Section A: Producers and Audiences

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CASE STUDY: The Hunger Games
Section A: Producers and Audiences
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Lxplore Lhe posLers.


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Section A: Producers and Audiences


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Speclal effecLs or specLacle.
Speclal effecLs whlch Lread Lhe llne beLween reallsm and fanLasy.
luLurlsLlc seL deslgn and effecLs.
new Lechnology (roboLs and compuLers).
LxploraLlon of new (fuLurlsLlc) spaces.
lnLerLexLual references Lo oLher sclence-flcLlon fllms.
uesLrucLlon as a cenLral vlsual moLlf".


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12/13 cerLlflcaLe, maxlmlslng youLh audlences
CfLen hybrldlsed wlLh Scl ll/AdvenLure/8omance
Ma[or Pollywood sLudlo produced and dlsLrlbuLed
Plgh producLlon values lncludlng CCl Slx. lasL paced edlLlng
Classlc Pollywood Lhree acL narraLlve sLrucLure
redlcLable chaln of evenLs - cause and effecL
Slngle sLranded, llnear, closed narraLlve
uramaLlc non-dlegeLlc sound
More narraLlve acLlon codes Lhan enlgma codes
Clear blnary opposlLlons
8omanLlc sub-ploL, humorous dlalogue
use of close up/lnserL shoLs/Plgh key LlghLlng

uomlnanL represenLaLlon of gender: male/female acLlon hero. Mulvey's male gaze and
Camman and MarshmanL's conLemporary female gaze can apply...

CLher genre sLuff

1he fllm sLyle ls lnLeresLlng and, aL Llmes, 978(7J674?(7$:. 8oss has used loLs of 3$7;K
36:; 8$F6%$ - wlLh some scenes almosL resembllng a )(8?$: %6$:?)4 fllm. Some dramaLlc
scenes play ouL wlLh llLLle or no non-dlegeLlc muslc Lo enhance Lhe reallsm. 1hls, perhaps
comes from Lhe lnfluence of Lhe !ason 8ourne movles (aul Creengrass, Lhe dlrecLor of
Lhe Lwo 8ourne sequels, has a background ln documenLary fllmmaklng, whlch lnfluenced
hls 'reallsL' LreaLmenL of Lhe genre). Many crlLlcs now refer Lo "posL-8ourne" acLlon fllms -
ls Lhls one of Lhem? CLher acLlon fllms have also adopLed Lhls more 'reallsL' sLyle (e.g.
8ond ln ;%*./# <#9%-' and =%-()







Section A: Producers and Audiences
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The Interrelationship between Producers and Audiences: case studies

It is recommended that case studies are used as the basis for study in this unit.


SecLlon A: roducers and Audlences: Case sLudles

Hollywood film producers and the institutional frameworks within which they
operate (for example as part of large conglomerate business corporations).

UK film producers and the institutional frameworks within which they operate
(for example in relation to support from the British Film Institute and through
co-production deals).

The importance of genre and stars for US/UK producers and for audiences

Film marketing (including specific marketing materials such as posters, dvd
covers and 'official' internet sites)

Film exhibition, including multiplexes and independent cinemas, as well as
other types of venue, and online exhibition, including consideration of
different kinds of film viewing experience

The availability of independent low budget films, and foreign language films
in the UK, including Bollywood films

The social practice of participation in contemporary 'film culture' which
includes cinema-going, online viewing, and home cinema as well as ways
in which the film experience is amplified through media convergence.

Star images both those put into circulation by the industry and by fans.

Film reviews both those produced by critics for circulation in other media
and those produced by fans


The Interrelationship between Producers and Audiences: case studies

You should develop your own case studies as the basis for study in this unit (as
well as those referred to in class).

Case studies should be selected to explore the interrelationship between
producers and audiences sometimes appearing to be supply-led, sometimes
demand-led. The significance of the convergence of different media (mobile phone,
internet, games console, etc.) in changing the nature of the producer - audience
relationship could also be explored.

Section A: Producers and Audiences


Genre Information:


1he fllm sLyle ls lnLeresLlng and, aL Llmes, 978(7J674?(7$:. 8oss has used loLs of 3$7;K
36:; 8$F6%$ - wlLh some scenes almosL resembllng a )(8?$: %6$:?)4 fllm. Some dramaLlc
scenes play ouL wlLh llLLle or no non-dlegeLlc muslc Lo enhance Lhe reallsm. 1hls, perhaps
comes from Lhe lnfluence of Lhe !ason 8ourne movles (aul Creengrass, Lhe dlrecLor of
Lhe Lwo 8ourne sequels, has a background ln documenLary fllmmaklng, whlch lnfluenced
hls 'reallsL' LreaLmenL of Lhe genre). Many crlLlcs now refer Lo "posL-8ourne" acLlon fllms -
ls Lhls one of Lhem? CLher acLlon fllms have also adopLed Lhls more 'reallsL' sLyle (e.g.
8ond ln ;%*./# <#9%-' and =%-()

Some scenes make use of a )3$::(L ;6C43 (D D?6:;H wlLh Lhe camera's focus resembllng a
human eye. We see ob[ecLs golng ln and ouL of focus, glvlng Lhe fllm a sponLaneous and
reallsL feel. 1hls seems aL odds Lo Lhe acLlon/advenLure's prlmary focus on narraLlve
(raLher Lhan sLyle).

