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National Library marketing 16 + Source Guide contents

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INFORMATION GUIDE STATEMENT ...... i BFI NATIONAL LIBRARY ...... ii ACCESSING RESEARCH MATERIALS ...... iii APPROACHES TO RESEARCH, by Samantha Bakhurst ...... iv

INTRODUCTION ...... 1

GENERAL REFENCES

BOOKS ...... 2 JOURNAL ARTICLES ...... 3 PRESS ARTICLES ...... 5

CASE STUDIES

TRAINSPOTTING ...... 8 FOUR WEDDINGS AND A FUNERAL ...... 9 THE BLAIR WITCH PROJECT ...... 9 STAR WARS EPISODE 1 THE PHANTOM MENACE ...... 10 TITANIC ...... 12

WEBSITES ...... 13 GLOSSARY OF TERMS ...... 13

Compiled by: Tess Forbes Matt Ker Sean Delaney

Design/Layout: Ian O’Sullivan

Project Manager: David Sharp

INFORMATION GUIDE STATEMENT

“Candidates should note that examiners have copies of this guide and will not give credit for mere reproduction of the information it contains. Candidates are reminded that all research sources must be credited”.

BFI National Library i BFI National Library

All the materials referred to in this guide are available for consultation at the BFI National Library. If you wish to visit the reading room of the library and do not already hold membership, you will need to take out a one-day, five-day or annual pass. Full details of access to the library and charges can be found at: www.bfi.org.uk/filmtvinfo/library

BFI National Library Reading Room Opening Hours:

Monday 10.30am - 5.30pm Tuesday 10.30am - 8.00pm Wednesday 1.00pm - 8.00pm Thursday 10.30am - 8.00pm Friday 10.30am - 5.30pm

If you are visiting the library from a distance or are planning to visit as a group, it is advisable to contact the Reading Room librarian in advance (tel. 020 7957 4824, or email [email protected]).

BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel. 020 7255 1444 www.bfi.org.uk/filmtvinfo/library

The library’s nearest underground stations are Tottenham Court Road and Goodge Street. For a map of the area please see: www.bfi.org.uk/filmtvinfo/library/visiting

BFI National Library ii Accessing Research Materials

Copies of articles

If you are unable to visit the library or would like materials referred to in this guide sent to you, the BFI Information Service can supply copies of articles via its Research Services. Research is charged at a range of hourly rates, with a minimum charge for half an hour’s research – full details of services and charges can be found at: www.bfi.org.uk/filmtvinfo/services/research.html

For queries about article copying or other research, please contact Information Services at the above address or telephone number, or post your enquiry online at: www.bfi.org.uk/filmtvinfo/services/ask

Other Sources

Your local library

Local libraries should have access to the inter-library loan system for requesting items they do not hold and they may have copies of MONTHLY FILM BULLETIN and SIGHT AND SOUND. Some recent newspaper items may be held by your local reference library. Larger libraries will hold other relevant materials and should offer internet access.

Your nearest college/university

Universities may allow access to outside students, though you may not be able to borrow books or journals. Ask your reference librarian, who should be able to assist by locating the nearest college library holding suitable material. The BFI Film and Television Handbook lists libraries with signifi- cant media collections.

Your school library

Local bookshops

Some of the books mentioned in the bibliography will be in print and your bookshop should be able to order items for you.

The British Library Newspaper Library

The Newspaper Library will have all the newspaper items referred to in this guide. Contact the library first if you wish to visit. 16+ students under the age of 18 will need to make an appoint- ment.

The British Library Newspaper Library Colindale Avenue London NW9 5HE Tel. 020 7412 7353 Email:[email protected] www.bl.uk/collections/collect.html#newsBL

BFI National Library iii Approaches to Research by Samantha Bakhurst

Why do research?

You cannot simply rely on your existing knowledge when approaching essays in Media Studies. Although you will have some understanding of the area being explored, it is not enough to enable you to examine the area in depth. If you were asked to write about the people in your street in detail, you might have some existing information about names, faces, relationships, issues and activities but this knowledge would not offer you details such as every single one of their names, who knows who, who gets on with whom, how people earn a living, what has happened to them in the past and so on. This extra information could change your opinions quite dramatically. With- out it, therefore, your written profile would end up being quite shallow and possibly incorrect. The same is true of your understanding of media texts, issues and institutions.

Before researching any area, it is useful to be clear about what outcomes you are hoping to achieve. Research is never a waste of time, even when it doesn’t directly relate to the essay you are preparing. The information may be relevant to another area of the syllabus, be it practical work or simply a different essay. Also, the picture you are building up of how an area works will strengthen your understanding of the subject as a whole. So what outcomes are you hoping to achieve with your research?

A broad overview of the area you are researching: This includes its history, institutions, conventions and relationship to the audience. Research into these aspects offers you an understanding of how your area has developed and the influences that have shaped it.

An awareness of different debates which may exist around the area of study: There are a range of debates in many subject areas. For example, when researching audiences you will discover that there is some debate over how audiences watch television or film, ranging from the passive con- sumption of values and ideas to the use of media texts in a critical and independent way. Any discussion about censorship, for example, will be extremely shallow if you have no knowledge of these different perspectives.

Some knowledge of the work of theorists in the area: You need to demonstrate that you have read different theorists, exploring the relevant issues and investigating the area thoroughly in order to develop your own opinion based on acquired knowledge and understanding.

Information relevant to all key concept areas: You should, after research, be able to discuss all key concept areas as they relate to that specific subject area. These are the codes and conventions, representation, institutions and audience.

Types Of Research

Primary: This is first-hand research. In other words, it relies on you constructing and conducting surveys, setting up interviews with key people in the media industry or keeping a diary or log of data (known as quantitative information) on things such as, for example, what activities women are shown doing in advertisements over one week of television viewing. Unless you are equipped to conduct extensive research, have access to relevant people in the media industry or are thor- ough in the up-keep of your diary or log, this type of research can be demanding, complex and sometimes difficult to use. Having said that, if you are preparing for an extended essay, then it is exactly this type of research which, if well used, will make your work distinctive and impressive.

Secondary - printed sources: This is where you will be investigating information gathered by other people in books, newspapers, magazines, on radio and television. All of these sources are excellent for finding background information, statistics, interviews, collected research details and so on. This will form the majority of your research. Some of these will be generally available (in public libraries for example); others such as press releases and trade press may only be available through specialist libraries. BFI National Library iv Secondary - online sources: Online sources are also mainly secondary. You will need to be able to make comparisons between sources if you intend quoting online information, and to be wary of the differences between fact and opinions. Don’t necessarily assume something is a fact because someone on a website says it is. Some websites will be “official” but many will not be, so you need to think about the authority of a site when assessing the information found on it. The structure of a website address (URL) can indicate the site’s origin and status, for example, .ac or .edu indicate an academic or educational institution, .gov a government body, .org a non-profit organisation, .co or .com a commercial organisation. Websites sometimes disappear or shift location - make sure you can quote a URL reference for a site, and perhaps keep a note of the last date that you checked it.

