Warner Brothers - Convergence Research

 

Nokia Lumia’s product placement in movies is synonymous breaching films such as “Man of Steel”, “Canyons”, “Dark Knight” and “Wolverine” so far. Let’s up another title in the list, as another Lumia smartphone was seen in the trailer of the upcoming sports comedy movie “Grudge Match”!

Two legendary actors are the leads in ” Grudge Match”: Sylvester Stallone and Robert De Niro. Previously played as boxers in their respective movies (Stallone in Rocky, De Niro in The Raging Bull), this time they will step again inside the ring as two aged boxers who wants to end up their 30-year old grudge by settling it in a last fight, once and for all! Set to be released on Christmas 2013, the Lumia 920 will make a cameo in this movie. Sorry, no 925 or 1020 here guys, because the shoot wrapped up last March, two months before 925 was launched. Anyways, we have seen the cyan variant of 920 in the movie trailer twice, one will recording a fight between the two lead characters, and one while a video was played at the device. A bit short appearance, but exposure was great, otherwise.

 

Two tough guys, one tough smartphone – this Stallone-De Niro will surely be a great hit! We hope to see the Lumia smartphones in other movies this year, as these reminds us Nokia fans that the company had created great smartphones before they got owned by Microsoft.

Mrs Browns Boys D'Movie Distribution

Ways of Advertisement:

Mrs Brown's Boys D'Movie has been advertised intensely throughout the United Kingdom, as a result of the shows big success on television screens up and down the country. The large following of the show before the movies release, is a unique selling point to the movie because audiences already know what to expect from the matriarchal mother. Generically; (show film poster and voice over) billboards, television adverts, posters, newspapers and chat show interviews from the creator and Mrs Brown himself, Brendan O'Carroll.

Convergence & Synergy:

Synergy played and important role especially in the marketing process for Mrs Browns Boys D’Movie producing such things as calendars, fancy dress costumes and other merchandise were sold in retail stores across the UK and Ireland, to potentially create a trend therefore signifying the importance of synergy in getting people to recognise the film being marketed and thus want to go an watch it. • In terms of convergence a soundtrack was produced to coincide the film, providing a multifaceted view of what the audience may expect from the film, thus allowing for greater interest in the film, showing the importance of convergence.

Release:

Mrs Browns Boys was premiered, conveniently in Ireland's capital and film focal point, Dublin, before being released in UK and Irish cinemas on the 27th of June 2014. Being a small independent film company it means that BBC Films are less able to appeal to a larger target market such as the worldwide market and therefore the release of the film being solely in the UK makes good business sense. The film has since been put onto Netflix and released on DVD and Blue-Ray.

Key Player:

BBC Head of Marketing; Jacqui Barr

Grudge Match Distribution

Ways of Advertisement:

Grudge match was advertised initially in the 'states' across billboards, television and social media, before similar means were used in the films UK advertisement. For a Hollywood blockbuster, consisting of two of the most recognizable actors in the boxing movie genre (Sylvester Stallone [Rocky Balboa] & Robert De Niro [Raging Bull]) the advertisement was particularly low profile and simplistic, potentially explaining the poor box office turn over.

Convergence & Synergy:

Convergence for Grudge Match came in different ways mainly through the official website which was created solely for the film, so fans or the target audience can form a greater connection with the film and therefore will be more willing to watch the film. On said website there are games and a poster generator further aiding the films appeal to audiences through convergence. • Grudge Matched used synergy also as part of the marketing strategy releasing an album with boxing themed motivational songs to accompanies theme. Also T-Shirts featuring movie posters consisting of the main protagonists were also released to aid the films reception.

Release:
Grudge match was released in the United States during the December moth of 2013, before its release in the UK and worldwide in January 2014. Its worldwide status is as a result of its distributing company; Warner Brothers and their formidable reputation within the industry. Since then the film has been inducted onto such sites as Netflix as well as on DVD and Blue Ray thus appealing to a variety of consumers.

Key Player:

Sue Kroll serves as President, Worldwide Marketing and International Distribution for Warner Bros. Pictures. As marketing chief, she oversees the strategic creation and implementation of marketing campaigns for the Studio’s global releases. Additionally, she collaborates closely with Greg Silverman, President of Warner Bros. Pictures Creative Development and Worldwide Production, and Toby Emmerich, New Line Cinema’s President and COO, on the strategic development of a diversified production slate to build upon the Studio’s legacy and impressive record of success. Kroll also runs Warner Bros. Pictures International Distribution, working with that division’s president, Veronika Kwan Vandenberg, as well as the Studio’s network of overseas offices and affiliates, on international releases, including features produced with select partners. She also works with Warner Bros. Pictures’ President, Domestic Distribution, Dan Fellman, on the Studio’s domestic releases. She was promoted to her current role in June 2013.