1he fllm's use of mlse-en-scene ln scenes ouLslde Lhe CaplLol (Lhe fuLurlsLlc cenLre of Lhe
lmaglned sLaLe of anem) are dlsLlncLly 'reallsL' ln LhaL ulsLrlcL 12 resembles Amerlca
durlng Lhe CreaL uepresslon - and Lhe games Lhemselves Lake place ln a woodland. Agaln,
glvlng Lhe fllm a sense of J6%?)?F?:?49;6 (reallsm) beyond average sclence flcLlon.

Powever sclence flcLlon Lropes are also apparenL, e.g. use of CCl, a focus on fuLurlsLlc
Lechnology and fashlon.

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8eperLolre of elemenLs
Codes and convenLlons
1ropes
Mlse-en-scene
lconography
Pybrld genre (or hybrldlLy)

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Audlences
roducers
ulsLrlbuLors
& A
MarkeLlng
8rand lmage/8randlng
SLar persona
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Section A: Producers and Audiences
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Pow does Lhe Lraller persuade an audlence Lo waLch Lhe fllm?
http://www.youtube.com/watch?v=4S9a5V9ODuY

8emember Lhose mlcro elemenL skllls?
WaLch.
WaLch and Lake noLes
WaLch and Lake noLes
.+; -3,#2"0'( -,+)2<

1he producLlon company, LlonsgaLe markeLed Lhe fllm, Lhemselves, spendlng an
esLlmaLed $43 mllllon dollars, wlLh a sLaff of 21 people. And alLhough Lhls was one of Lhe
largesL markeLlng campalgns LlonsgaLe had conducLed, lL was small ln comparlson Lo oLher
ma[or fllms, whlch can spend approxlmaLely $100 mllllon on adverLlslng and a sLaff Leam
of over 100 people.

LlonsgaLe made use of LradlLlonal markeLlng Lechnlques prlor Lo release, for lnsLance
glvlng away 80,000 posLers, securlng 30 magazlne cover sLorles as well as adverLlslng on
Lhousands of blllboards and bus shelLers around Lhe world.

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1he posLers sold Lhe fllm as belng many genres: acLlon/advenLure/fanLasy/drama Lo
maxlmlse $9;?6786 $CC6$:.

1o avold crlLlclsm of a fllm feaLurlng klds kllllng klds, Lhe Lraller dldn'L show Lhe games aL
all and focussed on Lhe bulld up Lo Lhem. 1hls creaLed an enlgma code (whaL would Lhe
games acLually be llke?) whlch encouraged audlences Lo see Lhe fllm ouL of curloslLy (look
over your noLes analyslng Lhe Lraller Lo see whaL oLher Lechnlques lL used).

Powever, Lhey qulckly reallsed LhaL Lhe besL way Lo reach Lhelr LargeL audlence
(Leenagers) was Lhrough dlglLal adverLlslng, whlch ls relaLlvely lnexpenslve.

1he markeLlng campalgn made good use of 1wlLLer and lacebook, creaLed a ?ou1ube
channel and a 1umblr blog, lhone games and llve ?ahoo sLreamlng from Lhe premlere.

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http://www.thecapitol.pn/site

https://www.facebook.com/thehungergamesbook

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Section A: Producers and Audiences


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http://www.youtube.com/watch?v=SKCFCKEowBc (iphone/ipad app)

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Twitter Hunt:

lor more acLlve fans, Lhe markeLlng Leam organlsed a 1wlLLer Lreasure hunL, whlch hld
pleces of an lmage over dlfferenL parLs of Lhe web - encouraglng fans Lo flnd Lhem and
plece Lhem LogeLher.

As well as Lhls, Lhe fllm's webslLe lnvlLed fans Lo reglsLer as offlclal clLlzens of anem -
enabllng Lhem Lo lmmerse Lhemselves ln Lhe world lL creaLed. 1hls fed Lhe deslre for whaL
Penry !enklns has Lermed a C$%4?8?C$4?(7 89:49%6. As well as Lhls, fan flcLlon and qulzzes
were also wldely used.

1he lconography of flre and burnlng was used conslsLenLly - creaLlng a sense of lnLenslLy -
and worked very well onllne - where flre could be slmulaLed as parL of Lhe logo.
As well as Lhls, a new cover for Lhe book was creaLed (wlLh lmages from Lhe fllm) and re-
sLocked ln bookshops, causlng an lncrease ln book sales as well.

8elng an acLlon-advenLure fllm, >)' "5/0'& ?%3'* had slgnlflcanL global appeal (as acLlon
LranslaLes more easlly lnLo dlfferenL languages and Lhe narraLlve works more Lhrough
acLlon and vlsual codes Lhan subLleLles of scrlpL). 1he fllm's onllne campalgn Lherefore
was qulLe easy Lo LranslaLe onllne (and cheap Lo promoLe overseas).
>%6C* ln your [ournal, develop Lhls case sLudy by explorlng Lhe franchlse.

Look aL Lhe producLlon, dlsLrlbuLlon and exhlblLlon of '1he Punger Cames, CaLchlng
llre' (Lawrence, 2013, uSA).
o Pow was Lhls markeLed?
o Pow was lL recelved by audlences and crlLlcs?

?ou could develop your research furLher by also looklng aL '1he Punger Cames,
Mocklng[ay - arL 1' (Lawrence, 2014, uSA). WhaL do we already know abouL lL? Pow
ls Lhe relaLlonshlp beLween producers and audlences belng drlven?

llnd ouL abouL LlonsgaLe (ls lL parL of one of Lhe ma[or Pollywood SLudlos? Look aL lL's
currenL slaLe of fllms and any slgnlflcanL fllms ln lLs back caLalogue)

Pow ls !ennlfer Lawrence's sLar persona belng consLrucLed and developed?

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