Year 10 Taster Day - Movie Promotion-Trailers

Learning objectives: 

• Compare types of trailer
• Identify the differences between them
• Identify trailer conventions

Key terms:

Genre - A French word for 'type' or category. Every year, around 300 films are released in the UK and thousands more are available for download on TV. We can't study them all so it is useful to group the films into types or genres so that we can analyse them. 

Iconography - The traditional or conventional images or symbols associated with a subject.
Iconography is an important aspect of genre. We expect to see certain objects on screen when we see a particular genre, for example, in a Western, dusty lonely roads, saloon bars, cowboy hats and horses, jails, sheriffs badges, guns, etc.; in a modern horror film, we expect young girls, ‘normal’ objects, use of dark and light, etc.

Narrative - Refers to the story structures that different types of film use and elements that are used in the construction such as gun fights, explosions and car chases. How the story might unfold.

 

Starter: Indicate on the hand outs provided, the iconography and narrative structure that you would expect from the different film genres.

Film Genre	Iconography	Brief narrative
Horror
Romantic Comedy
Sci-Fi

Film media taster june 2017  from aealey

Lighting for Film

Starter: Complete the gap exercise on the handout provided.

You will consider the effect of lighting in film and discuss how audiences have been positioned.

Key terms:

Key Light, Main Light
The key may determine the character of the lighting, but often a strong Back Light for example, sets the Mood. The key should usually be Motivated by a source like the sun or a window. 

Fill Light, Filler
Fill is used to lighten shadows and control Contrast and Lighting Ratios. Tip: Avoid Hard Light fill and Over-kill Fill*. Angle: usually close to the lens, on the side opposite the Key.
B Lights*, The Two Bs *
Back Light and Background Light are frequently confused. Both begin with "back," both are used to Separate Planes and imply Depth, and both are tricky to Motivate so that they appear realistic. Each, however, points in a different direction. Tip: Discretion may dictate that only one or, on occasion, neither is really needed.

Bounce Card, Bounce Board

A white reflecting panel used for Fill or subtle Kicks. See: Show card.

Useful links:
http://www.creativeshrimp.com/high-key-lighting-in-blender-book-03.html

Lighting glossary

Lighting and colour can be used to create a certain atmosphere or mood

and can even be used symbolically.

Certainly directors are aware of the power of cultural connotations - for example if I say WHITE? -  what associations immediately come to mind… or RED?

Certain genres use colour more obviously than others and you have probably already noticed colours used in  sci-fi?    Horror?

Filmmakers use colour and lighting effects to make audiences well aware of the kind of film they are watching and when teaching your students the basics of film language, here’s what you need to know about lighting effects:

•The basic organisation of  lighting looks like this:

The KEY LIGHT is the term for a powerful light that casts sharp, black shadows behind the things it illuminates. It’s the main source of light in a scene.

FILL LIGHTS can be used to soften these shadows and basically fill them in. More or less of these will be used depending on whether images are to be sharp or soft.

If people or objects are lit from behind it makes them stand out from the background and they become more prominent. Underlighting (from below) and toplighting create different kinds of shadow.

There are two main ways of describing the use of these lights -

HIGH KEY LIGHTING - means the use a lots of fill lights along with the key lights so everything is brightly lit and there are few shadows. This is the style you would expect in romantic comedies, youth pictures, the colour you’d expect from a glossy Hollywood film.

LOW KEY LIGHTING - uses fewer fills, so more shadows are created with definite pools of light interspersed - you might associate this with horror films and is the style of lighting associated with film noir.

High-key lighting is a style of lighting for film, television, or photography that aims to reduce the lighting ratio present in the scene. This was originally done partly for technological reasons, since early film and television did not deal well with high contrast ratios, but now is used to suggest an upbeat mood.

A low-key image is one that contains predominantly dark tones and colours. ... But where a high-key image feels airy and light, a low-key is usually dramatic and full of mystery. Low-key lighting is typically used when the director wants to either isolate a subject or convey drama.

The Three Point Lighting Technique is a standard method used in visual media such as video, film, still photography and computer-generated imagery.