Representation of Gender

Gender and representation print from sandraoddy2

Representation of Gender

Media Essay on Gender Represented in Primeval

Discuss the ways in which the extract constructs the representation of gender using the following: camera techniques, editing, sound and mise-en-scene

Gender is represented in this extract of primeval through the use of camera techniques, editing, sound and mise-en-scene. Primeval is a TV programme of the genre Sci-fi where the males are usually presented to be dominant and heroic, whereas the females are typically presented to be weaker and vulnerable.

Despite this, the first scene that gives the audience a chance to interpret characters shows Abby sitting in control of a digger. A digger is often associated as a masculine object because it’s heavy machinery stature. The sound diegetic sound of the digger also re-enforces the masculinity of the object, this is used to emphasise Abbeys role in the programme. This immediately denotes that Abby isn't our typical female protagonist. This is supported by the clothing Abby is wearing; black leather jacket and black outdoor boots. This was very clear to the audience by the use of a slow zoom in by the camera. In this scene, it could be interpreted that the roles of the characters are in reverse by the way the characters are positioned within the frame. The shot showed the female in the digger where we would usually expect the male protagonist to be controlling the heavy machinery. This was certainly a representation of gender as the male is dressed in comfortable clothing instructing the woman as she steered the vehicle, almost taking the female role completely. The camera then quickly cuts a mid-shot of another male character that is shown to be slowly placing down bait; the shot reveals to the viewer exactly what the character is doing. The audience’s perspective of this character is that he is quite feminine and not of high importance. This is because of the clothing he is wearing; hat, scarf, pink shirt and black waistcoat. The director may have used his clothing as an indexical sign to the audience to portray him to be well educated yet weak and feminine. Both the feminine man and Abby contrast normal expectations of gender.

The next scene reveals a mid-shot of Abby in the digger. The use of the camera angle denotes that Abby is in power by remaining eye-level or at a low-angle shot looking up at her. This is shortly followed by Nick on the ground which re-enforces his lower status of this scene. The majority of the time Nick is on scene he is usually presented the audience in a high angle shot looking down on him signifying him to be inferior. The scene is quickly interrupted by a non-diegetic sound of a sabre-toothed roar signifying danger. The eye-level shot of Nick quickly changes to a high-angle shot as he cowardly jumps into the ditch emphasising his atypical role of the extract. As Nick is helplessly in the ditch the camera switches to Abby in the digger who distracts the feline away protecting Nick. A shot reverse shot is used whilst Abby is fighting off the sabre-tooth to emphasise her bravery and fearlessness. The use of the editing in this scene including mise-en-scene helps the viewer understand the power Abby contains in comparison to Nick and the tiger. Despite this, the audience is presented with a short moment of usual roles within the characters as Nick builds up some courage to shout at the sabre-tooth to lure him away from Abby. This then restores the audience’s typical expectations of the male protagonist to save the vulnerable woman. Despite this, the camera angle shows Nick in a long-shot view whilst calling the cat which then dims down his importance, as he is shown to be small and ready to run away. The camera work then rapidly speeds up as Nick rushes through the woods being chased by the tiger until he reaches a ladder. The camera then moves to a bird eye view of the situation signifying still that he is inferior. The short sharp editing of Nick removing his belt for the zip line denotes the audience that he is thinking fast and has courage. However, as Nick reaches the end of the line he stumbles over helplessly about to be attacked by the sabre-tooth. Despite this, the camera then quickly changes to show Abby running opposite holding a rifle. Abby then positions her gun quickly and shoots towards the tiger scaring it away just in time. This shot doesn’t show much realism as it would be very difficult for most strongly built men to perform this action where Abby does it with ease. Furthermore, by showing Abby save Nick again their roles change back to what they were.

The next shot goes back to the original digger scene. In this scene a high angle shot of Nick back in the ditch who seems to be discovering a dead body. It could be interpreted that this is a typical role of the male character as it’s a dirty job with the horror of finding a dead body. The setting then changes as the camera presents three male characters along with Abby. This re-enforces Abby’s masculine role in the programme as she is the only woman alongside the men. It is important to note that the two most feminine characters are either side of the group emphasising the weaker characters to be less centralised within the shot. Despite this, the camera angle shows all of them in the shot not focusing primarily on one character also with eye-level shots throughout. As the scene progresses we see a more expected prospection of gender within the group. With Abby being the only woman within the group she doesn’t get as much screen time as the other male characters suggesting her opinions aren’t as important. The camera then pans around the group expressing each characters facial expression; revealing the men’s faces to be serious as if they are now in control of the situation.