Other Media: When considering one area of the media or one particular product or type of product, it is very important that you compare it with others which are similar. You will need to be able to refer to these comparisons in some detail so it is not enough to simply watch a film. You will need to read a little about that film, make notes, concentrate on one or two scenes which seem particularly relevant and write all of this information up so that you can refer to it when you need to.

History and development: Having an understanding of the history and development of the media text which you are researching will provide a firm foundation and context for contemporary analysis. There is a difference between generally accepted facts and how theorists use these facts.

Theory: This is the body of work of other critics of the media. Most of the books and periodical articles which you will read for research will be written by theorists who are arguing a particular viewpoint or position with regard to an issue within the media. It is this which forms the debates surrounding the study of the media, in which you, as a media student, are now becoming involved.

Using Research

Organising your research: Before rushing headlong to the local library or web search engines, the first stage of research is to plan two things. When are you able to do your research and how are you going to organise the information gathered? You may, for example, wish to make notes under the headings listed above.

Applying your research: Always return to the specific questions being asked of the text. The most obvious pitfall is to gather up all of the collected information and throw it at the page, hoping to score points for quantity. The art of good research is how you use it as part of your evidence for an analysis of the text. The knowledge you have acquired should give you the confidence to explore the text, offer your own arguments and, where appropriate, to quote references to support this.

Listing your research: It is good practice, and excellent evidence of your wider reading, to list all references to secondary research, whether mentioned within the essay or not, at the end of your work.

References are usually written in this way:

1. Len Masterman, Teaching About Television, London, Macmillan, 1980. 2. Manuel Alvarado and Bob Ferguson, “The Curriculum, Media Studies and Discursivity”, Screen, Vol.24, No.3, May-June 1983.

Other media texts referred to in detail should be listed, with relevant information such as the director, date of release or transmission, production company and, where possible, scene or episode number. Where you have compiled primary research, it is useful to offer a brief summary of this also at the end of your work.

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Movie marketing: opening the pic- summer that ate Hollywood. Madrid: Media Business School, 1993. ture and giving it legs. New York: St Martin’s Press, 1999. Los Angeles: Silman-James Press, Packed with easily digested and 1997. The editor-in-chief of Variety gives relevant sections on all aspects of a brisk week-by-week, blow-by- marketing. The book is aimed at Very useful and most recent work blow account of the summer of students of the European film available on the art and science of 1998. It follows the fortunes of industry. It identifies 5 key ele- movie marketing. Aimed at indus- blockbusters like GODZILLA, ments of marketing (stars; direc- try insiders it is very readable and LETHAL WEAPON IV and ARMAGED- tor; genre; awards; box office). It packed with figures. Chapters DON in the all important summer examines the nature of cinema- focus upon the marketing of par- season for US releases. If the going in Europe and the impor- ticular genres and contain vital reader is prepared to read through tance of when and how a film is breakdowns of P & A budgets. each un-indexed chapter, they will released (e.g. “day & date” release Marketing styles discussed range be rewarded by ample facts and vs. platform release). A sample P from the corporate efforts of the figures. The interviews and & A budget is provided and it studios to the DIY efforts of the reported conversations give an notes the great difficulties in independents. Genres covered insight into the perceptions and obtaining accurate marketing data include action-adventure, roman- which due to spiralling costs is tic comedy, documentary, sus-

16 + Source Guides: Marketiing dealings of Hollywood. treated as commercially sensitive. pense, African-American features and ‘foreign’/UK films. These DALE, Martin include FOUR WEDDINGS, PULP FIC- The movie game: the film busi- ILOTT, Terry TION, THE BROTHERS McMULLEN, ness in Britain, Europe and Budgets and markets: a study of GOLDENEYE, HOOP DREAMS, WEL- America. the budgeting of European film. COME TO THE DOLLHOUSE, London: Cassell, 1997. London: Routledge, 1996. HOWARDS END, CRUMB, CARNOSAUR, MALICE, BROTHER’S KEEPER, MENACE II SOCIETY, HOUSE Very useful reference work on the Study of the budgeting and mar- PARTY and WAITING TO EXHALE. film industry in America and keting of European film in the There are also other chapters on Europe. The author argues that early 1990s aimed at industry the making of trailers and the Europe plays an important role in insiders. Part One looks at invest- lucrative business of merchandis- American cinema and industry ment, markets, audiences, output, ing. and this informs his analyses of television, subsidies and the deci- the workings of the American sion making processes. Part Two majors and their European coun- contains case studies of 13 films. MURPHY, Robert (ed) terparts. The book contains many These contain varying amounts of British cinema of the 90s. tables and diagrams to highlight data on budgets, P & A costs, box London: BFI Publishing, 2000. points and is full of brief but dense office figures and ancilliary sales passages on the production and as well as some brief commentary Recent and wide-ranging study of marketing of independent suc- and concluding remarks. Part contemporary British cinema. cesses such as FOUR WEDDINGS Three lists the conclusions, con- AND A FUNERAL. taining some cautionary advice for the budding film producer. In Chapter 2, The British film industry in the 1990s, the bfi The author studies cinema audi- National Library’s own Peter Todd ences, how the major players reviews the current trends includ- operate, ‘commercial’ and ‘art- LITMAN, Barry R. ing the poster campaigns for house’ sectors, and how the The motion picture mega-indus- TRAINSPOTTING and LOCK, STOCK European and American film try. AND TWO SMOKING BARRELS. It industries have a symbiotic rela- Boston; London: Allyn & Bacon, 1998. also contains tables on admissions tionship. Author warns of the cul- and budgets tural ghetto that results from a Dense work about the economics “subsidy trap” mentality from of the US film industry and looks In chapter 8, Hollywood UK, Neil which Europe might not be able to at recent developments as well as Watson notes the increasing escape. The media interests of the the history of the industry. importance of marketing film. The majors are also examined and Chapter 9 by Indre de Silva exam- modest distribution and release many tables, diagrams and statis- ines how consumers choose what strategies of HEAR MY SONG are tics are provided. films to see. Barry Litman and Ahn Hoekyn look at how the contrasted with a major majors attempt to predict com- Hollywood film. mercial success. Chapter 12 includes a section on current mar- In Chapter 10, Here and then: keting practices and looks at STAR space, place and nostalgia in British youth cinema of the 1990s,