Fill light is any source of illumination that lightens (fills in) areas of shadow created by other lights. Most often, fill light is used to lighten the shadows created by the main (key) light.

In lighting design, backlighting is the process of illuminating the subject from the back. In other words, the lighting instrument and the viewer face each other, with the subject in between. This creates a glowing effect on the edges of the subject, while other areas are darker.

Lighting in Film 

Film lighting, light and colour part 2 

Jurassic World - Narrative

Narrative jurassic world from aealey

Film Industry - Distribution

Here's the path a film usually takes to get to your local theater:

• Someone has an idea for a movie.
• They create an outline and use it to promote interest in the idea.
• A studio or independent investor decides to purchase rights to the film.
• People are brought together to make the film (screenwriter, producer, director, cast, crew).
• The film is completed and sent to the studio.
• The studio makes a licensing agreement with a distribution company.
• The distribution company determines how many copies (prints) of the film to make.
• The distribution company shows the movie (screening) to prospective buyers representing the theaters.
• The buyers negotiate with the distribution company on which movies they wish to lease and the terms of the lease agreement.
• The prints are sent to the theaters a few days before the opening day.
• The theater shows the movie for a specified number of weeks (engagement).
• You buy a ticket and watch the movie.
• At the end of the engagement, the theater sends the print back to the distribution company and makes payment on the lease agreement.

ome of these steps may be combined and, particularly in the case of small independent films, additional steps may be necessary. As you can see, there is a lot that goes on before a movie is ever shown to a paying audience!

making a movie is not nearly as difficult as getting it distributed. Because of the enormous amount of cost in money and time involved in distributing a movie, a distributor must feel confident that they can make a sufficient return on their investment. Having the backing of a major studio or a well known director or star can greatly improve the chances of securing a good distribution deal. Independent filmmakers often use film festivals as an opportunity to get the attention of distributors. Once a distributor is interested in a film, the two parties arrive at a distribution agreement based on one of two financial models:

• Leasing
• Profit sharing

In the leasing model, the distributor agrees to pay a fixed amount for the rights to distribute the film. If the distributor and the studio have a profit-sharing relationship, on the other hand, the distributor gets a percentage (typically anywhere from 10 to 50 percent) of the net profits made from the movie. Both models can be good or bad, depending on how well a movie does at the box office. The goal of both the studio and the distribution company is to predict which model will benefit them the most.

REVISION 3 TV Industry - Genre, narrative, Representation

SECTION A: TEXT
Answer one question from this section.
You must refer to the three main texts you have studied in each answer.

Either,
A1. Explore the different ways in which people are represented in your three main texts. [30]
Or,
A2. How typical are your three main texts of their genre? [30]

Either,
A1. Explore the narrative structure of your three main texts. [30]
Or,
A2. ‘Most texts today mix genres.’ How true is this of your three main texts? [30]

Either,
A1. To what extent do your three main texts challenge genre conventions? [30]
Or,
A2. Explore the key gender representations in your three main texts. [30]

Either,
A1. ‘All media representations are constructed.’ Discuss with reference to your three main texts.
[30]
Or,
A2. ‘Media texts contain complex narratives.’ How true is this of your three main texts? [30]

Either,
A1. Explore the different representations of either men or age within your three main texts. [30]
Or,
A2. How important are characters to the narrative of your three main texts? [30]

Either,
A1. To what extent are the key representations in your three main texts stereotypical? [30]
Or,
A2. Explore the genre conventions in your three main texts. [30]

Either,
A1. Explore how the key representations in your three main texts have been constructed. [30]
Or,
A2. Explore how narrative is constructed in your three main texts. [30]

REVISION 2 TV Industry. Audience Issues

SECTION B: INDUSTRY AND AUDIENCE

-TV Text case studies information: 

Happy valley Season 1 Ep 1

First Dates Season 6 Ep 6

Always Sunny Season 1 Ep 5

Key terms Polysemy:

The capacity for a sign (such as a word, phrase, or symbol) to have multiple meanings

Exam question:
B4. Discuss actual audience responses to your three main texts. [30]

A response to this question requires you to let the examiner know that you are familiar with types of audiences for the texts and why they might respond in different ways.