The extract ends in a change of setting. The frame of the shot reveals a man and a woman talking in a small barn. Whilst they are talking the camera is positioned over the shoulder switching from both characters signifying them to be equal. The woman’s clothing denotes high status and intelligence, yet weak physicality. Whereas the male characters clothing denotes a low status and of small intelligence yet strong physicality. As the scene goes on, the viewer sees the woman to take control as she threatens the man to get what she wants. The camera then shows a mid-long shot of the man walking away creating short suspension as he goes to reach for something. The man then quickly pulls out a gun pointing it towards the woman changing whos in charge of the situation. A shot reverse shot then indicates the fear on the female characters eyes re-enforcing whos more powerful in the scene. We then see the man push the lady over on her back with the gun still pointed directly at her. The high camera angle emphasises her vulnerability at this stage. This shot represents a more traditional stereotyping of gender with the woman helpless and the man in charge. At this point Abby, the feminine man and another male character enter the barn to save the helpless woman. The male character is pointing a gun towards the farmer presenting a typical projection of the male protagonist; saving the woman. The more feminine man is positioned behind him who grabs a shovel as a weapon rather than being handed a gun. This puts emphasis on the fact hes less superior to the other characters within the extract. This also re-enforced as even Abby is holding a gun as a weapon, still positioned behind the male protagonist. Overall, the end of the extract revealed that both men and woman are presented atypically with a few traditional signs of stereotypical representation of gender.

Convergence and Synergy in My Film Case Studies

Cross Convergence and Synergy

THE IMPORTANCE OF CROSS MEDIA CONVERGENCE AND SYNERGY IN PRODUCTION, DISTRIBUTION AND MARKETING, IN THE FILM INDUSTRY

 