BFI National Library 2 Karen Luny analyses how REID, Mary Anne TAYLOR, Thom TRAINSPOTTING was marketed and Long shots to favourites: The big deal: Hollywood’s million explores the importance of the Australian cinema successes in dollar spec script market. posters, logos, soundtrack and an the 90s. New York: William Morrow, 1999. aesthetic that contributed to a Australian Film Commission, 1993. ‘brand’ sparking wide appeal and This “behind the scenes” look at intense interest. Detailed case studies of PROOF, Hollywood contains a section ROMPER STOMPER and STRICTLY ‘Making the final cut’ (pp.179-182), BALLROOM. Includes data on P & A which reveals the successes and PETRIE, Duncan J. budgets, box office figures and failures of test screenings by the Creativity and constraint in the how the films were marketed in majors as well as the ‘textbook’ British film industry. Australia and abroad. platform releases used by ‘art- Houndmills; London: Macmillan, house’ independents, most notably 1991. PLATOON. Word of mouth is as ROSEN, David (with Peter vital to the majors as it is to the Reading list classic on the British Hamilton) independents. film industry. In Chapter 5, the Off-Hollywood: the making and author explores sales, distribution marketing of independent films. and marketing. Even in the 1980s New York: Grove Weidenfeld, 1990. * WYATT, Justin companies needed to look more High Concept: movies and market- closely at the marketing end of the Contains 13 case studies dealing ing in Hollywood. production process. The chapter with the development, production, Austin, TX : University of Texas contains interesting comments by distribution, marketing and ancil- Press, 1994. interviewees on poster design, liary sales of such films as EL marketing strategy and the NORTE, MY DINNER WITH ANDRE Seminal text. The author analyses increasing importance of pop and STAND AND DELIVER. Costs why the high concept movie domi-

16 + Source Guides: Marketiing music in promoting films. and box office are quoted where nates Hollywood. ‘High concept’ is known and it is remarkable to defined and how it is constructed note how much needs to be spent and adapted for the market POSNER, Michael on promoting an independent film through the increasing use of mar- Canadian dreams; the making and in the US. ket research. Author argues that marketing of independent films. contemporary Hollywood films are Vancouver; Toronto: Douglas & fully integrated with their market- McIntyre, 1993. SQUIRE, Jason E. (ed) ing and that a single image, phrase The movie business book (2nd ed). or theme song is the quintessence Case studies of 10 Canadian films New York; Fireside/Simon & of its product appeal. Author from conception to release. Schuster, 1992. states that the most important Author examines how audiences ingredients of a “high concept” were targeted and commercial tie- Contains sections written by US film are: ‘mass appeal’; star; in’s arranged. Distribution is also film industry insiders on all soundtrack; pre-sold property (i.e. discussed and how well the films aspects of the business including well known book or play) and the performed at the box office in marketing by the majors and the all important one North America. independents as well as the lucra- word/image/symbol which is focus tive world of merchandising. for marketing e.g. JAWS, GREASE, BATMAN. The only slight flaw is with this work for contemporary research is that it is based on 1980s Hollywood cinema.

journal articles

CINEMA JOURNAL Vol. 29.no.3. Spring 1990, pp.3-31

Announcing Wares, Winning Patrons, Voicing Ideals: Thinking about the History and Theory of Film Advertising, by Janet Staiger

Examines the history of the eco- nomic practices of producing film advertising in the United States and how the film industry used advertising practices for their own ends. In six sections, Staiger traces the development of film advertising from before the begin-

BFI National Library 3 ning of the 20th century, how it interaction between the trailer- Burgi discusses how film market- appealed and communicated to producers, the distributors and the ing uses TV to promote film titles, consumers and learnt to target exhibitors and how independent analysing the TV shows used and specific audiences after 1950. film need to use trailers to demon- alternatives, such a cable and the strate an originality missing in internet. Contains tables of top TV mainstream films. programmes targeted for film CREATION advertising in 1996. December 1999, pp.28-31 HOLLYWOOD REPORTER Trailer for Sale or Rent. If there is Vol.347. No.32. 27 May 1997 4.s22, s35. a profession within the production Setting Sail. Charting foreign terri- world that requires a psycholo- Movies and the Media. Special tories, movie marketeers find it gist’s skills, it is that of the trailer Issue. s1-s35. often pays to raise different colors, director, by Brant Drewery by Jerry Roberts 1. s4, s26. Article discusses the skills Launch Pads: Sneak peaks, teasers Discusses how advertising cam- required of a trailer director to and savvy skewing of what might paigns for films are altered for dif- capture the attention of an audi- appeal to audiences marked the ferent countries in order to appeal ence as quickly as possible and past year’s film campaigns, by to different audiences. As interna- sell the film. Drewery refers to the Jerry Robert tional returns for Hollywood films editing skills required and the dif- can produce more than half its ferent techniques employed by a Overview of the most successfully box office take, suiting the promo- good trailer. Also compares and marketed US films of 1996, identi- tion of films to different cultures contrasts TV and cinema trailers fying why certain campaigns makes sense. within the marketing process. worked and providing table of top 20 US films comparing box office 16 + Source Guides: Marketiing and media budget spent. JOURNAL OF POPULAR BRITISH FILMMAKER CINEMA Vol.7. No.4. Summer 1999, pp.18-22, No.2. 1999, pp.83-99 68-69, 92 2. s7-s9, s30 Where the money went. Network Promotional activities and show- Cars, Soap and Celluloid. TV spending zooms as movie dis- manship in British film exhibition, Marketing Independent Film in a tributors invest $1.7 b6illion in by Alan Burton and Steve Chibnall Studio Film Age, by David Geffner media buys in 1996, by Michael Burgi Aware of a gap in British scholar- Geffner points out that though a ship in relation to the study of film may receive good reviews at Article provides statistics on British film publicity and market- festivals, many independent films advertising spending by major dising, the authors provide an are considered unmarketable and tributors, and discusses how overview of British film promo- are not picked up by distributors. money was divided using different tional activities. Focusing on dif- Since promoting stars and direc- forms of media, eg: radio and TV ferent tactics from the 1940s. The tors will not always create networks. article examines the development demand, independent films are . of ‘showmanship,’ trailers, product using other tactics such as the placement, business co-operation, internet, developing corporate 3. s15 – s 16, s33 stunts and the influence of partners or targeting niche audi- Scratching a Niche. Carefully tai- Hollywood’s publicity tactics. ences to sell a film. Using THE loring film marketing to special BLAIR WITCH PROJECT as an exam- audiences can add big dollars to a ple of creating interest independ- film’s box office take, by Alan PREMIERE ently of film reviews, Geffner also Waldman Vol..13. No.4. Dec 1999, pp.39-40 shows how some films are sold via the film company’s name and that Discusses the marketing of films Don’t Believe the Anti-Hype, by targeting niche audiences may be at specific audiences, eg: ethnic, Raphael Simon the marketing style of the future. female, youth, gay etc. Focusing on films targeted at African-American Discusses the new marketing audiences, the article outlines methods, conventional and uncon- FILMMAKER companies’ strategies via radio, ventional, behind recent advertis- Vol.5 No.3. Spring 1997, pp.31-34 cinema theatres and magazines. ing campaigns. Refers to how the Waldman argues that the Latino internet was used to promote THE Clip Art. The Art of Trailer market is underdeveloped and dis- BLAIR WITCH PROJECT and how Production, by David Geffner cusses alternative media cam- new forms of marketing need to paigns. be used for a public distrustful of Geffner discusses how trailers can advertising campaigns. be crucial to a film’s success and the importance of the relationship 4. s18-s20. between the trailer and the Net Results. Baby-boomer hits prospective audience. Using WEL- draw the biggest movie ad dollars, COME TO THE DOLLHOUSE as an but the MTV generation is moving example, the article examines the in, by Michael Burgi

