And Branded Entertainment? Creating Exclusive, Engaging and Entertaining Content
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Going Native
GoinG native: hSow Marketers are reinventinG the online video advertisinG experience in association with: contents Summary ...............................................................................................................2 Foreword ...............................................................................................................3 Going Native ....................................................................................................... 4 The Changing Face of Distribution .............................................................5 The Power of Video .........................................................................................7 Heineken and 007 .............................................................................................8 Honda Million Mile Joe and Monsters Calling Home ............................ 9 Demand for Native Video .............................................................................10 Using Irreverence to Connect: K-Swiss and Kenny Powers .............. 11 Indie Meets Social Media: The Beauty Inside......................................... 12 The Advantage of Alignment ...................................................................... 13 Matching the Right Content to the Brand: JetBlue .............................14 Conclusion: The Future of the Market ......................................................15 Methodology ......................................................................................................16 summary Marketers are broadly -
Content Marketing Members-Only Conference
Content Marketing Members-Only Conference Wednesday, March 12, 2014 | Charles Schwab & Co. Inc. | San Francisco, CA at We’ll be live tweeting throughout the conference (@ANAMarketers), as well as posting photos and other information at facebook.com/ANA. www.ana.net Table of Contents ANA Content Marketing Members-Only Conference at Charles Schwab & Co. Agenda ............................................................................ pg 2 Speaker Bios .................................................................... pg 4 Attendees ........................................................................ pg 7 ANA Member Benefits .....................................................pg 15 www.ana.net 1 Agenda ANA Content Marketing Members-Only Conference at Charles Schwab & Co. WEDNESDAY, MARCH 12, 2014 to expand the opportunity to engage balance different content strategies for consumers and to build brand affinity different types of brands, or measure Breakfast (8:15 a.m.) in a new way that complements tradi- real results? The next five years will see tional advertising. a strategic inflection for marketing and advertising, and content will be at the Helen Loh General Session (9:00 a.m.) core. This session will talk through the Vice President, Content and Digital Marketing business case, the process, the tactics Charles Schwab & Co. Inc. BENJAMIN MOORE USES CONTENT TO and real-life examples of how real CONNECT WITH DIFFERENT AUDIENCE Tami Dorsey brands are using content to drive real SEGMENTS Editorial Director marketing results. Charles Schwab & Co. Inc. Staying true to their namesake’s 130+ Robert Rose Chief Strategist year-old vision, Benjamin Moore & Co. INTEL DEVELOPS A BRANDED Content Marketing Institute is committed to producing the highest CONTENT FORMULA TO ENSURE quality paints and finishes in the indus- try. But marketing to their disparate REPEATED SUCCESS Lunch (12:50 p.m.) target markets (contractors to home- When Intel & Toshiba launched “The owners, as well as designers and archi- Inside Experience” in 2011 it was General Session Cont. -
The Beauty Inside, a Audiência Como Herói1
