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Advertising in an Assembled Franchise: Utilizing Product Placement As Running head: ADVERTISING WITHIN THE MARVEL CINEMATIC UNIVERSE Advertising in an Assembled Franchise: Utilizing Product Placement as Storytelling Instruments within the Marvel Cinematic Universe Jean-Luc Clark Appalachian State University Submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Bachelor of Science May 2019 Approved By: _____________________________________ Marc Alan Schaub Jr., Second Reader 2 Running head: ADVERTISING WITHIN THE MARVEL CINEMATIC UNIVERSE Abstract This paper serves as a conversation for how advertising is used within the Marvel Cinematic Universe (MCU). More specifically, how are brands presented to a large-scale consumer base within the narrative. In order to investigate this, the first twelve films within the first two phases of the MCU were investigated by means of a content analysis. It is determined that product placement is in the forefront of the narrative and influences the plot greatly. 3 Running head: ADVERTISING WITHIN THE MARVEL CINEMATIC UNIVERSE Dedication “Mr. Stark, you've become part of a bigger universe, you just don't know it yet.” This line (as spoken by S.H.I.E.L.D Director Nick Fury to Tony Stark/Iron Man during the post credit scene of Iron Man) has been the catalyst for sparking my imagination and ultimate love for the Marvel Cinematic Universe, since 2008. It has been such an extraordinary honor to have reached this point in my academic career. Many long nights, stressful thoughts, and bouts of doubt have walked alongside me on this path. Yet, this experience has also shown how much love and support I have in my life. So while I cannot get to every single person that I would like to thank at this time, I would like to personally say thank you to a few select individuals at this time. To Virginie Myers: Thank you for being the most amazing mother a kid could have ever asked for, and always making sacrifices to ensure that I was heading in the right direction- even if I did not always recognize or see it sooner. To Douglas Clark: Thank you for being the father in my life who taught me the importance of being well rounded and making time for others- even if we had our disagreements from time to time. To Keith Myers: Thank you for being the step-father in my life that showed me kindness and support always. To Darrick Clark: Thank you for being the uncle in my life who was always willing to spend sleepovers with me, and who kickstarted my love of comic books, video games, films/tv, and all things pop culture. To Eric and Derek Miller: Thank you for being the cousins in my life who were always there to give me introspective words of wisdom, and inspiring me to always push myself to achieve greatness. 4 Running head: ADVERTISING WITHIN THE MARVEL CINEMATIC UNIVERSE To Jenna Fitzgerald: Thank you for being my rock, my beacon of light, and my north star through everything and for showing me all the love in the world. To Sam Ingles: Thank you for being there for me even when I over analyzing every small detail, and for being my partner in crime from taking over Communication Law, Ad Club, and being my comic book and movie trip buddy. To Ryan Krupa, Nicholas Allion, Seth Bass, and Cosmo Gigante: Thank you for giving me a sense of place during a time when I needed a sense of belonging. To Gina McDaniel: Thank you for being my captain through thick and thin. To Kenzie Storrier: Thank you for giving me tea and helping me learn to be more confident about myself. To Tomas Villalba, Matt Kennedy, Nick Kennedy, and Dakota Sawyer: Thank you for being the best power squad I guy could’ve ever asked for and being patient with me learning and growing over the years, and a friendship that will truly last a lifetime. To Daniel & Christine Smith: Thank you for teaching me how to be unafraid of being myself. To Halie Reed: Thank you for being my mentor as I have battled through this journey and helping me rediscover my voice and soul. To Dr. Shannon Jordan: Thank you for giving me a platform to redeem myself. To Jerry Cherry: Thank you for helping me grow over the years through RHA and housing. To Keondra Lackey, Alicia Frias, Ethan Tobin, Angelina Nacca, Christian Cagle, Jarrett Hulin, Spenser Taylor, Dylan Briggs, Sarah Thompson, Dylan Segee, Colin Shields, Derrick McReynolds, Crystal Harvey, Shane Gragg, Lindley Simpson, Abigail Radford, Sarah LaFrance, Andrea Wright, Kaitlynn Gray: Thank you for being the best SEABASS crew in the world and helping me on my journey. 