BFI National Library 4 films, the author SIGHT AND SOUND shows how films Vol.8. No.7. July 1998, pp.24-26 like INDEPEN DENCE DAY, SE7EN The Big Tease. Trailers often out- and THE CABLE class the movies they promote, GUY are promoted but is there a perfect formula? to capture new asks Andy Medhurst consumers. Commenting on how trailers have to work to get audiences back into SCREEN INTERNA- the cinema, Medhurst shows how TIONAL editing, genre, use of stars and sto- No. 1067. 19 July, rylines are used to create audience 1996, p.12 demand. Trailers can also alienate potential audiences and alter their Multiplicity. As film political message depending on marketing in vari- which audience is being targeted. ous territories Lastly, Medhurst points out that become more the voice-overs for trailers are sophisticated and always male. idiosyncratic, studios’ international departments are no SIGHT AND SOUND longer just being Vol.8. No.7. July 1998, p.26 fed US campaigns, John Hazelton Coming Attractions. Sight and 16 + Source Guides: Marketiing reports Sound sees how trailers are tai- lored for the UK As US produced films are exceeding Discusses the recent rise in popu- local box office tak- larity of trailers and how American ings on the inter- campaigns are altered to suit the PACT MAGAZINE national stage, marketing chiefs UK market. Article analyses trail- No.8. Sept 1999, pp.12-14 are finding it profitable to alter a ers used for LAND GIRLS and film’s promotion to suit different TRAINSPOTTING and how the gov- Marketing Movies Matters. audiences. Films such as GOLDEN- ernment is funding a project Identifying your key audience is of EYE and SPECIES used new adver- which will collate information paramount importance in making tising material to relate to about former advertising cam- any movie successful, by Louise European markets. In addition, paigns for companies to access. Bateman titles are often launched different- Notes that trailers are being used ly, using alternative aspects of a in new venues apart from cinemas Article discusses the importance film to those used in the US pro- to gain specific audiences. of knowing the audience targeted motion. in film marketing and uses HUMAN TRAFFIC, THE BLAIR WITCH SIGHT AND SOUND PROJECT and THE FULL MONTY as SIGHT AND SOUND Vol.7. No.6. June 1997, pp.38-41 examples of successful campaigns. Vol.9. Supplement. No.3. Understanding the audience and Mediawatch 99, March 1999, pp.10- Marketing, by Justin Wyatt using various marketing strategies 13 are shown as imperative in pro- Wyatt analyses the different areas moting low budget films. Shotguns and Weddings. How in which a film can be marketed PolyGram sold its two big hits of via stars, genre, the technology 1998, ‘Elizabeth’ and ‘Lock, Stock involved in the film or the attitude SCREEN INTERNATIONAL and Two Smoking Barrels’, by Nick of the film. Also discusses how No. 1067. 19 July, 1996, pp.10-11 Roddick films are sold in relation to their marketability versus playability For a Few Dollars More. In a cli- After providing a profile of the (popularity) factor and the various mate of extravagant marketing company PolyGram, Roddick con- necessary promotional strategies spends, some UK majors are trasts the marketing campaigns of used. searching for new advertising ELIZABETH and LOCK, STOCK AND opportunities and looking to curb TWO SMOKING BARRELS. Using dif- unnecessary spending, John ferent marketing strategies and VARIETY Hazelton reports aiming at different audiences, both 19 December 1999, pp. 9, 22 Hazelton discusses the various films did well at the box office. forms of film advertising, includ- The article shows the different U.S. pics ride o’seas seesaw; stu- ing TV ads, trailers, newspaper ways the media is used to target dios still searching for keys to int’l coverage and merchandising and audiences and provides statistical success, by Don Groves how they operate to create audi- tables on box office takings for ences. Discussing how different both titles. Article discusses the success of US strategies are used for different films abroad and how various fac-

BFI National Library 5 tors, such as genre, awards, stars media’s problem? by Danny Leigh and subject matter contribute to a press articles film’s box office potential. On the decision by Film Four to Considers why some films do well * INDEPENDENT ON SUNDAY spend heavily on marketing the internationally and why some fail (‘CULTURE’ SECTION) low-budget EAST IS EAST as a and how both films and markets 26 December 1999, p. 7 mainstream comedy and the have to be approached individually antipathy of the tabloid press if campaigns are going to be suc- May your release be merciful; who towards British film releases. cessful. decides what comes out when – and why? by Matthew Sweet EVENING STANDARD VARIETY Warts ‘n’ all break down of the 2 December 1999, pp. 58-59 8 November 1999, pp. 9-10 methods employed by distributors to entice a paying audience to East is East: how the BBC lost the The preshow must go on… and their films. The ten secret rules by plot, by Neil Norman on; lengthier ads, trailers push which they are alleged to operate product and auds’ patience, by include “if your film is rubbish, try Detailed history charting the film’s Dade Hayes to stop people finding out” and conception and financing, includ- “you can sell the same thing twice ing an account of a successful test Discussion on the recent increase to the same people.” screening which indicated that the of time spent on the preshow to film would have broad appeal. films shown in cinemas, how trailers have increased in numbers and GUARDIAN (SECTION 2) how more advertisements are 14 December 1999, pp. 6-7 * OBSERVER (‘SCREEN’ SECTION) being screened. Article considers 28 November 1999, pp. 8-9 both the arguments for and Out of the picture; TV and books 16 + Source Guides: Marketiing against this development, citing pitch at the ‘modern woman’ mar- ‘That can’t be my film they are audience approval for trailers and ket. So why aren’t we up on the talking about’; debutant British adverts, but also audiences’ short big screen? by Hettie Judah director Julian Farino got a shock attention span and dislike of when he delivered his film, and ‘burnout’ before the showing of Brief piece suggesting that the saw its trailer. Those selling The the main film. world of mainstream film criticism Last Yellow wanted to play up its is male-dominated and that similarities to a host of other female audiences will often place British films, by Julian Farino VARIETY more faith in word-of-mouth opin- 18 October 1999, pp. 1, 57 ions when choosing a film to see. Interesting account - from the FANNY & ELVIS is cited as an director’s point of view as a frus- Geek gab freaks film biz; sprout- example of a film with potential trated outsider - of the marketing ing webs heighten din of disinfor- appeal to the female market that process of a film that did not fit mation, by Marc Graser and Chris sank without trace at the box easily into the well-used stereo- Petrikin office. types of the British film industry. Also brief notes on the disingenu- Graser and Petrikin discuss the ous trailers for EAST IS EAST and influence of various web sites on DAILY TELEGRAPH VELVET GOLDMINE. the success of films at the box (‘ARTS AND BOOKS’ SECTION) office. The article outlines how 11 December 1999, p. A7 various web sites dedicated to film FINANCIAL TIMES also spread rumours concerning The dubbing down of foreign film, (‘WEEKEND FT’ SECTION) films. Such information plus feed- by S. F. Said 9 October 1999, p. VI back from filmgoers can have a detrimental effect on a film. Report on the decline of the mar- Armageddon for the art film, by Article also includes examples of ket in Britain for foreign language Nigel Andrews how web information affected film film that has led to a reluctance production and how film studios on the part of distributors to How the changing demands of have developed their own sites for release even award-winning non- audiences have led to a decline in viewers’ personal opinions. English language titles. Dubbing the arthouse culture and the mar- into English is quoted as one ket for foreign language film. approach to attract a mainstream audience. TIMES 9 August 1999, p. 43 GUARDIAN (SECTION 2) 10 December 1999, p.13 Everyone’s wild about Harry, by Lesley O’Toole Home to roost; when East is East was released in cinemas, it was Brief profile of Harry Knowles “the virtually ignored by the popular man Hollywood fears the most” press. And it isn’t the first time a and his Ain’t It Cool News website. hit British film has been given the The site has acquired an increas- cold shoulder. Exactly what is the ing role in influencing the pre-

