File Name: high concept movies and marketing in hollywood .zip
Justin Wyatt. Austin: University of Texas Press, During the late s, Justin Wyatt, a professor of radio, television, and film at the University of North Texas and a former market research analysis in the film industry, argues, a new approach to commercial filmmaking emerged, summed up by the phrase "high concept. Typically, high concept films combined several elements: a narrative that could be summarized in a single phrase; an image or song that the potential audience associated with the film; "total look" style of cinematography characteristic of television and magazine advertisements and music videos; pre-sold stars or subject matter; character typing rather than character exposition; and merchandising tie-ins.
Villified by critics as the proof of Hollywood's creative bankruptcy and the growing dominance of the industry's marketing apparatus, high concept was in fact, according to Wyatt, the product of specific historical, institutional, and economic forces. The most important, he argues, were industry conglomeration and diversification; the financial failure, in the late s, of auteur filmmakers and experimental, iconoclastic, antimyth films; changing film distribution patterns emphasizing saturation advertising and releases ; and reliance on market research.
Wyatt offers an extremely interesting discussion of the ability of models to predict box office gross and reduce risk and uncertainty within the movie marketplace. Ironically, during the late eighties and nineties, when Hollywood became even more closely intertwined with other media through conglomerates like Time Warner or Sony and more heavily dependent on talent agencies, high concept filmmaking declined.
Wyatt attributes this primarily to the aging of the baby boom audience; the increasing cost of producing and market high concept films; and a growing conviction among studio executives that audiences wanted original, inventive stories. Thus high concept strictly defined may turn out to have been a relatively brief episode in Hollywood's history, when the balance between economics and art clearly shifted in the direction of economics. Copyright c by H-Net, all rights reserved.
This work may be copied for non-profit educational use if proper credit is given to the author and the list. For other permission, please contact hbooks mail. Citation: Steven Mintz. H-Film, H-Net Reviews. October, For any other proposed use, contact the Reviews editorial staff at hbooks mail. Reviewed by Steven Mintz University of Houston Published on H-Film October, During the late s, Justin Wyatt, a professor of radio, television, and film at the University of North Texas and a former market research analysis in the film industry, argues, a new approach to commercial filmmaking emerged, summed up by the phrase "high concept.
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Chapter 3: Literature Review 3. Chapter 4: Methods 4. Chapter 5: Analysis 5. How do they compare? Chapter 6: Conclusion 6.
High concept films have been thriving in Hollywood since their emergence in the late 70s. Some say that these films have watered-down the creativity in Americas filmmaking capital, while others are quick to point out the bottom line: high concept movies sell. But even though high concept films are among the most profitable, even ones based on pre-sold properties are not always a guaranteed success. I shall take a look at the extremely successful high concept film Transformers , and compare it with the minimal success of MTV Films high concept film, Aeon Flux In my look at Aeon Flux I will demonstrate how it is the ancillary markets, which have become a staple in Hollywood since its conglomeration, that bail out a potential loss. With ancillary markets to provide a safety net for these potentially unprofitable films, there is no doubt that high concept films will remain a mainstay of Hollywood for the foreseeable future. One question about high concept films that is asked frequently is, what exactly constitutes a high concept film?
This pioneering study explores the development and dominance of the high concept movie within commercial Hollywood filmmaking since the late s.
High concept movies were often based on pre-sold elements such as a best-selling book or a comic strip, and emphasised a distinctive style, conveyed in sleek images and music, which were integrated with their marketing. Responding to key industrial developments in the s, such as the widespread adoption of marketing research and the growth of ancillary markets such as music soundtracks , high concept movies were often based on pre-sold elements such as a best-selling book or a comic strip, and emphasised a distinctive style, conveyed in sleek images and music, which were integrated with their marketing. Whether soundtrack-driven movies such as Flashdance , Top Gun or Dirty Dancing , teen genre films such as The Lost Boys or Young Guns , or high-budget blockbusters like Dick Tracy , high concept films mobilised bold images and music, and the marketability of particular stars, to maximise their presence and appeal.
National Library of Australia. Search the catalogue for collection items held by the National Library of Australia. Wyatt, Justin.
Learn more. This pioneering study explores the development and dominance of the high concept movie within commercial Hollywood filmmaking since the late s. Steven Spielberg once said, "I like ideas, especially movie ideas, that you can hold in your hand. If a person can tell me the idea in twenty-five words or less, it's going to make a pretty good movie. Justin Wyatt describes how box office success, always important in Hollywood, became paramount in the era in which major film studios passed into the hands of media conglomerates concerned more with the economics of filmmaking than aesthetics. In particular, he shows how high concept films became fully integrated with their marketing, so that a single phrase "Just when you thought it was safe to go back in the water
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Consequently, the art of marketing, of creating advertisements able to entice people to buy precise items, was further developed. The cinema industry that grew in the s and s also resorted to marketing to sell its films to the largest possible audience. As production costs started increasing, 1 marketing became a key component of film releases, and it has never stopped since then. But films are not the usual type of mass-produced items, they are not the result of carefully planned gestures on an assembly line.
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В неизвестно откуда взявшейся полоске света она увидела его искаженное судорогой лицо. Из пулевого отверстия в виске хлестала кровь - прямо на. Росио попробовала закричать, но в легких не было воздуха.
Хороший вопрос, подумал Беккер, рисуя в воображении горы Смоки-Маунтинс. - Просто неформальная дипломатическая любезность, - солгал. - Дипломатическая любезность? - изумился старик. - Да, сэр.
Джабба, дело очень серьезное. У меня чутье. У нее чутье.
Но… офицер ничего не сказал о… - Разумеется. Я не сказал ему про спутницу. - Взмахом руки Клушар величественно отверг вопрос Беккера.
Мое тело мне больше не принадлежит.
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