In order for a film to be successful, it must; as well as follow a good narrative and have a wide range of a-list actors; market and promote itself using a wide range of techniques. However, in order for all of this to occur, the film company must think of their main aim of all of the promotional material carried out, and there must be a campaign objective carried out during the pre-production stages. An example of a campaign objective from a block buster is the film “The Woman in Black”. Their main aim was to engage fans of the book and the play; whilst also selling the spooks, scares and quality of the film. The distributors of this film also aimed at targeting a broad audience through it use of advertising, publicity and promotions (promotional campaigns).
The most common type of marketing used to sponsor a film is vertical integration and synergy. Vertical integration companies in a supply chain are united through a common owner (conglomerate), or in other words, a company which owns large numbers of companies in various mass media, such as: television, radio, publishing, movies and the internet. According to the 2012 Fortune 500 list, The Walt Disney Company is America’s largest media conglomerate in terms of revenue, with News Corporation, Time Warner, Viacom and CBS Corporation, completing the top 5. Usually each member of the supply chain produces a different product or (market-specific) service, and the products combine to satisfy a common need (to make profit). Walt Disney has recently announced that it is buying Pixar, the animate studio led by Apple head, Steve Jobs, in a deal worth $7.4 billion. Jobs came to the conclusion that made the most sense for Pixar to align itself with Disney permanently instead of trying to distribute films on its own or sign with another movie studio partner. Disney and Apple have already announced several online programming deals during the past few months. Disney now has agreements in place to sell hit ABC prime time shows, such as: “Desperate Housewives” and “Lost”, as well as content from ABC Sports and ESPN on Apple’s popular iTunes music and video store. As well as there being a few concerns about the connection of Disney and Pixar, due to the strained relationship between Jobs and former CEO Michael Eisner; there are some noticeably strengths of this major collaboration. The key benefits both Disney and Pixar will gain from being part of a vertical integration company are that the range of innovation is broadened, enabling more successful and creative films to be produced. Nevertheless, it also creates more businesses to be made, resulting in more employment. Also, because of the share of resources, it means the budget is balanced, meaning shared money, so the companies are at less risk if the film doesn’t manage to make at least three times its budget.
In addition to Disney and Pixar’s collaboration, Walt Disney Co also agreed to buy Marvel Entertainment Inc. for $4 billion. Disney adds Iron Man, the Incredible Hulk and Thor to its roster of lovable and fantasy-like characters, like: Mickey Mouse and Cinderella; and will feature the comic book heroes in movies before rolling out associated theme park rides, TV shows and merchandise. David Joyce, an analyst with Miller Tabak & Co, has commented saying how this combination “helps give Disney more important exposure to the young male demographic that they have lost some ground with in the recent years.” Disney will also be able to use its marketing and entertainment strength – stretching from ABC to cable television to theme parks – to promote and build characters, such as: Thor, in ways Marvel never could. The deal is Disney’s largest since the $7.6 billion purchase of Pixar in 2006. Like with Disney and Pixar, the combination of Disney and Marvel has caused some stir, however there are some obvious benefits both companies will gain from being part of a vertical integration company, for example: Marvel will take knowledge from Disney by their use of marketing and entertainment; and Disney can also publicise Marvel, by using techniques which will attract larger demographics. They can also dominate the global animation market as there would be less competition, and it would create a universal audience, resulting in more money/profit.
Disney is now the largest animation studio in the world – they now own Marvel and Pixar. However, Disney have creatively linked and produced many different media platforms, for example: Motion Pictures, Walt Disney Studios, Disney Music Group, Disney Theatrical Group, Disney Studio Service, Studio Production Services, Studio Post Production, Disney – ABC Television Group, ABC Family and ABC Entertainment. A company like Disney can promote its films though the different media platforms and companies they own. For example: Disney can attract specific demographics through the different media platforms (ABC Family – can attract families, like adults and children); this creates almost a global recognition, and creates almost a synchronous viral campaign, as they are promoting their film to audiences around the world, all at the same time, creating a buzz. Films do not necessarily need to be promoted during shows or programmes. Advertisements which appear between shows can also encourage audiences as it is an easy, yet effective way of grabbing the audience’s attention and interest.
The most common form of marketing used by film companies is the use of synergy. Although, synergy is used widely, it is a form of promotion audiences tend to ignore or overlook. Synergy basically means working together to achieve an objective that couldn’t be achieved independently. Disney is an obvious example of a synergetic company from the top down from Film Studio to Kids’ TV Channels to the Disney Store’ where kids can buy all the merchandise and DVDs/CDs they’ve seen on the TV/Web or in the cinema. Synergy can also be described as the ‘strategy of synchronising and actively forgiving connections between directly related areas of entertainment’. Synergy is the use of similar branding across a range of platforms – where a symbol, colour, or sound allows for a synchronised promotional campaign (a unified brand) – this maximises audience awareness, (360 campaigns is used to ensure you get information about the product from every angle possible – using every media platform of how people consume and distribute films).
Cross media convergence is also used by higher concept film industries as it involves two media companies collaborating for the purpose of generating profits (synergy). An example of this is 20th Century Fox working with MySpace, to create a viral marketing campaign. On the other hand, Revolver Entertainment is an independent film, and so does not have these links with multi-media conglomerate, and so cannot compete with major films to the same scale.
Symbiosis (which is another form of synergy), is also used by linking up various companies to make profits from one product. This is when different (including non-media) companies, work together to promote a range of related products, e.g. High School Musical, the film will enable spin-offs, like Happy Meals, Easter Eggs, toy characters, etc. – and the distributor will agree licensing deals for companies to make and sell this merchandising. A percentage of the profit will then go back to the distributor. Walt Disney pioneered symbiosis marketing techniques in the 1930s by granting dozens of firms the right to use their Mickey Mouse character in products and ads, and continued to market Disney media through licensing arrangements – this meant that both companies benefitted from this. These products can help advertise the film itself and thus help to increase the film’s sales – synchronised marketing. For example: the Spider-Man films had toys of ‘web-shooters’ ad figures of the characters made, CD soundtracks and other merchandising which not only sold the products, but also promoted the film.