BFI National Library 6 detailed break- down of the lay out of the ARMAGEDDON poster, which includes con- tractual require- ments regarding billing and let- tering sizes, etc.

VILLAGE VOICE (FILM SPECIAL) 21 May 1996, pp. 18, 20

The birth of a market; who says it’s so hard to sell Black films abroad? by Craigh Barboza

Analyses the reasons why

16 + Source Guides: Marketiing successful US Black films have often not found release publicity for Hollywood INDEPENDENT a market overseas, even when fea- movies through its unauthorised (‘REVIEW’ SECTION) turing globally-known names. reviews of test screenings and pre- 30 March 1999, p. 12 release tapes. Taking a leaf out of Hollywood’s TIMES book; British film-makers need to 4 November 1995, p. 17 TIMES learn that great quality doesn’t 16 April 1999, p. 35 guarantee box-office success, by Hollywood is just toying with us, Darius Sanai by Richard Morrison Forget the steak, we’re sold on the sizzle, by Richard Morrison Peter Buckingham of distributor The primary importance of mer- Film Four is quoted to identify the chandising in the kid’s movie On the growing spend on advertis- marketing considerations essential industry, with release dates sched- ing by Hollywood studios - quoted for the success of a British film at uled to tie-in with the Christmas as $25.3 million per movie in the the box office. shopping calendar, viewed from US alone – which, more than the the position of the beleaguered size of production budgets, means parent. that British films are unable to GUARDIAN compete in the market place. (‘THE GUIDE’ SUPPLEMENT) 15 August 1998, pp. 4-6 DAILY TELEGRAPH 10 July 1995, p. 19 GUARDIAN (SECTION 2) Restricted view, by Danny Leigh 9 April 1999, pp. 2-3 Holy merchandising! by David On the raw deal dealt to British Gritten To the Max; ten years ago, two audiences who only get to see the small-time independent directors big Hollywood blockbusters many The style and content of BATMAN had their first hit. Today their months after their US release, and FOREVER (the third film of the company, Miramax, is to the the opportunity this gap in the Batman franchise) are seen to Oscars what Disneyland is to schedules gives studios to gener- have been driven by merchandis- theme park rides, by Brian ate revised marketing strategies. ing considerations, following the Pendreigh previous failure of the nihilistic BATMAN RETURNS to generate toy The history of US distribution and * GUARDIAN sales. production company Miramax – a (‘THE GUIDE’ SUPPLEMENT) subsidiary of Disney since 1993 – 1 August 1998, pp. 16-19 and the commercial business methods they brought to the independ- The Awful Truth, articles by Danny ent film world. Includes details of Leigh and Andrew Pulver their successful handling of THE CRYING GAME, PULP FICTION and Humorous unravelling of the art of SHAKESPEARE IN LOVE in the US. the poster campaign. Features a

BFI National Library 7 case studies Trainspotting journal articles reach a core audience. (dir. Danny Boyle, 1996) EMPIRE EMPIRE books No.91. January 1997, pp. 108-109 No.81. March 1996, p.100

Runaway Train. Trainspotting; the ‘From the Makers of Shallow CARTMELL, Deborah and movie, the money, the marketing Grave…’ Making a movie trailer is Whelehan, Imelda (eds) campaign… by Caroline Westbrook an art in itself. Trainspotting’s is Adaptations: from text to screen, the work of The Creative screen to text. Westbrook traces the progress of Partnership, by Caroline Westbrook London: Routledge: 1999. the marketing campaign of TRAINSPOTTING from its inception Westbrook outlines how the trailer Collection of essays exploring the in July 1995, outlines the tactics for TRAINSPOTTING was made and current debates and approaches in devised by the publicists and con- the decisions involved which adaptation. In Chapter 10, cludes that both timing and con- included showing the film was a ‘Speaking Out: the transformations trol were essential to the success ‘socio-realistic comedy’ and not of Trainspotting’, Derek Paget looks of the campaign. just about a group of drug takers. at the relationship between the The producers tried to both make book, play and film and why the trailer accessible and also true TRAINSPOTTING became such a EMPIRE to the quality of the film. hit. No.83. May 1996, p.20 16 + Source Guides: Marketiing Just The Ticket SIGHT AND SOUND * FINNEY, Angus Vol.9. Supplement. No.3. The state of European cinema: a Short article discussing how the Mediawatch. September 1999, new dose of reality. TRAINSPOTTING poster was so suc- pp.10-11 London: Cassell, 1996. cessful that it was copied by other companies in their advertising Well Hyped. With a great sound- Important study of the European campaigns, eg Feature Film track and a big, cheeky campaign, film industry. Author examines its Company and London an unlikely movie does well structure and financing and the Underground. training required for the future. As Article traces the successful pro- well as tackling Europe’s declining motion of TRAINSPOTTING through star system, the author also exam- EMPIRE an effective and much imitated ines the corporate players with a No.81. March 1996, p.99 poster campaign, creating a cult case study of PolyGram. status for the film and producing a The Writing On The Wall, by great soundtrack. As a follow up to TRAINSPOTTING is one of ten Caroline Westbrook the film SHALLOW GRAVE, pro- excellent film case studies which duced by the same film-makers, examines funding, distribution, Article follows the development of the film was exhibited as a com- production, the importance of the unique poster that helped mercial movie, not a small British editing and casting, and not least make TRAINSPOTTING so success- art film, and consequently reached how to market and release the ful, pointing out the early schedul- a wider audience. product. ing in the campaign, how the idea developed and how posters can press articles

INDEPENDENT ON SUNDAY 26 May 1996, p. 8

‘Trainspotting’ made easy – for Americans, by Milly Jenkins

US distributors Miramax have asked the film’s producers to dub sections of dialogue to make the film more comprehensible to the American audience.

