P & A: POSTERS AS PART OF AN INTEGRATED MARKETING CAMPAIGN
The key elements of Prints and Advertising (P&A) that a distributor must consider at this stage are:
The quantity and production of release prints and trailers:
Specialised films will often be released with fewer than 10 prints into key independent cinemas, with these prints subsequently 'toured' over a 6-month period to all parts of the UK. On the other hand, commercial mainstream films will often open on over 200 prints, simultaneously screening in all major UK towns and cities.
Press materials, clips reels, images, press previews, screener tapes:
For the majority of releases, favourable press response is a key factor in developing the profile and desirability of a film. Distributors consider both the quality and breadth of coverage, and this is often inscribed into the nature and scale of a press campaign.
The design and printing of posters and other promotional artwork:
The cinema poster - in the UK this means the standard 30" x 40" 'quad' format - is still the cornerstone of theatrical release campaigns. Numerous recent examples indicate that the poster design is highly effective in 'packaging' the key attributes of a film for potential audiences. Distributors will also consider other poster campaigns, ranging from Underground advertising to billboards.
Advertising campaign - locations, ad size and frequency:
Advertising in magazines, national and local newspapers works in tandem with press editorial coverage to raise awareness of a release. Press advertising campaign for specialised films will judiciously select publications and spaces close to relevant editorial. For mainstream films, scale and high visibility is the key. The cost of print advertising in the UK is comparatively high, and is seen as making distribution in the UK a riskier business than in most other countries. In order to extend the reach of advertising and develop more effective communication with audiences at low cost, distributors are looking increasingly to 'viral marketing' - different forms of electronic word-of-mouth via the internet, email and mobile phones.
Press campaign / contracting a PR agency:
Many independent distributors in particular do not have press departments, and will consequently hire a press agency to run a pre-release campaign. This is especially the case if the distributor brings over key talent for press interviews to support the release.
Arranging visit by talent from the film:
The use of talent - usually the director and/or lead actors - wins significant editorial coverage to support a release. The volume of coverage can far outweigh the cost of talent visits.
Other preview screenings:
A distributor will consider the use of advance public screenings to create word-of-mouth and advance 'buzz' around a film.
Source: BFI Screenonline
WHAT IS THE AIM OF A FILM POSTER?
Film posters are used to engage audience interest.Film posters use a high ratio of photography to text to arouse audience visual interest – they are marketing media forms that have to create an initial impact to ensure audiences take a secondary look and to create a hook. This can either mean a striking central image, creative use of colour, size and style of font or tagline. Due to the nature of the sites of exhibition of film posters, this impact has to be immediate e.g. waiting at a bus stop or turning the corner as a pedestrian, looking up to see a billboard. There are various types of film posters that are used specifically with this in mind – the teaser poster will have limited textual information while a character poster looks to communicate with a knowing target audience who are familiar with the film. Larger, framed film posters e.g. outside cinemas will have additional text at the bottom of the poster to encourage more convergent links.
Convergent links on a film poster that engage audience interest include the film website address – here it is hoped the link will encourage a potential audience to find out more about the film by exploring rich media. Twitter and Facebook links will encourage interactivity and hopefully for the film, file sharing and viral marketing. This references the personal relationships aspect of the uses and gratifications theory. Some posters also use escapism or diversion as a way of attempting to offer entertainment values– this can be an actor or character in a certain pose, or a manipulated action screenshot.
Use of house style is often evident in film posters – the font and colour palette will appear as the same across a range of marketing platforms while the central image will be promoted in a range of media. Variations in typography will also attract audience interest. Pull quotes are important to legitimise a film and many film posters include reviews from carefully chosen publications that reflect the interests of their target audience. Finally, synergy can be a factor in arousing audience interest with linking wherever possible to other successful work but also selling the production values of a film by including the production company, and/or distributor’s logo
WHAT ARE THE FEATURES OF FILM POSTERS?
A dramatic tagline, also used in other media as part of the campaign
A high ratio of photography to text (more images) – one main image with 3-4 inset images of other objects and visual iconography
Textual information along the bottom of the poster crediting the director, producer, production company, distributor, leading actors
Information on the release date of the film
HOW IS A FILM POSTER IMPORTANT AS PART OF AN INTEGRATED CAMPAIGN?