The Avengers is another example of a major film promoting its film using synergy, cross media convergence and symbiosis. The Avengers, unlike other major films, chose to release its film globally; this created a global trend and buzz on many major social networking sites and blogs. The unusual choice to release the movie in many major international markets before releasing it in the United States built a “global countdown” buzz for The Avengers – and also reduced piracy.
Disney put out chapter books on each character, familiarising kids with action-packed back-stories. An Avengers animated series took on some of the tone, humour and attitude of the films – whilst Marvel produced video games. This is known as trans-media storytelling (the coordinated extension of a cohesive story world, across multiple media platforms). One key and most noticeable USP of the film, The Avengers, is the wide range of superheroes featured in the film. Universal Pictures held the rights on Hulk, Paramount for Iron Man, Captain America and Thor, and now Disney had combined them altogether for The Avengers.
Official sites, such as: YouTube (which has approximately 200 million views daily), Twitter and Facebook pages (estimated to have around 1 billion users), have an online community as they are forms of social media, and so attract audiences from all over the world easily and for free. There are many benefits of using social media sites to promote a film, as it attracts larger and a range of demographics. It is also a form of portable marketing, as users are able to download and install apps on their mobile phones, allowing them to get immediate updates/constant alerts on new releases, competitions and awareness if sequels. Film companies also monitor these sites to know what their fans are saying. Disney/Marvel use social media to build up buzz for the audience by engaging the audience through competitions (e.g. The Woman in Black’s completion carried out to submit audience’s ‘ghost stories’) and online games – this allows audience participation. The Avengers also promoted their film through their official website – which has an immediate link to their Facebook and YouTube page (placed either on the top of the website or at the bottom for easy access). Fan blogs are also used as a form of critics for the audience, as it allows the audience to know whether the film really stand up to the high expectations set by the film industry. The Avengers site also includes: trailers for new releases, character profiles, film stills/behind the scenes/teasers, sign ups, DVDs and Blu Ray disks, competitions, as well as a link to the Disney Store.
Merchandising and franchising are fundamental in terms of making money as effective merchandising can enhance a brand’s exposure to the public and increase sales. The better the merchandising and franchising; the more recognition the film gets, and the more interested the audience are and aware of the film. Merchandising and franchising is important, because for many major films, the money made from official products is more than the money made from box office sales.
Marvel did deals (synergy/symbiosis) with other companies helping them market and promote the film. Companies Marvel combined with were: Norton, Acura, Hershey’s, Dr Pepper, VISA and KFC. The benefits of this are that not all of the partners are necessarily aimed at children, but also aimed at adults (e.g. VISA and Acura-car Company). These different companies were all then featured subtly in the film (product placement), which meant that the film got sponsors, whilst the companies were also featured in the film – resulting in a win-win situation. Product placement is included in most films which include a major partner/company, for example: Skyfall’s partnership with Aston Martin and the partnership between the Fast & Furious sequel and BMW. Whilst food chains, such as: Burger King, also did an offer where for every week you go, you receive a different toy; which meant that children continuously went there to purchase all the collectables, which allowed KFC with a big profit gained just from merchandise.
An example of where a non-media company as joined with a film to promote it, is the combination of Peugeot 5008 and Toy Story 3. The benefits of this combination are the idea of awareness, developing and branding of the film. Also, it interlinks with a scene from the film; nevertheless the idea of advertising and combining a family car with a family film, emphasises the connection between the two products. In addition, the competition shown at the end of the advert engages the audience to the product; whilst also saying how to enter they must visit the website, which gives the audience more information about the film and makes them more interested in the film because of the offers and deals.
Many major films include different forms of marketing and advertisement; however independent film companies, such as: Revolver, have been offered awards for various things. In the past 10 years, Revolver’s independent spirit and flair has been awarded with 18 of the industry’s top awards for marketing excellence. A key difference between Disney and Revolver’s assesses, is the idea that Revolver is active in reaching out to audiences – thinking outside the box. Compared to Disney’s promotional campaigns, Revolver is seen to have approximately 0ver 9 million YouTube trailer views and over 2.5 million music video trailer views.
Marketing and promotion can affect audience’s choices on exhibition. The Avengers were in cinemas worldwide. Whilst independent UK films, such as: Sket were shown in most independent cinemas in the UK. Cinemas get 50-60% of what the film makes. Cinema’s also make most of their money from drinks, popcorns and nachos. Cinemas tend to show The Avengers more than Sket at peak time and days, due to the content of the film. The Avengers also is targeted towards younger audiences because of the age category; and that the content of the film doesn’t involve extreme violence or provocative scenes – this means that the film is able to be shown during the watershed.
Digital technology has enabled different medias to converge together to promote and market a film. For instance, mobiles phones do a lot more than act as hand-held telephones; you can download and watch films and TV programmes, as well as use them for constant alerts on new releases and competitions. Media convergence is having an enormous impact on the film industry because of the ways in which institutions can produce and market for audiences on a widening range of platforms. To conclude, it’s one thing promoting a film using static methods, such as: posters, billboards and advertisements; however cross media convergence, synergy, vertical integration and symbiosis offer a whole ‘nother perspective and vessel to promotion; that’s why films such as The Woman in Black and The Avengers are considered as block buster’s due to the range of different marketing and promotional campaigns carried out by the film distributors.