BFI National Library 8 EVENING STANDARD to generate word of mouth, result- backing, of FOUR WEDDINGS AND A 23 April 1996, p. 19 ed in far greater box office admis- FUNERAL in the US. sions than for any other release at Movie-maker gets tough over the same time. poster parody, by Jane Flanagan The Blair Witch Brief article on PolyGram’s Project response to the wave of advertise- press articles (dir. Daniel Myrick, 1999) ments parodying their iconic TRAINSPOTTING poster campaign. * MAIL ON SUNDAY (‘NIGHT AND DAY’ SUPPLEMENT) books 1 January 1995, pp. 27, 29 * FINANCIAL TIMES POTTON, Ed and COWAN, Amber 27 January 1996, p. 5 by David Thomas Into the woods: the definitive story of the Blair Witch Project. Small budget movie with big Covers the film’s success from its Southwold: ScreenPress Books, 2000. ambitions: PolyGram is marketing humble beginnings and initial Trainspotting as the next cult hit unexpected popularity at a US test Slim paperback but must-read for with crossover appeal, by Alice screening. Also details how its a concise and packed history of Rawsthorn takings were subsequently divided the making and innovative mar- between the parties involved. keting of THE BLAIR WITCH PROJ- Outlining PolyGram’s approach to ECT (published as a promotional marketing the film, which is seen paperback to accompany its as more akin to that of a block- EVENING STANDARD release in DVD/VHS?). buster than a low budget release. 1 November 1994, p. 12 It details the involvement of the 16 + Source Guides: Marketiing Four Weddings and a Fortune, by distributor Artisan and how Alison Roberts through the use of the filmmakers’ Four Weddings own website with other willing Article on the financial repercus- internet and cable television And A Funeral sions of the film’s success, includ- “accomplices” they created a ‘leg- (dir. Mike Newell, 1994) ing some figures. end’ and ‘buzz’ around the film. The release strategy and dates, journal articles which augmented the word of GUARDIAN (SECTION 2) mouth wave of interest in the film, 16 May 1994, p. 16 are also examined. (Initially a nar- MOVING PICTURES row release on 27 screens then INTERNATIONAL Hyping for a hit, by Anna Blundy broadened to 1,100). The impor- No.185. 12 May 1994, p.17 tance of the stick man logo is also On the successful press and pub- discussed as well as the merchan- Wedding bliss licity campaign engineered prior to dising phenomenon it caused. The the film’s UK release. film’s impact on the flat-footed Concentrating on the marketing majors is also explored. campaigns for FOUR WEDDINGS AND A FUNERAL, the article shows DAILY TELEGRAPH how the premiere in London, the 22 April 1994, p. 19 STERN, D.A. interviews by the stars, local and The Blair Witch Project: a dossier. national promotional tie-ins and Bells ring for a British marriage, London: Boxtree, 1999. television coverage helped create Hugh Davies the film’s success. In addition, an Paperback containing the “com- early marketing campaign in Paris, On the unique success, being a plete story” of the events of the focusing on posters and radio ads British film without major studio ‘Project’ and its aftermath, and the legend of the Blair Witch.

journal articles

IF No.20. Dec.1999, pp.28-30

The Blair Witch Project, by Megan Spencer

Analysing the unprecedented success of THE BLAIR WITCH PROJECT for a low budget film, Spencer shows how the use of various marketing strategies contributed

BFI National Library 9 VARIETY (SUPPLEMENT) Willis film. 21 February 2000, p. 26

‘Blair Witch’ wins in DAILY TELEGRAPH Britain, by Julie Richard (‘WEEKEND’ MAGAZINE) 18 September 1999, pp. 58, 60, 62 Richard analyses the UK marketing campaign for Black Magic, by Quentin Curtis THE BLAIR WITCH PROJECT. The film had Charts the film’s history from its been widely seen in the purchase at the Sundance Film US and the element of Festival by Artisan Entertainment surprise had been dif- for $1million to the creation of its fused. As a result the infamous website and the market- marketing strategy ing success that created a ‘syner- involved taking the film gy’ between the film itself and its ‘underground’ again. The surrounding materials. website was redesigned with new footage and closely connected to the OBSERVER (‘SCREEN’ SECTION) campaign; and prints of 1 August 1999, pp. 6-7 the film were restricted in the first week of Season of the Witch, by Akin release. The result was Ojumu huge interest and a strong second week at THE BLAIR WITCH PROJECT is seen 16 + Source Guides: Marketiing the box office. as opposing the way independent cinema is usually marketed, rely- to its status as the most profitable ing on public interest generated film of all time. By using the VARIETY via its website and word-of-mouth Internet, their web site and poster 9 August 1999, pp. 7-8 rather than critical acclaim. campaigns at colleges to produce fictional folklore stories on the Spooked by ‘Witch’; low-budget film, the directors exploited both pic turns studio mind-set upside new and traditional media to pro- down, by Charles Lyons Star Wars Episode 1 mote their film. Their success has The Phantom forced Hollywood to reassess its Article examines the phenomenal own advertising and marketing success of THE BLAIR WITCH PROJ- Menace campaigns. ECT and questions whether its use (dir. George Lucas, 1999) of the internet and clever marketing strategies will revolutionise the SCREEN INTERNATIONAL ways films are promoted and dis- journal articles No.1228. 1 October 1999, p.11-12 tributed. Although studios have EMPIRE commissioned studies to under- No.116. February 1999, pp. 44-45 Blair Witch: The International stand its success, Lyons argues Project, by Mike Goodridge that the film needed an independ- Force Red. The most anticipated ent company to create interest via two minutes of film ever finally Goodridge discusses how the origi- the internet and limited theatrical hits the big screen, by Lizo nal marketing strategy of THE release. BLAIR WITCH PROJECT, which used Mzimba, and The Phantom documentary style trailers and Meaning, by William Thomas mixed fact and fiction, affected the promotion of the film internation- press articles Mzimbo discusses the huge appeal ally. Aware that the film appealed of the trailer for STAR WARS mainly to the youth market, and EPISODE 1 THE PHANTOM MENACE, GUARDIAN (SECTION 2) shows how demand was increased using merchandising and licensing 29 October 1999, p. 10 deals, the film was generally mar- via the Internet and how fans in keted by distributors as a spe- an unprecedented move, paid full Sense and Sensibility: The Blair ticket prices to see a two-minute cialised title. The article includes Witch Project made it big with no profiles of the campaigns used in trailer. Thomas analyses the trailer budget but big hype. Was it inten- shot by shot, outlining the narra- different countries internationally tional that The Sixth Sense did the and shows how the internet and tive and themes included in order opposite, asks a spooked-out to create maximum interest. new promotional techniques made Stuart Husband? by Stuart the film successful. Husband