This question is focused more on actual responses than theoretical responses and is looking for candidates’ knowledge of these, there is still room for responses linked to theory.

Answers may make reference to some of the following points:

• Media texts are (generally) polysemic 
• Responses may be dependent on social positioning, demographic and psychographic profiles 
• Actual responses may come through fan sites, critics’ reviews, audience/user forums, awards, news reports, phone-ins, voting etc. 
• References to personal/class responses are valid but should be supported by examples 
• Links to the use of social media – blogs, Twitter, Facebook etc 
• Responses may be linked to sales, circulation figures, ratings, box office success etc. 
• Links to Stuart Hall: preferred, dominant, negotiated and oppositional readings 
• Response may be dependent on the reasons for “using” it – links to Uses and Gratifications theory 
• Links to Two Step Flow Theory.  

   

        See grid handout for TV texts:

Useful links:
Guardian review, series one.
Did Happy Valley go too far?
Facebook Happy Valley policy
Link to awards for Happy Valley:

        Links to awards for First Dates:

January 2012

B3. Explore the different ways your three main texts attract their audiences. [30]

B4. How global is the appeal of your three main texts? [30]

June 2012

B1. Discuss the audience appeal of your three main texts. [30]

B4. ‘The main function of a media text is to entertain its audience.’ How true is this for your three main texts? [30]

January 2013

B1. To what extent are stars and/or celebrities important to the promotion of your three main texts? [30]

B2. Explore the different ways your three main texts target their audiences. [30]

B3. Explore the different ways audiences interact with your three main texts. [30]

June 2013

B1. What do texts offer audiences? Refer to your three main texts in your answer. [30]

B3. How do your three main texts position audiences? [30]

January 2014

B3. To what extent do your three main texts appeal to different audiences? [30]

B4. ‘A global audience is important to media industries.’ Discuss this statement with reference to your three main texts. [30]

June 2014

B3. Explore the different ways audiences respond to your three main texts. [30]

B4. To what extent do your three main texts target a mainstream audience? [30]

June 2015

B1. Explore the different audience appeals of your three main texts. [30]

B3. To what extent do your three main texts target a global audience? [30]

REVISION 1 TV Industry. Industry Issues

Happy Valley Media Pack

Past A2 Media Studies Industry questions:

Production
June 2013

B2. How do your three main texts use digital technology? [30]

January 2014

B1. Explore the use of digital technologies in your selected industry. Refer to your three main texts. [30]
June 2014
B2. How important are high production values to your three main texts? [30]
June 2015
B4. How important are digital technologies to the success of your three main texts? [30]
June 2016
B3. Explore the key factors which influence the production of your three main texts. [30]

Background and Context

Marketing/Promotion
January 2012 
B1. Assess the main advantages of the Internet for your three main texts. [30]
January 2013

B1. To what extent are stars and/or celebrities important to the promotion of your three main texts? [30]
June 2014

B1. Discuss the marketing strategies used by your selected industry. Refer to your three main texts. [30]
June 2015

B2. Discuss the importance of social media in the marketing and promotion of your three main texts. [30]

June 2012

B3. How effectively were your three main texts marketed? [30]

Regulation

June 2012

B2. Explore the impact of regulation on your three main texts. [30]
January 2014

B2. How is your chosen industry regulated? Refer to your three main texts. [30]
June 2015 ?
B2. All media texts are subject to regulation. How has regulation affected your three main texts?