Film Industry Essay

Film Industry Essay;

The film industry incorporates many multifaceted aspects that ultimately constitute to the production and distribution of films. However the very nature of the corporation behind these aspects can massively effect the overall outcomes, as we will look out in this essay, as we identify the differences of the aspects in a transnational film corporation and a small independent British film company, firstly with Warner Brothers - transnational film company.

Warner Brothers was originally founded by and named after the four 'Warner Brothers'. They started out with a singular theatre called the 'Cascade' in Pennsylvania. This quickly led to more and more theatres before, an American soldier returning from war, with a French film; 'Rin Tin Tin' helped to put the 'Warner Brothers' on the map, as their distribution of the film, was one of the most successful of the time. Later Warner Brothers Pictures, Incorporated, was initiated into the world of film, and has remained firmly towards the top of a particularly competitive market since their founding in 1905.

IMDb describe Grudge Match simply as; The tale of a pair of aging boxing rivals are coaxed out of retirement to fight one final bout -- 30 years after their last match starring non other than boxing film icons, Sylvester Stallone & Robert De Niro. Lets take a look at these two in action.

Grudge match was advertised initially in the 'states' across billboards, television and social media, before similar means were used in the films UK advertisement. For a Hollywood blockbuster, consisting of two of the most recognisable actors in the boxing movie genre (Sylvester Stallone [Rocky Balboa] & Robert De Niro [Raging Bull]) the advertisement was particularly low profile and simplistic, potentially explaining the poor box office turn over.

Grudge Matched used convergence thoroughly as a part of the the marketing strategie releasing an album with boxing themed motivational songs to accompanies theme. Also a website was created soley for the film, so fans or the target audience can form a greater connection with the film and therefore will be more willing to watch the film.

Grudgematch was released in the United States during the December moth of 2013, before its release in the UK and worldwide in January 2014. Its worldwide status is as a result of its distributing company; Warner Brothers and their formidable reputation within the industry. Since then the film has been inducted onto such sites as Netflix as well as on DVD and Blue Ray thus appealing to a variety of consumers.


So the film giants are very clear about the way they approach the production and distribution of their films in that notably their larger budget and status allows for them to publicise and market the film at a much greater scale than smaller independant British films for example. However as will later be discussed, synergy and convergence is a key player in the marketing and publicity of any film.

BBC Films are a sub division of the British Broadcast Corporation (BBC) and are in control of the production of films and movies under the company name. Due to BBC Films being a sub division of a bigger company, they share the same CEO's and Managing directors. Film budgets are usually quite low, also as a result of the sub division title, because the companies budget has to be split into a variety of sub divisions including BBC Films.

IMDb describes the layout of Mrs Brown's Boys D'Movie as 'a company tries to shut down Mrs Browns fruit and veg stall. But they can feck off' accentuating directly the tone and synonymous matriarchal nature of the protagonist in question.

Mrs Brown's Boys D'Movie has been advertised intensely throughout the United Kingdom, as a result of the shows big success on television screens up and down the country. The large following of the show before the movies release, is a unique selling point to the movie because audiences already know what to expect from the matriarchal mother. Generically; (show film poster and voice over) billboards, television adverts, posters, newspapers and chat show interviews from the creator and portrayer of Mrs Brown, Brendan O'Carroll.

Mrs Browns Boys uses the importance of synergy and convergence as a form of film advertisement and marketing very effecitvely. Throughout the marketing process such things as calenders, fancy dress costumes and other merchandise were sold in retail stores across the UK and Ireland, to potentially create a trend therefore signyfying the importance of synergy in getting people to recognise the film being marketed and thus wanrt to go an watch it. In terms of convergence a sountrack and autobiography were produced to coincide the film, publicising the actors invovled as well as providing a multifaceted view of what the audience may expect from the film, thus allowing for greater interest in the film, showing the importance of convergence.

Mrs Browns Boys was premiered, convinently in Irelands capital and film focal point, Dublin, before being released in UK and Irish cinemas on the 27th of June 2014. Being a small independant film company it means that BBC Films are less able to appeal to a larger target market such as the worldwide market and therefore the release of the film being soley in the UK makes good business sense. The film has since been put onto Netflix and released on DVD and Blue-Ray.

So as we see the production and distribution of films differs between big corporate film companies and small independent British films. However in terms of the way the films are marketed and advertised they both follow similar techniques and means of doing so, however the major difference is the scale in which they do so. So could it all be down to money or does simply the lack of finance aid the films reception by it's audience?

