The author goes right to the source and provides data, quotes, and insights from high profile industry professionals and information on market research that the major studios don't want the moviegoing public to know. This book provides practical data, such as templates for advertising campaigns of different sizes, solutions, and an insight into the complicated movie marketing process. Armed with the strategies that Hollywood professionals would prefer not to share, film professionals and marketing professionals alike will have a leg up in this complicated business.
Creative strategy -- Market research -- Paid media advertising -- Promotional tie-ins and product placement -- Licensed merchandise -- Publicity -- Distribution to theaters -- Exhibition -- Major studios -- Independent distributors -- Foreign-language films -- Prints and advertising funds
While Hollywood executives spend millions of dollars making movies, even more money is poured into selling those films to the public. In the third edition of his comprehensive guidebook, Marketing to Moviegoers: A Handbook of Strategies and Tactics, veteran film and TV journalist Robert Marich plumbs the depths of the methods used by studios to market their films to consumers. Updates to the third edition include a chapter on marketing movies using digital media; an insightful discussion of the use of music in film trailers; new and expanded materials on marketing targeted toward affinity groups and awards; fresh analysis of booking contracts between theaters and distributors; a brief history of indie film marketing; and explorations of the overlooked potential of the drive-in theater and the revival of third-party-financed movie campaigns. While many books have been written on the business-to-business aspect of film promotion, Marich’s volume is one of the few that focuses on the techniques used to sell motion pictures to those in a position to truly make or break a film—the public. A highly navigable handbook that breaks down a complicated process into manageable strategies in an easy-to-read style, Marketing to Moviegoers is a must for all professionals and students in today’s rapidly evolving film industry.
The role of the film marketer is both vital and challenging. Promotion is one of the industry’s biggest costs, with the campaign of a large film costing up to half its production budget. Box office results, however, are wildly unpredictable: relatively few films a year make a profit. These market conditions make this a unique industry and film marketing a specific and demanding skill set that requires attention early in the career of any marketing student looking to progress in the industry. This new edition of Film Marketing is a thorough update of the first textbook in film promotion. Like in the first edition, Kerrigan takes a socio-cultural, as well as a business view of film marketing and its impact, covering different approaches to promotion according to different aims and audiences internally and externally, and across the world. This book addresses all areas of film marketing from the rigorous perspective of someone with first-hand knowledge of the trade. This new edition also includes: Additional pedagogy and visual examples to reinforce key points A more international range of cases and coverage of non-Western markets to give a global overview of film marketing across the world New and expanded sections on social media, digital promotion, transmedia and crowdfunding This is the original film marketing text which no engaged film or marketing student should be without.
Looks at the often secretive process of audience testing Hollywood movies and how it can help shape movies, with first-hand accounts from directors such as Ron Howard, Cameron Crowe, Drew Barrymore and Ed Zwick.
For too long marketers have been asking the wrong question. If consumers make decisions unconsciously, why do we persist in asking them directly through traditional marketing research why they do what they do? They simply can't tell us because they don't really know. Before marketers develop strategies, they need to recognize that consumers have strategies too . . .human strategies, not consumer strategies. We need to go beyond asking why, and begin to ask how,behavior change occurs. Here, author DouglasVan Praet takes the most brilliant and revolutionary concepts from cognitive science and applies them to how we market, advertise, and consume in the modern digital age. Van Praet simplifies the most complex object in the known universe - the human brain - into seven codified actionable steps to behavior change. These steps are illustrated using real world examples from advertising, marketing, media and business to consciously unravel what brilliant marketers and ad practitioners have long done intuitively, deconstructing the real story behind some of the greatest marketing and business successes in recent history, such as Nike's "Just Do It" campaign; "Got Milk?"; Wendy's "Where's the Beef?" ;and the infamous Volkswagen "Punch Buggy" launch as well as their beloved "The Force" (Mini Darth Vader) Super Bowl commercial.
Ever notice that all watch ads show 10:10 as the time? Or that all fast-food restaurants use red or yellow in their logos? Or that certain stores are always having a sale? You may not be aware of these details, yet they've been influencing you all along. Every time you purchase, swipe, or click, marketers are able to more accurately predict your behavior. These days, brands know more about you than you know about yourself. Blindsight is here to change that. With eye-opening science, engaging stories, and fascinating real-world examples, neuroscientist Matt Johnson and marketer Prince Ghuman dive deep into the surprising relationship between brains and brands. In Blindsight, they showcase how marketing taps every aspect of our mental lives, covering the neuroscience of pain and pleasure, emotion and logic, fear and safety, attention and addiction, and much more. We like to think of ourselves as independent actors in control of our decisions, but the truth is far more complicated. Blindsight will give you the ability to see the unseeable when it comes to marketing, so that you can consume on your own terms. On the surface, you will learn how the brain works and how brands design for it. But peel back a layer, and you'll find a sharper image of your psychology, reflected in your consumer behavior. This book will change the way you view not just branding, but yourself, too.
During the early era of cinema, moviegoers turned to women editors and writers for the latest on everyone's favorite stars, films, and filmmakers. Richard Abel returns these women to film history with an anthology of reviews, articles, and other works. Drawn from newspapers of the time, the selections show how columnists like Kitty Kelly, Mae Tinee, Louella Parsons, and Genevieve Harris wrote directly to female readers. They also profiled women working in jobs like scenario writer and film editor and noted the industry's willingness to hire women. Sharp wit and frank opinions entertained and informed a wide readership hungry for news about the movies but also about women on both sides of the camera. Abel supplements the texts with hard-to-find biographical information and provides context on the newspapers and silent-era movie industry as well as on the professionals and films highlighted by these writers. An invaluable collection of rare archival sources, Movie Mavens reveals women's essential contribution to the creation of American film culture.
Movie trailers—those previews of coming attractions before the start of a feature film—are routinely praised and reviled by moviegoers and film critics alike: "They give away too much of the movie." "They're better than the films." "They only show the spectacular parts." "They lie." "They're the best part of going to the movies." But whether you love them or hate them, trailers always serve their purpose of offering free samples of a film to influence moviegoing decision-making. Indeed, with their inclusion on videotapes, DVDs, and on the Internet, trailers are more widely seen and influential now than at any time in their history. Starting from the premise that movie trailers can be considered a film genre, this pioneering book explores the genre's conventions and offers a primer for reading the rhetoric of movie trailers. Lisa Kernan identifies three principal rhetorical strategies that structure trailers: appeals to audience interest in film genres, stories, and/or stars. She also analyzes the trailers for twenty-seven popular Hollywood films from the classical, transitional, and contemporary eras, exploring what the rhetorical appeals within these trailers reveal about Hollywood's changing conceptions of the moviegoing audience. Kernan argues that movie trailers constitute a long-standing hybrid of advertising and cinema and, as such, are precursors to today's heavily commercialized cultural forms in which art and marketing become increasingly indistinguishable.