Contrasts the marketing approaches of the two releases in the US, detailing Buena Vista’s ‘anti-marketing’ strategy that did not pres- ent THE SIXTH SENSE as a Bruce

BFI National Library 10 ENTERTAINMENT WEEKLY DAILY SUNDAY TELEGRAPH No.493. 9 July 1999, pp.6-7 TELEGRAPH 2 May 1999, p. 29 16 July 1999, p. 23 Toy Crazy, by Jeff Jensen The marketing force is with us to Farce that led to the press turning launch Star Wars toys, by James Jensen reports on the lack of sales on the Star Wars studio, by Jessica Langton of merchandising in connection Callan with STAR WARS EPISODE 1 THE Notes that licensing deals for mer- PHANTOM MENACE. He also puts An account of the bad publicity chandising are expected to bring the figures in context in relation to 20th Century Fox generated by in £2.5 billion, at least twice the sales expectations and previous their strong-armed dealings with film’s projected box office takings figures for film merchandise tie- the UK press covering the release worldwide. ins. of the film.

GUARDIAN VARIETY INDEPENDENT (‘THE GUIDE’ SUPPLEMENT) 22 March 1999, pp. 3, 54 15 July 1999, p. 3 24 April 1999, pp. 8-10

Distribs’ ‘Menace’: Playtimes, by Is the phantom menace of hype Buyer beware, by Jon Wilde Andrew Hindes overshadowing the art of cinema? by Steve Boggan and Paul McCann Sardonic piece on the machina- Article discusses the relationship tions and secrecy surrounding the between Fox, the studio of STAR Brief article on the increasing licensing of STAR WARS EPISODE 1 WARS EPISODE 1 THE PHANTOM importance studios place on hyp- THE PHANTOM MENACE merchan- MENACE, and the theatres showing ing a film prior to release. dise, also touching on other recent the film. The director George Lucas Includes word counts of the press Hollywood merchandising drives.

16 + Source Guides: Marketiing stipulated how the film should be coverage of STAR WARS EPISODE 1 shown and Fox initially demanded THE PHANTOM MENACE and EYES that the film remain on the same WIDE SHUT in the UK and short OBSERVER screen for its entire run, rather notes on “Hollywood’s Most Hyped 28 March 1999, p. 7 than moving to smaller screens. Movies”. The theatre exhibitors argued that Billion-dollar market force will be size of audience would dictate on TIME OUT with us, by Melinda Wittstock which screen the film would be 12-19 May 1999, pp. 12-13 shown and Fox could not make On the ubiquity of STAR WARS such demands of cinemas. Hyperspace, by Andrew Johnston EPISODE 1 THE PHANTOM MENACE products and imagery, and the Documents the anticipation build- strict control of their use by ing up prior to STAR WARS EPISODE George Lucas. press articles 1 THE PHANTOM MENACE’s release and George Lucas’ skill at manag- GUARDIAN ing hype. SUNDAY TIMES (SECTION 11) (‘THE GUIDE’ SUPPLEMENT) 10 January 1999, p. 14 3 March 2000, p. 13 Feel the force, by On the money, by Mark Morris Christopher Goodwin

Highlights the young George The success of the Star Lucas’ canny decision to insist on Wars films and their mon- retaining merchandising rights to eymaking merchandising the STAR WARS franchise before is seen as having altered the subsequent explosion in scale the course of Hollywood of the merchandising industry. filmmaking, with the release of STAR WARS EPISODE 1 THE PHANTOM INDEPENDENT MENACE described as “the 25 January 2000, p. 5 biggest marketing event in the history of the world.” ‘Star Wars’ failure leaves black hole where publisher’s’ profits used to be, by JoJo Moyes TIMES 14 December 1998, p. 13 Brief article on the over-optimistic move by publisher Dorling Two minutes and the force Kindersley to print 13 million Star was with me: the latest Wars books, their loss of an esti- US box-office hit is a trail- mated £18m on merchandising for er, by Giles Whittell STAR WARS EPISODE 1 THE PHAN- TOM MENACE leading to financial Fans queue to see the two difficulties. minute trailer for STAR

BFI National Library 11 WARS EPISODE 1 THE PHANTOM MENACE, described as the first ever journal articles press articles “must see” film trailer. EVENING STANDARD SCREEN INTERNATIONAL GUARDIAN (SECTION 2) 8 September 1997 No.1164. 26 June, 1998, p.9 16 December 1998

Toy giants in battle for Star Wars Big Boat, small screen, by Nick And the franchise plays on rights, by Michael Shanahan Jamgocyan Short article on the Titanic Official The competition for, and heavy The US video release of TITANIC Movie Tour – a touring exhibition prices attached to, licenses to pro- was accompanied by the most of props and displays relating to duce STAR WARS EPISODE 1 THE expensive marketing campaign in the film - arriving in the UK. PHANTOM MENACE toys are expect- video history. Article includes ed to bring about knock-on price details of the advertising cam- rises in toy shops world-wide. paign, how the female audience * NEWSWEEK Figures quoted. was targeted and how the cross 23 February 1998, pp. 45-50 promotions with Max Factor and the telecommunications company Our Titanic Love Affair, by David GUARDIAN Sprint operated. Ansen 26 August 1997 Substantial US article on the Toy soldiers vie for Star Wars, by SCREEN INTERNATIONAL reception of TITANIC by audiences, Mark Tran No.1164. 26 June, 1998, p.9 including some demographic and financial information. Brief item on the bidding for the Face Value, by Nick Jamgocyan rights to produce STAR WARS 16 + Source Guides: Marketiing EPISODE 1 THE PHANTOM MENACE Includes details of how Max Factor GUARDIAN (SECTION 2) toys. has created the largest promotion- 5 February 1998, p. 7 al tie-in to date in relation to the release of the video of TITANIC. Money peculiar, by Derek Malcolm Campaign involves giving away free copies of the bestselling nov- With reference to TITANIC, Titanic elisation of Titanic and copies of (dir. James Cameron, 1997) Malcolm suggests that “the films the video to anyone who buys $10 that make money are either very worth of Max Factor cosmetics. expensive or very cheap,” also cit- books ing THE FULL MONTY as an example. SANDLER, Kevin and STUDLAR, Gaylyn (eds) Titanic: anatomy of a blockbuster. FINANCIAL TIMES New Brunswick, NJ; London: Rutgers 2 February 1998, p. 5 University Press, 1999. Titanic album sets Collection of thirteen essays on new records, by Alice TITANIC. It examines the critical Rawsthorn reaction, the film’s wide appeal, its cult status, the blockbuster as Brief item on the genre and the perennial feature of growth of the film TITANIC films, the representation soundtrack industry, of class. TITANIC as a mass media with TITANIC becom- event is also explored as is the ing the fastest-selling importance of its soundtrack. soundtrack album of all time.

