion that this film may present
the audience with. It may make some
people want to see this movie in 3D.

35. The first shot is a helicopter flying over the camera. The
voice-over artist says “They hunted him down…”,
suggesting that whichever force is hunting the
protagonist is a powerful one.
“They hunted his friends…” is used with this
shot of someone running a salesman over and
crashing through a window, which suggests that
they are ruthless.
“…and they took the only thing he’d kill for.” is used with this
shot of a small girl strapped to a chair with a man in dressed
in dark colours standing over her. This gives both the
protagonist and the audience something to lose. The use of
darkness in the background compliments the rest of the shot,
making it seem more dangerous.
There is a sequence of three shots of the protagonist gearing up and preparing to fight for his daughter. His
face is concealed throughout most of this sequence, adding suspense. This particular trope is extremely
common in most action movies, not just ones created in the 80’s. However, their popularity has dwindled.

36. The juxtaposition of the protagonist’s rival saying
“He’ll do what he’s told.” and this shot of him
running from a group of soldiers while the buildings
around them explode suggest that either he’ll have
to fight for the wrong side or it works as irony.
This woman in the car saying “Will you please tell
me what’s going on now?!” hints at the idea of
Schwarzenegger having a sidekick/love interest in
this movie. It also suggests that the film will have a
touch of comedy, despite the possibility of the
protagonist losing a daughter.
This shot of the protagonist firing a gun works to
promote Schwarzenegger as an actor; you can see
him firing the gun, but not who he’s firing it at. If
you saw his enemies being hit it would make the
protagonist seem more like a merciless killer, but
the camera focuses on Schwarzenegger.
The juxtaposition of this the protagonist telling an
air hostess not to bother this man because he’s
“dead tired” after hitting him in the face with his
elbow. This keeps up the tradition of puns in 80’s
action movies. These days you’re more likely to
hear them in throwbacks like The Expendables.
Now there is another shot that promotes
Schwarzenegger, this time without his combat
jacket. This is juxtaposed with him crashing through
a window, so despite his proficiency as a killer, he
may be facing a truly deadly force.
This is a shot of the protagonist’s sidekick/love
interest firing a rpg in the wrong direction. This
indicates that there will still be a focus on comedy
in the film.

37. This is a shot of the protagonist hanging onto the
back of an airplane while it’s taking off a runway. It
indicates that he will do whatever he can to find
and rescue his daughter. It maintains a steely glare
while he hangs on. He is utterly unfazed while he
tries to find his daughter.
This is a shot of the protagonist holding an enemy
by the ankle over a cliff. This scene contained one
of the most iconic lines: “Remember when I said I’d
kill you last? Yeah, yeah that’s right! I lied.” This
indicates once again that he will do whatever he
can to save his daughter, and that he will kill
whatever stands in his way. One of the most
prominent tropes in a “Damsel In Distress” action
movie.
This is a shot of the protagonist holding a metal
plate to defend himself from his rival’s attack. This
time, he is bare-chested. This indicates that despite
his proficiency as a ruthless killing machine, there
are those who can kill him, making the audience
worry about his wellbeing and that of his daughter.

39. The British Board of Film Classification

40. Who are the BBFC?
• The BBFC is an independent body which has classified films
since 1912 and home video media since 1984 within the UK.
• They sometimes rate video games but only in circumstances
where they depict human sexual activity, human genital organs
or gory acts of violence.

41. Symbol Name Description
Universal Nothing unsuitable for anyone.
Parental
Guidance
All ages admitted, but some scenes may be
unsuitable for young children.
12A Cinemas only. Unsuitable for very young
people. If aged 12, must be accompanied by
an adult aged at least 18.
12 Home media only since 2002. Nobody
younger than age 12 can rent or buy home
video of this rating.
15 Only those aged over 15 are admitted to
watch/buy this film, be it at home or in the
cinema.
18 Only adults allowed. Nobody younger than
age 18 can buy/watch this film, be it in the
cinema or at home.
BBFC Rating System

42. How the BBFC affects genre
Thriller
• The focus on thrillers is threat instead
of violence. A 15 rating is warranted if
disturbing scenes are frequent or
sustained.
• An 18 rating tends to be warranted if
said threat is sadistic or sexualised.
Action
• Depending on the type of action film, the rating may be
relaxed. Lack of blood, for example can lower a film’s
rating. This doesn’t work to the advantage of superhero
films like The Wolverine because he spends most of the
film cutting people, yet there’s no blood. FOX have decided
not to have any because they couldn’t have a 12 rating and
the movie wouldn’t make as much money because it
would reach a limited audience.
• On the other hand, macho action films like The
Transporter series and The Expendables can easily have a
18 rating because that’s it’s key demographic. B movies
such as Machete and Sharknado have gory sequences.

43. The Advertising Standards Authority

44. Who are the ASA
• The ASA is the UK’s regulator of advertising in all forms of
media.
• It was originally founded in 1962 after the Advertising
Association established the Committee of Advertising Practice.
To draft the CAP Code. (British Code of Advertising Practise)

45. How the ASA affects genre
Thriller
• Trailers for films that carry a 15 or 18
certificate are not allowed to be
broadcast around programmes that are
targeted at under 16s which means
that more thriller trailers can be shown
around then, but they’ll probably be
directed at adults watching television
at those times, and even then, you’re
more likely to see an advert for
blockbuster at that time.
Action
• Trailers for films that carry a 15 or 18
certificate are not allowed to be
broadcast around programmes that are
targeted at under 16s, which means
that if any action film trailers are being
shown then, they’re probably for
action comedies or superhero films, so
those are more likely to get money.

47. Thriller poster analysis
The complete and utter darkness on
the left side of the poster presents
the main threat of the movie: Space.
No oxygen, no air pressure, nothing
to carry sound, no friction to stop
you from tumbling through it and
utterly dark.
The words “Don’t let go” are small so
they don’t downplay the threat of
space by taking up most of the
poster. It simply works as a tagline as
the movie presents the idea that if
you’re not holding on to anything in
space, you’re effectively dead.
You can see that this is from the
point of view of one of the
astronauts. This may encourage
people to see this movie in 3D. POV
shots are used often in thrillers in
order to keep suspense.
The light from the sun obscures any
immediate threat, yet it’s made very
clear that there is one. This
emphasises the idea that life is
impossible in space. You can see
debris flying at high speed however,
so you know that something is going
to create this tension.

48. Action poster analysisThis references to a line in the
trailer “Remember when I said I’ll
kill you last? Yeah, yeah that’s right!
I lied. This was a favourite amongst
fans of the film and is very
prominent in marketing material.
This poster was released when the
movie was being released on home
video, which means that it will be
marketed to those who like the film.
Arnold Schwarzenegger was a
megastar when this film was
released; just his surname is enough
to make fans excited enough to see
most films.
In order to easily appeal to fans, a
picture of John Matrix in his combat
attire was used to recall memories of
the most memorable section of the
film, the finale.