Film trailers are high impact and the most dynamic part of any film marketing campaign – they allow audiences to sample the audio-visual representations in a film. The idea of audio-visual media in a film trailer selling audio-visual media is crucial as this cannot be achieved in print media marketing communications like film posters or magazine and newspaper adverts. In terms of key appeals, audiences can experience narrative action, be teased by narrative enigmas, introduced to characters, identify star marketing and develop an idea of narrative.
They are also important in terms of generating initial interest and talkability via teaser trailers, often shown in cinemas a few months before the film’s release but also using theatrical trailers to sustain that interest closer to, and during the cinematic release. Film trailers can also be exploited on a number of platforms by the distributor – this includes high production value trailers played in high ratings television spots, continued cinematic exhibition and also online. Research indicates YouTube is the most successful site for film trailers as part of an integrated marketing campaign in generating audience interest and appeal in a film. Trailers that are played in cinemas often link to the following film in terms of having a similar target audience by belonging to the same, or similar genre and having similar representations.
The fact that the BBFC are concerned enough about the high impact of trailers to sometimes award a different certificate to the film is enough to explain in part their importance. Trailers can also link to other convergent marketing platforms in the campaign with the ability to embed URL website links but also interactive Twitter hashtags and Facebook links – audiences like developing knowledge of a film using digital platforms which can be evidenced as a form of viral marketing via file sharing. A film trailer can be integrated and evidence the house style of a campaign but also have its own stand alone unique selling points such as common use of narrative voice over and high impact non-diegetic music. These are features other media in a film marketing campaign cannot offer with these conventions often creating an emotive response and offering entertainment values.Source: MediaEdu (adapted)
ANALYSING FILM POSTERS
FILM POSTER CAMPAIGN CASE STUDY
ADDITIONAL RESOURCES
Film. com: The Art House: A New Column Dedicated to Movie Posters, Art and Design
Analysis of Film Education Thor posters
BFI Vintage posters: Ealing and the art of the film poster
How to Analyse a Film Poster
 |
| Current film posters |
Film Posters can be classified as printed media texts. They are targeted at specific audiences to build interest and market the Film product. This is one of the key roles of the financier or distributor: poster or billboard campaigns may be used alongside Online campaigns, EPKs, TV and Radio promotions, advertising in Newspapers & Magazines, Tie-ins/Merchandising, Film Trailers in Cinemas and Free Publicity (Reviews, Profiles, Word of mouth, Premieres & Certification) to sell the film. Audiences may also be targeted using their familiarity with the star or director of the film, and its genre. The concept of Genre Marketing is often one of the most successful ways of persuading audiences into cinemas.
TECHNICAL AND SYMBOLIC CODES
Technical and Symbolic codes need to be analysed to understand how posters create their appeal.1. Photographic Codes (framing, lighting, focus, camera angle, juxtaposition, types of shot, effects) 2. Textual Codes (tagline,captions, titles, writing, typography, language e.g. pun, personification, alliteration
3. Symbolic Codes: Setting, Objects & props, background, colour, Indexical meanings. Main subjects – facial expression, eye contact, clothing, style, activity, pose, body lang., implied movement, status….
4. Design / Layout – use of space, graphic devices e.g. effects, shapes, use of colour and typography
ESSENTIAL ADDITIONAL POINTS TO LOOK FOR:
Genre – Does the film create appeal through audience understanding of generic conventions? WHAT ARE THOSE CONVENTIONS, HOW DOES THIS POSTER SUGGEST THEM? Look at the iconography, link with audiences’ expectations.Narrative Enigmas – Does the poster create appeal through limiting understanding of narrative development or is it more obvious (action codes). What narrative structure is suggested or will its appeal be based largely on its stars (star marketing) and its visual appeal. Some typical narratives allow the film genre to be recognised.
Narrative Structure: Posters normally have an open narrative to tease the audience but does the poster suggest a classic three act structure? Can you map Todorov’s or Propp’s theories onto the text from the familiarity the poster has given you?
Narrative Themes – what narrative themes are developed in the poster if any?
Production Values – look at the credits and cast, what does it reveal about budget e.g. is it a major Hollywood studio production, a ‘British’ film or is it an Independent production?
Iconography / Intertextuality – what elements does the poster reveal?
Textual Signifiers e.g. production/distribution credits – what information do they provide?
Representation and Ideology – Does the poster reveal issues that you think may be worth mentioning in discussing how it creates its appeal?