Global Implications
January 2012 
B4. How global is the appeal of your three main texts? [30]
June 2013
B4. To what extent are your three main texts global? [30]


Distribution/Exhibition
January 2012 
B2. With reference to your three main texts, discuss the key features of their distribution. [30]

January 2013

B4. ‘Distribution is the key to success.’ How far do you agree? Refer to your three main texts in your answer. [30]

______________________________________________________________________________

A2 media ms4 television industry distribution and globalisation from aealey

A2 media ms4 television industry marketing from aealey

- TV Industry - Representation

Exam questions:
Explore the different ways in which people are represented in your three main texts. [30]

Key terms:

Dominant ideology
In Marxist philosophy, the term dominant ideology denotes the attitudes, beliefs, values, and morals shared by the majority of the people in a given society. As a mechanism of social control, the dominant ideology frames how the majority of the population thinks about the nature of society, their place in society, and their connection to a social class

_______________________________________________________________________

Approaching this question for TV industry:

Intro: 

Define representation

Representations are the ways in which the media portrays particular groups, communities, experiences, ideas, or topics from a particular ideological or value perspective. This includes the representation of types of people.

Indicate the texts; 

Happy Valley, First Dates and Always Sunny. (Include episode and series numbers).

Discuss stereotypes in the media.

Though not all stereotypes are negative, they can form the basis for prejudice and discrimination.
Certain characteristics within stereotypical representations can become self-fulfilling prophesies for those defined as having them.

Stereotyping can negatively impact our own self-image and performance and our interactions with others. 

The three texts can be said to both reinforce and challenge stereotypical representations of people but the messages encoded by the producers of each remain faithful to dominant western ideologies.

______________________________________________________________________

In the three texts, some of the representations are characters and some are real people.

(Don't simply describe the appearances of your characters but refer to the attitudes).

The key areas for analysis when exploring representation are age and gender.

Happy Valley uses representations of men and women of varying ages with encoded messages that deal with the achievement of happiness in life.

The protagonist Catherine Cawood, played by Sarah Lancashire, can be said to challenge the stereotypical roles of women. From the first scene of episode one she is represented as being competent and caring and capable of dealing with different roles in her work and home life. Catherine is a police sergeant who works with tireless good humour, she is good at her job and not one to messsed with. Beneath Catherine's robust good humour, we start to understand there lurks a woman to whom something tragic has happened. Her daughter, Becky, took her own life after giving birth to a baby conceived as a result of rape. The character is representative of the never give up (British) spirit.

While Catherine is shown to have a strong work ethic, some of the male characters are represented as trying to achieve their life goals through crime.

Kevin Weatherill (played by Steve Pemberton) feels that life has been unkind to him and despite working diligently as an accountant at Nevison Gallagher Associates, he is refused a payrise that would enable him to pay for his daughter's education. Becoming desperate, Kevin then instigates the kidnapping of his bosses daughter but the plot takes some unexpected turns. 

We can say that Kevin challenges dominant ideology of working hard to achieve happiness and that he reinforces the encoded message that crime doesn't pay.

Technical codes of camera angles are used to clearly show Kevin's guilt and desperation.

Nevison Gallagher (George Costigan) is a company owner in Happy Valley and is represented as a boss that holds strong family values. The character is constructed through the use of technical codes, body language and dress codes to show superiority over his accountant Kevin. The representation however, also describes someone who works hard to retain their position, often shown with top button open and without a tie at work. Mise en scene around Nevison shows his modest wealth and describes someone who is comfortably off. This character is represented as a man who has tried to achieve happiness through hard work and determination.

Tommy Lee Royce is a villain played by James Norton. The use of sound, a low level humming typical of crime dramas signifies that he is dangerous. This character can be said to be the most stereotypical and straight forward hyper masculine type in the episode. the message encoded through Tommy Lee is that crime doesn't pay and that criminals deserve to be punished.

Kahoots link

Kahoot 1: TV Industry

https://play.kahoot.it/#/k/10d107d1-02e6-4c90-8254-8aeade5a3334

A2 - Approaching Research Investigation

The first thing to do is take a good look at the mark scheme for your research project. As you will see, you are marked solely on AO4:


AO4 “Demonstrate the ability to undertake, apply and present appropriate research”

MS3: Media Investigation and Production 1: 

Research Investigation (45)