MARSH, Ed W. James Cameron’s Titanic. TIMES New York: HarperPerennial, 1997. 30 May 1997, p. 17

Glossy coffee table book on the Titanic adrift in battle making of the film. of blockbusters, by Giles Whittell

Short piece on the US release of TITANIC being pulled from the key summer blockbuster slot it had been scheduled for due to costly production delays.

BFI National Library 12 British Film Office ‘Slanguage’ - a dictionary of terms Websites used in Variety articles and www.britainusa.com reviews. Independent Film & Television Alliance Site of the British Film Office in (formerly the American Film Los Angeles to encourage the Glossary of terms Market Association) shooting of films in the UK. Also provides assistance in marketing www.ifta-online.org. UK’s film and television products ancilliary markets within the US. Lists recent films distribution markets supplemen- IFTA is a trade association provid- shot in the UK such as STAR WARS tary to theatrical release, eg. home ing the independent motion pic- EPISODE 1 THE PHANTOM MENACE, video, television (terrestrial TV, pay ture and television industry with THE MUMMY, NOTTING HILL and TV, overseas, etc). marketing support services such ENTRAPMENT, and has information as the American Film Market on filming in Britain, studios, loca- arthouse (AFM), government relations, inter- tions and the financial advantages term used to describe films seen national affairs advocacy, an arbi- and financial infrastructure. to appeal to a specialised rather tration programme, statistical than mainstream audience, gener- data, and information services. ally produced outside of the Based in Los Angeles with a satel- Ain’t-It-Cool-News Hollywood studio system. Also lite office in London, IFTA was used to describe cinemas at which founded in 1980 - as the American www.aintitcool.com such product is exhibited. Film Market Association - by independent distributors who sought Film critic site, run by Harry back-end to build and protect their busi- Knowles, credited by some studios deal struck, usually by lead actor, nesses through the creation of a with the ability to make or break a whereby earnings are based on a 16 + Source Guides: Marketiing world-class motion picture trade film. Visited by more than 400,000 percentage of the gross box office show. movie fans a day. Contains gossip takings for a film rather than a and unofficial previews of films fixed payment. about to be released. Entertainment Resources and block-booking Marketing Association practice under which large distri- Variety bution companies negotiate guar- www.erma.org anteed exhibition for their less www.variety.com desirable titles through the supply The Entertainment Resources and of their more marketable releases Marketing Association site pro- Daily Variety and Weekly Variety. to cinema chains. Can also lead to vides information on the profes- Holds box office information on independent cinemas being unable sion of product placement. It has current top 6 US films, and current to book major releases in their profiles of production companies news and reviews. Also provides a opening weeks. who are members of the associa- subscription service (Variety Extra) tion and helps to represent com- which provides a unique box office box office panies and find them prod- database for more than five years literally, the place where tickets uct/service brand names for proof weekly box office charts, plus a are sold in a cinema or theatre. motion. Reviews and Credits database Generally used to refer to the total which contains more than 11,000 takings through ticket sales (before original Variety film reviews. The any deductions) for a film. site also has a section called budget term used to describe both the amount of money the production of a film is scheduled to cost and the amount it subsequently does cost (also known as the negative cost). Production budget figures do not usually include the P & A (prints and advertising) budget.

cross over film a film originally thought to appeal only to a specialised audience (see also arthouse) which succeeds in attracting a broader audience.

distribution the link between the production and exhibition of a film. The distributor buys the rights to exploit the product in particular markets (eg. theatrical, home video, etc).

BFI National Library 13 The distributor is usually responsi- Platform release tie-in ble for the marketing and promo- film opening on a small number of promotional campaign surround- tion of the film as well as handling screens with the hope that a posi- ing the release of a film arranged the physical distribution of the tive audience reaction will lead to in conjunction with the media or film prints. a wider interest and hence wider commercial partners (eg. con- distribution. sumer products, publications, exhibition competitions, fast food chain pro- the screening of a film; relating to press kit motions, etc). the cinema industry. publicity material supplied to the trade papers media to assist in the coverage of magazines devoted to business feature film a film’s release, usually including coverage of the film and media full-length film, for contemporary cast and credit details, as well as industries, for example Screen releases this means a running biographies and filmographies of International and Variety. time of approximately 72 minutes cast, director and producer. This or above. information is now often supplied trailer in an electronic format, when it is short promotional film used to focus group known as an EPK (electronic press advertise a feature film release representative group of members kit). (theatrical or video) or broadcast. of the public questioned to assess their reactions to a film prior to its prints & advertising (P & A) release. The feedback received the P & A budget covers the cost of may subsequently be used to re- releasing a film: producing the edit a film or to guide its market- multiple prints required for distri- ing strategy (see also test screen- bution, advertising, publicity, pro- ing below). motion, etc.

16 + Source Guides: Marketiing franchise prints the exclusive right to sell a partic- positive copies of a film distrib- ular product, used in the context uted for screening at cinemas. of the film industry to refer to an Most theatrical releases will be of ongoing series of films (eg. the DIE prints in 35mm format. HARD or STAR WARS films) and their intellectual copyright. public relations (PR) the practice of presenting an Hollywood majors image or product to the public in a the US studios MGM/United desired light. Distributors will Artists, Paramount, Sony usually handle the publicity for a (Columbia Tri-Star), 20th Century film’s release, but may sometimes Fox, Disney and Warner Bros. The also hire a PR company to raise newcomer Dreamworks SKG is the profile of the release in the now often added to this list. media, and to organise promotions, premieres, etc. independent film, or company working in the sell-through industry, not financially connected referring to the domestic purchas- to a studio (see Hollywood majors ing of video and DVD. above) or large corporation. tagline international sales agent key phrase or wording featured on company selling or licensing dis- a film’s posters or other publicity tribution rights on behalf of pro- material used to project a memo- ducers to distributors in particular rable idea of the film to the poten- territories around the world. tial audience.

limited release test screening film opening on only a few select- pre-release screening arranged to ed screens (see also platorm gauge audience reactions to a film. release below) Audiences are requested to rate the film within a number of cate- mainstream gories and the feedback received term describing a film seen as may subsequently be used to re- having wide commercial appeal. edit a film or to guide its marketing strategy (see also focus group merchandising above). consumer items (toys, CDs, cloth- ing, etc) exploiting the licensed theatrical image of a film or character. relating to film exhibition in cinemas.

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