Semiotic Analysis and Media Language should be used to identify and understanding visual signs and written language (e.g. signifier/signified, encoding/decoding, connotation/denotation, preferred meanings, anchorage…)
Target Audience and Demographics – identify the target audience in depth.
Niche / Mass Audiences: Will the poster be marketing the film to existing and new audiences e.g. Sci Fi films have been said to have the largest amount of existing audiences that will go and see the latest Sci Fi film, regardless of content.
Unique Selling Point (USP) or Emotional Selling Point (ESP) – how do you think this film is being sold to its audience?
Audiences’ Expectations of Narrative Structure – what sort of characters, type of storyline, action, themes etc.. would you expect to see in the film? How are the producers trying to create a sense of danger or disruption?
Stars and Directors – how will they engage the audiences’ interest?
What kind of posters can you get?
The Teaser Poster - Contains basic information to whet your appetite. Often does not indicate much about the plot, but may have a picture of the stars, and the name of the film.
The Main Poster - Contains information about the production personnel, the stars and the distributors.
Video/DVD Release Poster - Comes out when the film is released on DVD/video and often has all of the above plus short, one line reviews from relevant publications. (Many go these aspects are relevant to newspaper adverts too)
Character Poster - Features the main character
Remember posters could be a combination of two types of these posters.
Look at what Film Educationhas to say on film posters:
Analysis of Film Education Thor posters
BFI Vintage posters: Ealing and the art of the film poster
How to Analyse a Film Poster
|
| Current film posters |
Film Posters can be classified as printed media texts. They are targeted at specific audiences to build interest and market the Film product. This is one of the key roles of the financier or distributor: poster or billboard campaigns may be used alongside Online campaigns, EPKs, TV and Radio promotions, advertising in Newspapers & Magazines, Tie-ins/Merchandising, Film Trailers in Cinemas and Free Publicity (Reviews, Profiles, Word of mouth, Premieres & Certification) to sell the film. Audiences may also be targeted using their familiarity with the star or director of the film, and its genre. The concept of Genre Marketing is often one of the most successful ways of persuading audiences into cinemas.
TECHNICAL AND SYMBOLIC CODES
Technical and Symbolic codes need to be analysed to understand how posters create their appeal.1. Photographic Codes (framing, lighting, focus, camera angle, juxtaposition, types of shot, effects) 2. Textual Codes (tagline,captions, titles, writing, typography, language e.g. pun, personification, alliteration
3. Symbolic Codes: Setting, Objects & props, background, colour, Indexical meanings. Main subjects – facial expression, eye contact, clothing, style, activity, pose, body lang., implied movement, status….
4. Design / Layout – use of space, graphic devices e.g. effects, shapes, use of colour and typography
ESSENTIAL ADDITIONAL POINTS TO LOOK FOR:
Genre – Does the film create appeal through audience understanding of generic conventions? WHAT ARE THOSE CONVENTIONS, HOW DOES THIS POSTER SUGGEST THEM? Look at the iconography, link with audiences’ expectations.Narrative Enigmas – Does the poster create appeal through limiting understanding of narrative development or is it more obvious (action codes). What narrative structure is suggested or will its appeal be based largely on its stars (star marketing) and its visual appeal. Some typical narratives allow the film genre to be recognised.
Narrative Structure: Posters normally have an open narrative to tease the audience but does the poster suggest a classic three act structure? Can you map Todorov’s or Propp’s theories onto the text from the familiarity the poster has given you?
Narrative Themes – what narrative themes are developed in the poster if any?
Production Values – look at the credits and cast, what does it reveal about budget e.g. is it a major Hollywood studio production, a ‘British’ film or is it an Independent production?
Iconography / Intertextuality – what elements does the poster reveal?
Textual Signifiers e.g. production/distribution credits – what information do they provide?
Representation and Ideology – Does the poster reveal issues that you think may be worth mentioning in discussing how it creates its appeal?
Semiotic Analysis and Media Language should be used to identify and understanding visual signs and written language (e.g. signifier/signified, encoding/decoding, connotation/denotation, preferred meanings, anchorage…)
Target Audience and Demographics – identify the target audience in depth.
Niche / Mass Audiences: Will the poster be marketing the film to existing and new audiences e.g. Sci Fi films have been said to have the largest amount of existing audiences that will go and see the latest Sci Fi film, regardless of content.
Unique Selling Point (USP) or Emotional Selling Point (ESP) – how do you think this film is being sold to its audience?