The Beauty Inside, a Audiência como Herói1 Mariana Castro Dias2 Pontifícia Universidade Católica do Rio de Janeiro Resumo Em um contexto hipersaturado de mensagens, as marcas são obrigadas a reinventar sua forma de comunicação para poder chamar a atenção de seus consumidores, cada vez mais exigentes. Com a série social online The Beauty Inside, a Intel e a Toshiba não só conquistaram seu público-alvo com conteúdo relevante, como também o tornaram protagonista de sua narrativa. A série conta, através de plataformas como o youtube e o facebook, a história de amor entre Alex e Lea. Esse artigo revela como a audiência fez parte desse processo e como as marcas foram capazes de preservar seus valores e demonstrar a funcionalidade de seus produtos, sem prejuízo do entretenimento. Palavras-chave: publicidade; marketing de conteúdo; advertainment; cultura participativa. The Beauty Inside foi a segunda série social online desenvolvida, em uma parceria entre a Intel e a Toshiba, pela agência Pereira & O'Dell. O desenvolvimento dessas séries teve como objetivo principal criar uma conexão com jovens entre 18 e 24 anos, público obcecado pela Apple, e aliar as marcas ao conceito de criatividade, gerando buzz em torno delas. A primeira série social, intitulada Inside (2011), já havia tido um retorno muito positivo. Nela, uma garota acordava em um cativeiro e, durante 11 dias seguidos, a audiência tentava ajudá-la a sair de lá, por meio de suas redes sociais. Os fãs, encantados por se sentirem parte da narrativa, fizeram até um vídeo, agradecendo às marcas pela experiência. 1 Trabalho originalmente apresentado no Grupo de Trabalho 6 - Comunicação, Consumo e Subjetividade, do 5º Encontro de GTs - Comunicon, realizado nos dias 5, 6 e 7 de outubro de 2015. -
Under the Silver Lake
Presents UNDER THE SILVER LAKE A film by David Robert Mitchell 139 mins, USA, 2018 Language: English Official Selection: 2018 Festival de Cannes – Competition – World Premiere 2018 Fantasia Festival – Camera Lucida – Canadian Premiere Distribution Publicity Mongrel Media Inc Bonne Smith 1352 Dundas St. West Star PR Toronto, Ontario, Canada, M6J 1Y2 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com Synopsis From the dazzling imagination that brought you It Follows and The Myth of the American Sleepover comes a delirious neo-noir thriller about one man’s search for the truth behind the mysterious crimes, murders, and disappear- ances in his East L.A. neighborhood. Sam (Andrew Garfield) is a disenchanted 33 year old who discovers a mys- terious woman, Sarah (Riley Keough), frolicking in his apartment’s swimming pool. When she vanishes, Sam embarks on a surreal quest across Los An- geles to decode the secret behind her disappearance, leading him into the murkiest depths of mystery, scandal, and conspiracy in the City of Angels. From writer-director David Robert Mitchell comes a sprawling and unexpect- ed detective thriller about the Dream Factory and its denizens—dog killers, aspiring actors, glitter-pop groups, nightlife personalities, It girls, memorabilia hoarders, masked seductresses, homeless gurus, reclusive songwriters, sex workers, wealthy socialites, topless neighbors, and the shadowy billionaires floating above (and underneath) it all. Mining a noir tradition extending from Kiss Me Deadly and The Long Good- bye to Chinatown and Mulholland Drive, Mitchell uses the topography of Los Angeles as a backdrop for a deeper exploration into the hidden meaning and secret codes buried within the things we love. -
Exjobb Text V1.Pages
DEGREE PROJECT IN COMPUTER SCIENCE AND ENGINEERING, SECOND CYCLE, 30 CREDITS STOCKHOLM, SWEDEN 2017 Using crowdsourcing as a production method in filmmaking – a case study JOHAN LUNDH HEINSTEDT KTH ROYAL INSTITUTE OF TECHNOLOGY SCHOOL OF COMPUTER SCIENCE AND COMMUNICATION Using crowdsourcing as a production method in filmmaking – a case study Att använda crowdsourcing inom filmproduktion – en fallstudie Degree Project in Media Technology, second cycle, 30 credits Master of Science in Engineering in Media Technology School of Computer Science and Communications (CSC), KTH Johan Lundh Heinstedt, [email protected] Supervisor Christopher Rosenqvist Examiner Leif Handberg 2017-06-18 Sammanfattning Samtidigt som att våra beteendemönster i hur vi konsumerar media förändras i takt med att nya medieteknologier uppstår, förändras också sättet media produceras. Filmskapande följer många gånger en särskild process (ofta med en tydlig hierarki av specialister inom produktionsgruppen) och berättelsen har traditionellt sett berättats från en part till den andre – från producenten/regissören till publiken. Men internets intåg har i många avseenden förändrat filmindustrin, vilket har öppnat upp för en ökad dialog mellan dessa två parter, vilket har omformat publikens position till en mer medskapande sådan. Detta har resulterat i en större demokratisering av filmmediet, där den en gång passiva publiken nu involverar sig mer i den kreativa filmskapandeprocessen. Crowdsourcing, som redan är vanligt förekommande inom exempelvis produktdesign och serviceindustrier, -