Level/marks	A04 Demonstrate the ability to undertake, apply and present appropriate research
Level 1: 0-17	Limited evidence of research. Minimal application of this research which has been presented in an unclear and unfocused way. Quality of written communication will be limited, frequently unclear. Frequent errors in the use of language. Little or no evidence of an ability to structure ideas.
Level 2: 18–26  [18-22] [23-26]	At the lower end of this level, there will be evidence of basic research. This will have been applied in a simple way. Basic ability to present research demonstrated. Quality of written communication will be basic but sufficiently clear to allow communication. Frequent errors in the use of language. Limited ability to structure ideas. At the upper end of this level, there will be evidence of research from a reasonable number of sources. There will be some attempt to apply this research and present it with some coherence. Quality of written communication will be mainly clear. Some errors in the use of language. Some ability to structure ideas.
Level 3: 27-35  [27-31] [32-35]	At the lower end of this level, candidates will undertake sound and relevant research from a range of appropriate sources. This research will be applied in a sound way and presented with supporting points. Quality of written communication will be sound and clear. Reasonable level of accuracy. Sound ability to structure ideas. At the upper end of this level, the research will be good, covering a good range of sources and will be applied in a detailed way. It will be presented appropriately with good references. Quality of written communication will be good. Good level of accuracy. Good ability to structure ideas.
Level 4: 36-45	Research will be excellent, covering a wide range of sources. These will be analysed and applied in a sophisticated way and presented a logical and coherent manner, supported by a range of sophisticated points. Quality of written communication will be sophisticated. A high degree of accuracy. Sophisticated ability to structure ideas effectively.

Make sure you have the level descriptors clearly in mind as you plan your work.

Level 4: A*/A
Level 3: B/C
Level 2: D/E
Level 1: F

1. a)  Research Investigation
   Candidates are required to undertake an individual investigation into a specific area of study focused on one of the following concepts: genre, narrative or representation. Their research should draw on a range of both primary and secondary sources. It should enable candidates to reach conclusions that will inform their production.
   Examples of investigations include:
   
   •   the representation of teenagers in two British films
     
   •   the generic similarities between Dr Who and Stargate
     
   •   the narrative structures of The X Factor and Strictly Come Dancing. 
     

Once you’ve gathered sufficient information and ideas from your research, you need to start planning the first draft of your essay.

We will be working on this in class when we return from the summer break so you should ensure you are ready to start writing by then. The summer is an excellent opportunity to finalise your notes and you should continue to update your blogs as you gather more information and ideas.

How to plan:

Your essay should contain a clear introduction in which you:


Clearly state the focus of your investigation

Explain the stereotypes/genre types/typical narratives relevant to your research and how your investigation will explore the positives/negatives or how texts conform to/challenge them

Give reasons for your choice of texts

Set up the main argument of your essay
You should then start writing the main body of your essay. You should have gathered 5-6 points to make about your texts, in support of your argument (as set up in your introduction). The best essays use the following structure to develop each point in turn:


Make a point to support and develop your argument (make sure to look at both sides of an argument by challenging representations or generic types)

Analyse an example text

Apply relevant theory (U&G, Propp’s character functions, hegemonic ideologies, preferred readings etc.)

Come to mini-conclusions after each point – what issues are addressed? What are the effects created?
Your essay should have at least five points with detailed examples, analysis and evidence. The best answers will develop a line of argument.

After this, you can move on to your conclusion. This should be a summary of your findings. You should:


Draw conclusions from your research and analysis

Explain what you have found out

Relate your findings to the ‘bigger picture’ for the media form you have explored

Evaluate your findings and the issue you have investigated
Ideally, you should be ‘summing up’ your argument as explored in the main body of your essay.

First steps:make a list of the points you want to develop in the main body of your essay. Link each to an analysis of your texts, using theory and terminology. What conclusion can you make? Remember, you should be developing an argument so choose the order of your points carefully.

Film - Industry Issues - Marketing

Starter: 
On the handout provided, indicate the information for each of the three texts.

Film posters are an important part of marketing, all movie posters have the same purpose - to get audiences to go see a movie - as media students you should ask; what persuasive techniques are used by the poster? How have the visual/technical codes been used?