Statistically his is how it panned out for both of our films. BBC Films: Mrs Brown’s Boy’s D’Movie: Budget - £3.6 million, Box Office - £14,290,727 creating a total revenue of just under £10.7 million. However, Warner Brothers Grudge Match: Budget - $40 million, Box Office - $44 million creating a total revenue of $4 million.

So as we can see, even with the advantage of an exchange rate the smaller independent British film, came out top trumps against the bigger ‘giant’ in the film industry, causing us to question as to whether by having the funds to perform elaborate marketing campaigns is actually beneficial and just how cleverly BBC Films have used the characters reputation as the films main USP preventing the need for excessive expenditures therefore heightening the films financial success. In terms of public reception however you could argue that Warner Brothers elaborate marketing campaigns gained a worldwide audience status for the film, potentially proving that global film companies have a greater chance of being successful in comparison to BBC Films for example.

Either way regardless of financial backing or elaborate marketing schemes, importantly each company appeals and markets perfectly to its target audience deeming both films just as successful as the other. 

 

 

 

 

Representation of Ethnicity: Hotel Babylon

Representation of ‘Ethnicity’ in ‘Hotel Babylon’

Brett Moore; BrettMooreG322

Ethnicity is represented in a variety of different manners from the onset and throughout in this clip from hit television drama ‘Hotel Babylon’, invariably so from the establishing shot.

The establishing shot details a white male character wearing a suit and later in the scene two –again- white police officers are also shown. The very nature of the characters including their attire and apparent stature accentuates this clips continual portrayal of ethnically based hierarchy’s with white characters seemingly at the highest point in said hierarchy, with each of the three characters expressing power-respectively- through mis-en-scene. Despite the use of mis-en-scene however the scenes prominent use of camera work exceptionally shows the representation of ethnicity in this scene. Firstly a head shot is used which allows for the facial expressions to be magnified. This is vital because the shot shows the white male character looking down, which connotatively could suggest the white ethnic power at the for-front of this clip; as  someone with power is often said to be someone of whom looks down upon those with much less superiority in situ thus representing ethnicity. In addition as the shot evolves, the camera zooms and pans around the room – tracking- and displays the entire mis-en-scene and sets the tone for the rest of the extract in that an industrious picture is presented, which may cause the viewers to paint a stereotypical view of the ethnic groups of which may work in said settings thus foreshadowing later scenes. Once more the diegetic sound of movement and footsteps in the same scene builds tension and foreshadows the later events of the clip.

The very next scene is particularly interesting in terms of the mis-en-scene notably the character attires. The scene shows two female characters standing behind a desk in a receptionist’s role however the interest in the scene comes in through the outfits the characters are wearing. The white female character is wearing a white dress. White can be related to innocence, peacefulness and purity. The Asian female character however his depicted in black a colour representational of negativity or impurity thus suggesting that this clip is further implementing a white supremacist notion in that any other ethnicity is indubitably impure.

Later in the same scene three white male characters of whom are wearing suits much like the very first white male in the establishing shot, are presented further signifying the authoritarian power that surrounds a lot of the white, English characters in this clip. Slow paced editing as well as a tracking shot are also in use at this point, thus adding tension and emphasising the sheer power the prominent white male character exerts in the scene. This is also accentuated by the use of non-diegetic sound of atmospheric music as the music signifies the reoccurring theme of power.

The next scene uses a POV – point of view - shot very effectively picturing the ‘immigrants’ through a metal gate. This is a powerful image as it depicts the immigrant workers being chaperoned almost single file into a store cupboard, of which may lead many of the viewers to draw reference to many historical dictatorships that enforced such cruel acts upon perceptually less ethnic groups. The gate itself may resemble that of an ‘iron curtain’ of which is also synonymous with dictatorships and a controlled society in which those deemed to be below the highest power are treated in a manner that completely contradicts that of those who follow the expected patterns. In this instance therefore it is presented in manner that details the white male immigration officers being the dictators of a cruel and ethically unjust system that seems to prey on opposing ethnic groups. In addition the scene shows fast pace editing, effective in portraying the angst felt by the immigrant workers in knowing of the fate they may ensue should the immigration officers discover them.  Furthermore the low key lighting leads the picture to be dull and unsatisfying. This dullness is matched by the simplistic nature of the workers clothing potentially signifying the insignificance of the immigrants, in that they just blend in to the mis-en-scene whereas the white, English characters for example are presented in attire that makes them stand out, and are instantly recognisable within scenes unlike the immigrant workers.

