Wednesday, 20 May 2020

FILM INDUSTRY

Our case studies for 2021 and 2022

Model answers available on: 
  • Analyse the techniques used to target different audiences in the media are you have studied.
  • The role of digital technology in marketing and consumption
  • Marketing Black Panther
  • How important is cross-media convergence and synergy in the area that you have studied?
  • Discuss the impact of funding on products
  • 'Nowadays, everyone consumes media texts in the same way.' Discuss with reference to the media area you have studied.
PowerPoint resources:
  • CIE Film
  • Media Ownership and Distribution

I, Daniel Blake








Cultural capital refers to the cultural knowledge that helps us navigate society and makes us feel 'in the know'.


Marketing I, Daniel Blake here by Zenith Media

    • Unlike Hollywood studio films which benefit from the synergy available from vertical distribution with its multiple platforms enhancing the distribution's advertising strategies, independent films in the UK film industry works on a smaller scale with different strategies across some similar platforms. A film like I, Daniel Blake, for example set out to appeal to audiences that valued social realism through grassroots marketing. The film's trailers were slower in pace and used tracking shots that followed the characters so that audiences got a 'real life' feel for the harsh realities of life for the troubled characters caught in the benefits system. The use of natural lighting and close-ups showed the characters' emotions and harnessed audience's sympathy. The trailer included praise by Variety and Time Out, lending it the approval of a trusted source. Social media played a part: its FB page had 70,000 likes and the Twitter page 12,500 followers and the hashtag #wearealldanielblake circulated on the internet. The Twitter page retweeted fan messages and reviews, promoting further engagement and making the film feel more personal.
    • eOne distributed Ken Loach's I, Daniel Blake. eOne harnessed the news agenda via Trinity Mirror's titles to promote it, generating conversation around socio-political themes and positioning it as a must-see film. Typical to Ken Loach's style, I, Daniel Blake contains potent social messages. The challenge was to raise awareness of the release and encourage audiences to go to the cinema by aligning the film’s topical themes with current affairs. Knowing that the film would resonate with Trinity Mirror's editorial news agenda and left-leaning readership, Zenith and eOne embarked on a multi-platform campaign with the publisher. The plan involved giving the main character, Daniel Blake, a voice across Trinity Mirror's many platforms, in contrast to the film where he gets lost in the benefits system and feels his identity fading. In print, masthead and front cover takeovers captured the attention of readers and directed them to a one-off column 'My Britain' – based on the Mirror's weekly series 'Real Britain' – where the character Daniel Blake talked frankly about the issues raised in the film. Digital content included disruptive display advertising (this means experimental advertising tactics) to continue the theme across the publisher's multi-platform portfolio. In addition, the campaign also laid on preview screenings around the UK with Trinity Mirror's regional titles giving away 10,000 tickets. According to Trinity Mirror's reader research, nearly 60% of readers recalled seeing the features and said that they would see the film, making this a successful platform for this particular audience and film.
    • The distributors used the 'platforming' method with a festival run prior to release including screening at Cannes with the accolade of the Palme d'Or positioned it as worthy; its premiere in Newcastle attended by Jeremy Corbyn (as opposed to London) gave the message that the film was authentic. It also had over 1,000 screenings in a grass roots marketing movement. Thus word of mouth was built up. A 'guerilla' projection campaign had quotes from the film beamed onto buildings in Newcastle as well as the House Of Commons to grab the attention of both news media and passers-by.

    Sorry We Missed You

    Film Website HERE
    Links with The Mirror newspaper here:

    Speaking exclusively to The Mirror for this special feature on the film, acclaimed director Loach told us: “We felt this family, the Turners, could be living on the next street to Daniel Blake in Newcastle.

    “It’s the other set of people who are at the foodbank. It’s not capitalism failing, it’s capitalism working.”

    To kick off our special investigation into zero hours contracts to mark the film’s release, we’ve spoken to a real-life courier named Patrick, who struggles with the same issues as the central character in the film. We've also interviewed director Ken Loach about how the film came about.

    Awards here 
    Cannes Film Festival nominee for Palme d'Or
    BAFTA nominee Outstanding British film of the year



    • Exposes a global issue: the vulnerabilities of people exploited in the gig economy
    • Review by Peter Bradshaw The Guardian here
    • Trailer here and here on IMDB
    • Interview by Paul Laverty here: " Technology means that every minute of the drivers' life is dictated and monitored... the pressure is relentless. Carers are on zero hours contracts, like Abby in the film... There is massive economic injustice at the heart of our society now."
    • SWMY Twitter

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