CONVENTIONS OF A FILM POSTER

• It must be eye catching and captivating to the audience

• There must be a focal picture that will draw in the audiences eye

• The title is displayed in a large, eye-catching font• It clearly defines the film’s genre

• The poster should be designed to attract the largest audience possible

• There is usually an indication of when the film is being released – either a date or ‘Coming Soon’, although they are sometimes less specific, for example they might say ‘In Cinemas This Summer’

• Information on the Directors and Production Company is often displayed in a billing block at the bottom of the poster• There could be reviews or titles of other films that the company has made

Exam question:
Discuss the marketing strategies used by your selected industry.
Refer to your three main texts. [30]

Candidates should be discussing a range of different marketing strategies and use examples to illustrate their ideas. Generic points (for example, marketed on Facebook) need actual examples to demonstrate knowledge of the campaigns.

More specific points which may be referred to might include:
 Integrated approaches across different media platforms
 Scope and content of the campaigns
 Use of teasers; word of mouth; viral marketing
 Use of market research
 Links to different audience groups

 Trailers
 posters
 pre-released press packs
 websites
 reviews
 articles
 viral campaigns
 social networking sites
 star appeal

 merchandise

Discuss the marketing strategies used by your selected industry.

Marketing is essential for every media industry. It keeps the product in the public eye and encourages audiences to talk about the product or text. Without audiences there would not be Media.
One of the main reasons movies are so successful is that they're sold to us so effectively. Movie marketing is the art and science of convincing consumers to buy movie tickets. At a time when illegal downloading of films is a concern for the industry, selling the cinema experience is more important than ever.

It was crucial that my three texts; Whiplash, The Theory of Everything and Jurassic World were effectively marketed using different strategies across different media platforms.

Although the movie industry takes in billions of dollars a year, very few Hollywood movies actually make a profit. That's because it costs a tremendous amount to make a major studio movie. The average production budget of a major studio movie reached $70.8 million in 2007. But to sell that movie to the public, studios spent another $35.9 on marketing for a total budget of $106.6 million per picture . Hollywood relies on a few runaway hits each season to make up for the majority of films that fail to break even.

The uncertainty of the movie business makes the job of the movie marketer even more important. Whether a movie is Oscar worthy or downright lousy, the movie marketer has to figure out a way to fill those seats at the multiplex.

Movie marketing is also known as movie advertising and movie promotion. Every major Hollywood studio and movie distribution company has an internal department devoted to promotion. The promotions department is responsible for designing and implementing an effective, cohesive advertising campaign across several different media platforms, including theatrical movie trailers, newspapers, magazines, television, radio, the Internet and billboards.

The movie business is cyclical and seasonal by nature . Major studio releases are clustered during the summer, Christmas and long holiday weekends like Thanksgiving, Memorial Day and Labor Day. With so many high profile movies fighting for the same audience, movie marketers need to figure out how to make their films stand out from the pack.

In recent years, the general tactic has been to "go big." For expensive, blockbuster movies, the marketing campaign alone can cost as much as half of the total production budget [source: Vogel]. So if a film costs $80 million to make, the distributor might spend $40 million on advertising and promotion. 

The hope, of course, is that all of this marketing money will pay off in ticket sales. One of the most important indicators of the success of a movie marketing campaign is the gross box office sales from the first weekend of a movie's release. Opening weekend sales are a direct reflection of how much buzz and excitement has been generated by the promotional campaign.

The Opening weekend sales for my three movies were

• Whiplash, 
• The Theory of Everything 
• Jurassic World 

Even if a movie is not a success, strong opening weekend numbers can be enough to break even or earn a small profit for the studio. It's not uncommon for large Hollywood movies to make over 40 percent of their gross profits in the first week of release. Once the word spreads that the movie isn't worth the money, some blockbusters experience huge drops from the first weekend to the second. 

Every movie is different and the promotions department must figure out what type of campaign will be the most effective at reaching the target audience. This requires researching the tastes and media-consuming trends of the target audience. Based on this research, the movie marketers decide how much of their budget to spend on each different media outlet. 