Inmedia, 2 | 2012, « Performing/Representing Male Bonds » [Online], Online Since 15 November 2012, Connection on 24 September 2020
InMedia The French Journal of Media Studies 2 | 2012 Performing/Representing Male Bonds Electronic version URL: http://journals.openedition.org/inmedia/301 DOI: 10.4000/inmedia.301 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 2 | 2012, « Performing/Representing Male Bonds » [Online], Online since 15 November 2012, connection on 24 September 2020. URL : http://journals.openedition.org/inmedia/301 ; DOI : https:// doi.org/10.4000/inmedia.301 This text was automatically generated on 24 September 2020. © InMedia 1 TABLE OF CONTENTS Performing/Representing Male Bonds Performing/Representing Male Bonds Raphael Costambeys-Kempczynski, Claire Hélie and Pierre-Antoine Pellerin Losing Visibility? The Rise and Fall of Hypermasculinity in Science Fiction Films Marianne Kac-Vergne The Reluctant Patriarch: The Emergence of Lads and Lad Mags in the 1990s Nick Growse Seducing Women to Assess Each Other: Male Hierarchies within the Seduction Community Mélanie Gourarier Midlife Pop Masculinities in the Here and Now Chris Tinker Varia British Party Election Broadcasts (2001, 2005 and 2010): Ideological Framing, Storytelling, Individualisation David Haigron Bibliographical Essay ‘Locus of Control’: A Selective Review of Disney Theme Parks Thibaut Clément Interview At the Crossroads of Media, Media Critique, and the Critique of Media critics – An Interview with Serge Halimi, Editor-in-Chief of Le Monde Diplomatique Serge Halimi and Christine Larrazet Critical Perspective Social Cognition -
Classified by Genre: Rhetorical Genrefication in Cinema by © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St
Classified by Genre: Rhetorical Genrefication in Cinema By © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St. Louis, 2010 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Catherine Preston Co-Chair: Joshua Miner Michael Baskett Ron Wilson Amy Devitt Date Defended: 26 April 2019 ii The dissertation committee for Carl Joseph Swanson certifies that this is the approved version of the following dissertation: Classified by Genre: Rhetorical Genrefication in Cinema Chair: Catherine Preston Co-Chair: Joshua Miner Date Approved: 26 April 2019 iii Abstract This dissertation argues for a rethinking and expansion of film genre theory. As the variety of media exhibition platforms expands and as discourse about films permeates a greater number of communication media, the use of generic terms has never been more multiform or observable. Fundamental problems in the very conception of film genre have yet to be addressed adequately, and film genre study has carried on despite its untenable theoretical footing. Synthesizing pragmatic genre theory, constructivist film theory, Bourdieusian fan studies, and rhetorical genre studies, the dissertation aims to work through the radical implications of pragmatic genre theory and account for genres role in interpretation, evaluation, and rhetorical framing as part of broader, recurring social activities. This model rejects textualist and realist foundations for film genre; only pragmatic genre use can serve as a foundation for understanding film genres. From this perspective, the concept of genre is reconstructed according to its interpretive and rhetorical functions rather than a priori assumptions about the text or transtextual structures. -
Burghardt Tenderich