5 Running head: ADVERTISING WITHIN THE MARVEL CINEMATIC UNIVERSE To Audrey Patterson, Cameron Masin, Matt Raynor, Alison Smith, Curtis Wilson, Carmen Gray, Tempest Bouknight-Davis, Anna Claire Dodd, Zach Birtsch, Stephen Salazar, Saige Roberts, and Kelsey Jones: Thank you for helping find the strength I needed to get up, move forward and fight for what I believe in. To Dr. Shanshan Lou: Thank you for offering me safe shelter when I was at points of true uncertainty. To Dr. Jennifer Gray: Thank you for providing a space within the Communication Honors program at Appalachian State University. To Dr. Emory Daniel: Thank you for being my thesis director during this process; and for teaching me that even when the fight seems endless, keep swinging the sword till something hits. To Marc Schaub: Thank you for being my second reader, and for guiding me during a point in my life when I needed a purpose. To Corey Daniel and Dr. David Naff: Thank you for giving me a place to be vulnerable and inspiring along my academic career. To Marvel Studios: Thank you for crafting deep and enriching stories that expanded my imagination and showed me what it means to be a hero. And to anyone who reads this: Thank you very much for taking the time to read this paper and I hope you enjoy the read whether you are a fan of superhero movies or not. 6 Running head: ADVERTISING WITHIN THE MARVEL CINEMATIC UNIVERSE Table of Contents Introduction………………………………………………………………………………...7 Review of Literature………………………………………………………………………9 Methodology………………………………………………………………………………..14 Results……………………………………………………………………………………….16 Discussion…………………………………………………………………………………….18 Limitations and Future Research…………………………………………………………...22 Conclusion…………………………………………………………………………………….23 References…………………………………………………………………………………….24 Appendix……………………………………………………………………………………….27 7 Running head: ADVERTISING WITHIN THE MARVEL CINEMATIC UNIVERSE Introduction As a media entity, the Marvel Cinematic Universe (MCU) has been a mainstay in popular culture for nearly eleven years. The franchise has incorporated twenty films (as of this writing) into the zeitgeist of modern-day film discussion. It became interesting to notice multiple instances across multiple films wherein which characters or story moments in the films utilize or mention a particular product or brand. The intended purpose of this manuscript is to examine how Marvel Studios features product placements, and how they may be able to influence the way in which the narrative progression of both episodic individual films, and the thematic MCU at large. Additionally, this paper is designed to investigate the ways in which commercial advertising and marketing practices that can be utilized in the development and execution of an ongoing multi-billion-dollar franchise, and how they influence the way in which consumers process films. Furthermore, this paper will cover topics including: the inception of the MCU, research into different discussions of narrative development in stories, and how product placements are used in cinematic film franchises. A content analysis of twelve MCU films was performed, in order to understand product placement within the narrative. To understand the fundamental nature of the Marvel Cinematic Universe as a conduit for brand synergy within the greater realm of consumer engagement, it is first important to chronicle the overall beginnings of the franchise, as a frame of reference for how brands learned to recognize the economic appeal towards product placement within superhero franchises. The inception of this new age pop culture empire first began during the year 2005, when New York based entertainment company Marvel Entertainment was in the final stages of preparing a calculated financial move (Fritz & Harris, 2005). The company wanted to take on the responsibility of production for any upcoming films moving forward, with more artistic 8 Running head: ADVERTISING WITHIN THE MARVEL CINEMATIC UNIVERSE ownership. This was in direct correlation to the company licensing films based off of some of their more familiar properties (such as Spider-Man, Blade, The Incredible Hulk, the Fantastic Four and the X-Men just to name a few) to other film studios (Waxman, 2007). The company found that their best option for success would involve partnering with a film distribution group that best represented their wishes to grow and flourish as their own independent studio (Leonard, 2014). On April 27, 2005, it was announced that Marvel had a conversation with (at the time) Chief Executive of American film Studio Paramount Pictures Brad Grey and was able to work out a distribution arrangement to secure a seven year ten film deal with Marvel for a collective value of $525 Million (Fritz & Harris, 2005). In exchange for Paramount only being the primary distributor for the films and taking a portion made from overall promotion, Marvel would provide a credit line from Merrill Lynch Commercial Finance Corp to fund the ten films (Fritz & Harris, 2005). Within the overall development of this narrative, it is important to highlight three key players that were vital in the overall this deal. First is Avi Arad. Arad was Marvel Entertainment’s head for the film division, and it was ultimately his desire that the company to creating the independent Marvel Studios team (previously known as Marvel at its inception in 1993 and of which he served as founder and CEO up until 2006), (Leonard, 2014).
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