Audiences’ Expectations of Narrative Structure – what sort of characters, type of storyline, action, themes etc.. would you expect to see in the film? How are the producers trying to create a sense of danger or disruption?
Stars and Directors – how will they engage the audiences’ interest?
What kind of posters can you get?
The Teaser Poster - Contains basic information to whet your appetite. Often does not indicate much about the plot, but may have a picture of the stars, and the name of the film.
The Main Poster - Contains information about the production personnel, the stars and the distributors.
Video/DVD Release Poster - Comes out when the film is released on DVD/video and often has all of the above plus short, one line reviews from relevant publications. (Many go these aspects are relevant to newspaper adverts too)
Character Poster - Features the main character
|
| Current film posters |
Film Posters can be classified as printed media texts. They are targeted at specific audiences to build interest and market the Film product. This is one of the key roles of the financier or distributor: poster or billboard campaigns may be used alongside Online campaigns, EPKs, TV and Radio promotions, advertising in Newspapers & Magazines, Tie-ins/Merchandising, Film Trailers in Cinemas and Free Publicity (Reviews, Profiles, Word of mouth, Premieres & Certification) to sell the film. Audiences may also be targeted using their familiarity with the star or director of the film, and its genre. The concept of Genre Marketing is often one of the most successful ways of persuading audiences into cinemas.
TECHNICAL AND SYMBOLIC CODES
Technical and Symbolic codes need to be analysed to understand how posters create their appeal.1. Photographic Codes (framing, lighting, focus, camera angle, juxtaposition, types of shot, effects) 2. Textual Codes (tagline,captions, titles, writing, typography, language e.g. pun, personification, alliteration
3. Symbolic Codes: Setting, Objects & props, background, colour, Indexical meanings. Main subjects – facial expression, eye contact, clothing, style, activity, pose, body lang., implied movement, status….
4. Design / Layout – use of space, graphic devices e.g. effects, shapes, use of colour and typography
ESSENTIAL ADDITIONAL POINTS TO LOOK FOR:
Genre – Does the film create appeal through audience understanding of generic conventions? WHAT ARE THOSE CONVENTIONS, HOW DOES THIS POSTER SUGGEST THEM? Look at the iconography, link with audiences’ expectations.Narrative Enigmas – Does the poster create appeal through limiting understanding of narrative development or is it more obvious (action codes). What narrative structure is suggested or will its appeal be based largely on its stars (star marketing) and its visual appeal. Some typical narratives allow the film genre to be recognised.
Narrative Structure: Posters normally have an open narrative to tease the audience but does the poster suggest a classic three act structure? Can you map Todorov’s or Propp’s theories onto the text from the familiarity the poster has given you?
Narrative Themes – what narrative themes are developed in the poster if any?
Production Values – look at the credits and cast, what does it reveal about budget e.g. is it a major Hollywood studio production, a ‘British’ film or is it an Independent production?
Iconography / Intertextuality – what elements does the poster reveal?
Textual Signifiers e.g. production/distribution credits – what information do they provide?
Representation and Ideology – Does the poster reveal issues that you think may be worth mentioning in discussing how it creates its appeal?
Semiotic Analysis and Media Language should be used to identify and understanding visual signs and written language (e.g. signifier/signified, encoding/decoding, connotation/denotation, preferred meanings, anchorage…)
Target Audience and Demographics – identify the target audience in depth.
Niche / Mass Audiences: Will the poster be marketing the film to existing and new audiences e.g. Sci Fi films have been said to have the largest amount of existing audiences that will go and see the latest Sci Fi film, regardless of content.
Unique Selling Point (USP) or Emotional Selling Point (ESP) – how do you think this film is being sold to its audience?
Audiences’ Expectations of Narrative Structure – what sort of characters, type of storyline, action, themes etc.. would you expect to see in the film? How are the producers trying to create a sense of danger or disruption?
Stars and Directors – how will they engage the audiences’ interest?
What kind of posters can you get?
The Teaser Poster - Contains basic information to whet your appetite. Often does not indicate much about the plot, but may have a picture of the stars, and the name of the film.
The Main Poster - Contains information about the production personnel, the stars and the distributors.
Video/DVD Release Poster - Comes out when the film is released on DVD/video and often has all of the above plus short, one line reviews from relevant publications. (Many go these aspects are relevant to newspaper adverts too)
Character Poster - Features the main character
Remember posters could be a combination of two types of these posters.
I then looked at what film education had to say on posters:
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