EIMO European Institute for Media Optimization TRANS MEDIA BRANDING Burghardt Tenderich Impressum ISBN: 978-3-9816332 1. Auflage 2014 © 2014 EIMO, Europäisches Institut für Medienoptimierung Holger Schmidt (Hrsg.) Joachim Schmidt (Hrsg.) Kiliansweg 30 55283 Nierstein Tel. 06133 57090 [email protected] Grafik: BUILT, Visual Communication, Wiesbaden Satz: workformedia, Frankfurt Transmedia Branding Burghardt Tenderich, Ph.D. Associate Professor University of Southern California Annenberg School for Communication and Journalism January 2014 Content Transmedia Branding – A new Paradigm for Marketing and Communication? ................. 9 About this Publication .......................................... 11 Introduction ................................................... 12 The Transmedia Concept ....................................... 15 Why Transmedia Branding? ..................................... 17 I’m On a Horse ................................................ 19 Transmedia Branding Design Elements ........................... 22 Narratives .................................................... 22 Participation .................................................. 25 Brands ........................................................ 27 Cultural Jamming of Brands . 30 Natural vs. Crossover Transmedia Brands ......................... 31 Research for Insights ........................................... 34 Ethical Consideration ........................................... 35 Does transmedia branding represent the future of marketing? ....... 35 Transmedia -
Film Websites: a Transmedia Archaeology
Film Websites: A Transmedia Archaeology Kim Louise Walden Submitted in partial fulfilment of the requirements of the University of Hertfordshire for the degree of Doctor of Philosophy November 2018 Acknowledgements I wish to thank my colleagues and supervisors, Steven Adams and Alan Peacock for their guidance through this research process. Thank you to my principal supervisor, Steven for his direction, and gently reminding me that it was permissible to cite myself as a secondary source. Thank you to my second supervisor, Alan for his open-mindedness, sharp insights and patience as well as innumerable cups of tea and coffee. I would like to thank Marsha Kinder, Dan Koelsch, Ian London, Franziska Nori, Rob Ford, Chris Thilk and Perry Wang for their advice, generously shared in email exchanges. Towards the end of the research, I was introduced to Bettina Sherick, a digital marketing pioneer and veteran from 20th Century Fox, and Founder of Hollywood in Pixels, a non-profit group dedicated to preserving the seminal digital film marketing campaigns. It was so wonderful to meet someone who shares my passion for film websites, so thank you to Bettina for the Skype conversations and emails. During this research process, I took my half-baked ideas to conferences, and benefitted enormously from the discussions that ensued. Subsequently some of this research has been published. So, I would like to thank Sara Pesce and Paolo Noto from the University of Bologna who edited my chapter in The Politics of Ephemeral Digital Media: Permanence and Obsolescence in Paratexts (2016); Likewise, Savatore Scifo, who edited my article for a special edition Interactions: Studies in Communications & Culture on digital archives (2017). -
Conceptualizing Audience Engagement in Transmedia Fiction
International Journal of Communication 8 (2014), 2201–2219 1932–8036/20140005 The Performative Functions of Dramatic Communities: Conceptualizing Audience Engagement in Transmedia Fiction SARAH ATKINSON1 University of Brighton, UK This article presents the analyses of audience interactions with The Inside, a fictional transmedia experience, in order to reveal insights into the multiple and often unexpected ways that audience members can translate, shape, and influence a transmedia text. The social media layering that binds a fictional transmedia experience together and the multiple pathways that the audience members create between its constituent elements can be the most compelling and fascinating aspect of the experience to study. This article seeks to conceptualize the audience activity around The Inside as the manifestation of a dramatic community. By identifying and presenting the dramatic community’s emergent performative functions, this analysis examines how such functions collectively operate to uphold and perpetuate narrative congruence, coherence, and authenticity. Introduction This article draws upon an audience study examining the online transmedia experience of The Inside2 (Dir: D. J. Caruso, 2011, Intel and Toshiba, USA). The Inside provoked great excitement and emotional investment from its audience, who were invited to contribute and get involved with the transmedia experience from the outset. The evolution of this involvement is conceptualized in this study as the formation of a dramatic community, a conceptualization that is indicative of a distinct shift from audience member to performative community member in transmedia fictional environments. Hitherto only limited investigations have been undertaken into the configuration of social media spaces as fictional narrative locations and as province for performance. -