 Trailers
 posters
 pre-released press packs
 websites
 reviews
 articles
 viral campaigns
 social networking sites
 star appeal
 merchandise

The theatrical trailer is often the first chance to promote a movie to its target audience. Starting up to a year before the release of a major studio movie, distributors run movie trailers that are meticulously edited and audience-tested. The idea is to give moviegoers a taste of the laughs, special effects and plot twists of the studio's upcoming releases, while leaving them wanting more. It's an art form that's usually handled by special trailer production houses.

The Theatrical trailers for my three movies included

• Whiplash, 
• The Theory of Everything 
• Jurassic World 

About the same time that the first trailers hit the theaters, the movie studio will unveil an official Web site for the film. Typical movie Web sites allow visitors to view multiple versions of the trailer, watch behind-the-scenes interviews and mini-documentaries, read plot synopses, download cell-phone ringtones and desktop wallpaper, play games, chat in forums and even pre-order tickets. The official movie Web site is only the beginning of a much larger Internet marketing campaign.

As the release date of the film draws closer, movie marketers try to get early favorable press coverage in newspapers, magazines and on entertainment TV shows. The main movie publicity tactic is something called a press junket. At a press junket, journalists, entertainment reporters and movie critics are flown out to a special location for a day or weekend of interviews with the stars and creators of the film. The actors, directors and screenwriters sit in separate rooms and the reporters are brought in one by one to ask their questions.

If you've ever seen a TV interview with an actor sitting in front of a poster of their movie, that's from a press junket.

Weeks before the movie opens nationwide, the promotions department starts an all-out publicity blitz. The idea is to bombard the public with so many images and promos for the movie that it becomes a "can't miss" event. Movie marketers will plaster the sides of buses with huge ads, place billboards all around the city, run tons of teaser trailers on TV, place full-page ads in major newspapers and magazines, and the movie's stars will show up on all of the major talk shows.

The Internet is proving to be a prime spot for these publicity blitzes. Promoters can place rich, interactive ads on the Web sites most trafficked by their target audience. They can also release behind-the-scenes clips, bloopers and other viral videos on video-sharing sites like YouTube. Or they can release different media clips and let the fans create their own trailers.

Another popular strategy is to use highly visible product tie-ins and corporate partnerships. In the weeks leading up to the release of "How the Grinch Stole Christmas," images of the green Grinch appeared on packages of Oreos, boxes of Froot Loops and cans of Sprite. Even the United States Postal Service got into the act, stamping letters with special "Happy Who-lidays!" messages . For marketing children's movies, the Holy Grail is getting  promotional goodies in McDonald's Happy Meals.

Moviemaking is an inherently risky business. Movie marketers try to alleviate some of that risk by heavily promoting expensive films. Unfortunately, in the process, they make the films even more expensive by adding on a huge marketing budget. There's always a chance that the marketing campaign will stink just as bad as the movie, and suddenly the studio has thrown away twice the amount of money. For example, Oliver Stone's epic "Alexander" cost $155 million to make and $60 million to market domestically and only took in $167 million worldwide

The problem is that most big-budget movies are marketed to the widest audience possible. Ads are placed on every TV network and stuck in every newspaper and magazine. There's no focus. Chances are that with every blockbuster movie marketing campaign, millions of dollars are lost on people who would never see the movie, no matter how good it is.

One solution is the idea of the nichebuster, a smaller movie marketed heavily to a highly specific audience. This is called demographic marketing rather than selling movies according to traditional genres like action, romantic comedy, thriller, etc

The target audeinces for my three movies were

• Whiplash, 
• The Theory of Everything 
• Jurassic World 

A final problem is that moviegoers are more media savvy than ever. While children are highly susceptible to advertising, many adults recognize the publicity blitz for what it is: publicity.

This is another reason why the Internet is proving to be a powerful marketing tool. If studios play their cards right, they can capitalize on social networks, viral video sites and other online communities to sell their movies for them. The Net Generation moviegoer is much more likely to trust his chat buddy's opinion than some talking head on Television.

https://en.wikipedia.org/wiki/Film_promotion