The following scene depicts the immigrant workers within the small cupboard with low key lighting to suit the dark meaningful purpose of the acts. A wide shot is used to accentuate the vast amount of immigrant workers within Hotel Babylon of which is particularly poignant because despite the population density of immigrants here, still the white, English immigration officers and figure heads, instantaneously have a hold over such a vast amount of immigrants pictured, further signifying the clips depiction of white power and ethnic dictatorship over all others.

Therefore in conclusion the representation of ethnicity in the ‘Hotel Babylon’ scene is one the supports a dated thesis that white – in this case English – characters are always in superiority over opposing ethnic groups accentuated by the vast contrasts in attire, portrayal and the stereotypical, low skilled, low paid jobs the immigrant workers are assigned to ultimately constitute to an democratic portrayal and representation of ethnicity.

Film Industry: Documentary Draft Script

This is my first draft of the script I wish to follow when creating my 'Film Industry Documentary'.

Film Trailer Analysis

Film Trailers

Grudge Match

 

Mrs Brown's Boy's D'Movie

Film Analysis Terminology

  This is the official OCR AS Media Terminology Dictionary.

 

This is the best example as it is information that has been provided directly from this modules exam board, improving its relativity to my blog, an further my film analysis's.

Film Poster Analysis; Grudge Match & Mrs Browns' Boys' D'Movie.

Film Distribution Presentation

Monarch Of The Glen Essay

Task:

Our task was to watch the clip below, and draw analysis of how different techniques such as; editing, sounds, lighting and camera angles or shots, helped the clips portrayal of the perception of age of the characters.

 



Essay:

The 'Monarch of the Glen' accentuates age (throughout the clip) using a variety of key techniques, relative to; sounds, camera, editing and mis-en-scene.

Firstly, in one particular scene, two protagonists are pictured arguing. The use of camera angles and editing particularly help to relay that there is indeed a difference in age between the protagonists. Here overhead shots are used relentlessly, but most notably the shot of the man is taken from a higher point looking down upon the female character. Similarly a low shot looking up upon the male character further represents and accentuates the gulf in age between the two protagonists with the higher overhead shot expressing higher authority over the female character. The connotations of this are of course that of an older person having authority over the younger person in the scene.

The age of the girl is an over riding factor within this clip. This is further accentuated by the editing, in a scene in which the girl attempts to drive a car. The initial connotations will suggest that she is of a legal to drive. However as she drives away the scene directly cuts to a close up of a seemingly suspicious or concerned character, leading the audience to begin to feel anxious. The camera shot remains constant before the crash, but almost immediately cuts to the next scene in which Amy's (the girl) adolescence becomes apparent and therefore the use of straight cuts expresses a problem, in which connotations of this, question Amy's age.

Mis-en-scene is also an integral part to categorising the age groups of many of the clips protagonists. Most notably in the scene where the main male character invites Amy's headteacher into a special, adult themed room. The introduction of this as well as dialogue to coincide, which allows the audience to collate perceptions of the age of the headteacher in particular. Once more this is the first time in the clip we are introduced to the three tier age hierarchy, descending from the headteacher, to the male character and finally to Amy, all presented as a result of Mis-en-scene.  

Directly after Amy running away, the shot cuts to that of a rainbow during the transition between scenes. Given the nature of what has just happened in the clip and the character, I find this a particularly poignant cut and transition. Rainbows are often associated with nursery schools, due to their use in the depiction of primary colours, in said context, and so the editing at this stage helps the audience to depict the possibility of Amy's ever materialising, adolescence.

Relating to a previous point - about the crash scene- the use of non diegetic sound is also very important in terms of age perception, as the introduction of the crash sound accentuates further as to how Amy's age may be a problem. 

Furthermore the use of non diegetic sounds throughout the clip in my opinion adds to Amy's adolescence, particularly in many of the working scenes in which one would expect a more masculine or mature piece of accompanying music instead it is that of a somewhat juvenile melody, all congregating into connotations of Amy's young age.

Despite the juvenile sounds, the lighting used in the headteacher and the room scene resembled that of a mature nature. Notably Amy was not present in this scene, potentially providing reason for the sudden escalation in the ageing of the scene, which directly contrasts to the rest of the clip in which Amy is largely present, that seems to portray are more adolescent mood, thus further and most poignantly expressing the gulf in age between Amy and the headteacher, and between Amy and the rest of the adult authoritarians pictured in this clip.