A Film by JAMES VANDERBILT Based on the Book Truth and Duty
RATPAC ENTERTAINMENT present In association with ECHO LAKE ENTERTAINMENT and BLUE LAKE MEDIA FUND A MYTHOLOGY ENTERTAINMENT PRODUCTION in association with DIRTY FILMS TRUTH A Film By JAMES VANDERBILT Based on the book Truth and Duty: The Press, The President, and The Privilege of Power by Mary Mapes Official Selection Toronto International Film Festival 2015 125 min East Coast Publicity West Coast Publicity Distributor 42West Block-Korenbrot Sony Pictures Classics Scott Feinstein Tami Kim Carmelo Pirrone 220 West 42nd St., 12th Fl. 6100 Wilshire Blvd., Ste Maya Anand New York, NY 10036 170 550 Madison Ave. 212-277-7555 tel Los Angeles, CA 90048 New York, NY 10022 323-634-7001 tel 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax CAST Mary Mapes Cate Blanchett Dan Rather Robert Redford Mike Smith Topher Grace Lt. Colonel Roger Charles Dennis Quaid Lucy Scott Elisabeth Moss Andrew Heyward Bruce Greenwood Lt. Colonel Bill Burkett Stacy Keach Mark Wrolstad John Benjamin Hickey Lawrence Lanpher Dermot Mulroney Josh Howard David Lyons Betsy West Rachael Blake Dick Hibey Andrew McFarlane Mary Murphy Natalie Saleeba Nicki Burkett Noni Hazlehurst Robert Mapes Connor Burke Mike Missal Felix Williamson Dick Thornburgh Helmut Bakaitis Louis Boccardi Lewis Fitz-Gerald Ben Barnes Philip Quast CREDITS WRITTEN & DIRECTED BY James Vanderbilt BASED ON THE BOOK Truth and Duty: The Press, The President, and The Privilege of Power by Mary Mapes PRODUCED BY Bradley J. Fischer, William Sherak, James Vanderbilt Brett Ratner, Doug Mankoff, Andrew Spaulding EXECUTIVE PRODUCERS Mikkel Bondesen, James Packer, Neil Tabatznik, Steven Silver, Antonia Barnard DIRECTOR OF PHOTOGRAPHY Mandy Walker, ASC, ACS EDITED BY Richard Francis-Bruce, ACE PRODUCTION DESIGNER Fiona Crombie COSTUME DESIGNER Amanda Neal MUSIC BY Brian Tyler CASTING BY John Papsidera, CSA and Nikki Barrett, CSA SUMMARY SYNOPSIS On the morning of September 9, 2004, veteran CBS News producer MARY MAPES (Cate Blanchett) believed she had every reason to feel proud of a broadcast journalism job well done. -
What Lives Inside’
Backgrounder Dell Collaborates with Intel on All-New Social Film ‘What Lives Inside’ ROUND ROCK, Texas, March 23, 2015 – Dell Inc. and Intel Corporation teamed up to deliver a new social film titled “What Lives Inside.” The latest release in the “Inside Films” series was brought to life by leading minds in Hollywood, technology and social media, and breaks new ground in the genre of interactive and social entertainment. The Social Film Plot: Unlocking Creativity The film centers around Taylor, the son of an absentee father who finds himself on a journey of self-discovery. His father was a well-known and acclaimed children’s puppeteer who was widely celebrated for his creativity. After his passing, Taylor discovers a mysterious world of his dad’s creation and finds himself on an adventure that will soon unlock his own creativity. Hollywood Talent The two-time Oscar*-winning director, Robert Stromberg, who last directed “Maleficent,” oversaw the film and integrated the winning audience submissions into the storyline. Stromberg has also worked on TV’s “Game of Thrones” and award-winning movies, including “The Hunger Games” and “Avatar.” Colin Hanks plays Taylor Delany, the son of an absentee father who finds himself on a journey that will simultaneously unlock his creativity while helping him come to terms with his father’s death. He has starred in television series such as “Fargo,” “Dexter” and “Mad Men.” J.K. Simmons is featured as Pops Delaney who was a well-known children’s puppeteer. Simmons is known for his roles in “Spider-Man,” “The Closer” and “Juno.” Simmons recently won Best Supporting Actor in a Motion Picture at the 2015 Golden Globes* for his work in “Whiplash.” Catherine O’Hara plays Sarah Delaney, the recently widowed mother of Taylor.