Matching Items (15)
Filtering by
- Creators: Department of Marketing
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
- Member of: Theses and Dissertations
Description
Millennials are the group of people that make up the newer generation of the world's population and they are constantly surrounded by technology, as well as known for having different values than the previous generations. Marketers have to adapt to newer ways to appeal to millennials and secure their loyalty since millennials are always on the lookout for the next best thing and will "trade up for brands that matter, but trade down when brand value is weak", it poses a challenge for the marketing departments of companies (Fromm, J. & Parks, J.). The airline industry is one of the fastest growing sectors as "the total number of people flying on U.S. airlines will increase from 745.5 million in 2014 and grow to 1.15 billion in 2034," which shows that airlines have a wider population to market to, and will need to improve their marketing strategies to differentiate from competitors (Power). The financial sector also has a difficult time reaching out to millennials because "millennials are hesitant to take financial risks," as well as downing in college debt, while not making as much money as previous generations (Fromm, J. & Parks, J.). By looking into the marketing strategies, specifically using social media platforms, of the two industries, an understanding can be gathered of what millennials are attracted to. Along with looking at the marketing strategies of financial and airline industries, I looked at the perspectives of these industries in different countries, which is important to look at because then we can see if the values of millennials vary across different cultures. Countries chosen for research to further examine their cultural differences in terms of marketing practices are the United States and England. The main form of marketing that was used for this research were social media accounts of the companies, and seeing how they used the social networking platforms to reach and engage with their consumers, especially with those of the millennial generation. The companies chosen for further research for the airline industry from England were British Airways, EasyJet, and Virgin Atlantic, while for the U.S. Delta Airlines, Inc., Southwest Airlines, and United were chosen. The companies chosen to further examine within the finance industry from England include Barclay's, HSBC, and Lloyd's Bank, while for the U.S. the banks selected were Bank of America, JPMorgan Chase, and Wells Fargo. The companies for this study were chosen because they are among the top five in their industry, as well as all companies that I have had previous interactions with. It was meant to see what the companies at the top of the industry were doing that set them apart from their competitors in terms of social media marketing content and see if there were features they lacked that could be changed or improvements they could make. A survey was also conducted to get a better idea of the attitudes and behaviors of millennials when it comes to the airline and finance industries, as well as towards social media marketing practices.
ContributorsPathak, Krisha Hemanshu (Author) / Kumar, Ajith (Thesis director) / Arora, Hina (Committee member) / W. P. Carey School of Business (Contributor) / Department of Information Systems (Contributor) / Department of Marketing (Contributor) / Hugh Downs School of Human Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
"On Music Videos" is an exploration of music videos, particularly narrative ones. As such, a brief history of the music video and its genres are examined. Ideas about narrative are also discussed through descriptions of what is meant by "story," based on theories from Pixar animators as well as author J.R.R. Tolkien. The connections between how story fits with music videos is then outlined. From this background research one is able to analyze examples of existing narrative music videos, before applying this knowledge and reflecting on the process of creating a narrative music video.
ContributorsNguyen, Melissa M (Author) / Finn, Ed (Thesis director) / Simeone, Michael (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor) / School of Arts, Media and Engineering (Contributor)
Created2015-05
DescriptionA comprehensive look at the roles and responsibilities of producers in contemporary Hollywood. The experience I have as an Associate Producer on a current project is also chronicled while the ups and downs of film production are explored.
ContributorsGalen, Adam (Author) / Sandler, Kevin (Thesis director) / Green, Michael (Committee member) / Barrett, The Honors College (Contributor) / Department of Economics (Contributor) / Department of Marketing (Contributor) / Department of English (Contributor)
Created2014-05
Description
The purpose of this thesis will be to outline the different tactics involving social and digital media that film studios currently use to market their films. Before that is done, a brief history will be provided about the ways the film industry has promoted itself in the past, as well as a brief history of the development of social media. After the history is provided, the marketing tactics that studios use that involve digital and social media will be listed and explained. In addition to discussing the tactics used by studios, there will also be a discussion of the shifts that have occurred in the marketing of films at a strategic level. After the explanation of all the tactics mentioned, there will be an analysis of the ways two major Hollywood blockbusters, The Hunger Games and Gravity, used some of those tactics to promote themselves. Through all these sections, the reader will be able to comprehend how big of an impact social media has made on the film industry and understand exactly how it is used to promote films.
ContributorsRamirez, Alvaro R (Author) / Gruber, Diane (Thesis director) / Giles, Charles (Committee member) / Barrett, The Honors College (Contributor) / Department of Management (Contributor) / Department of Marketing (Contributor)
Created2014-05
Description
Currently the Chinese marketplace is very much influenced by its economic, demographic, political, technological, and sociocultural trends. The Chinese population is aging, and the gender ratio is being tipped to favor the male population. Also, the urbanization of rural parts of China has lead to a rising middle class with higher inclinations to spend their income. Along with these changes, China has fully embraced technological innovation, from mobile payments to sharing economies, to allowing social media access to almost all functions of daily life. The Chinese film market used to consist of mainly government-produced domestic films, but since the the first insurgence of foreign imports, China’s desire for Hollywood films has sparked and grown immensely.
However, while the general public has a high demand for foreign films, the key player in exporting a film and distributing it into China is the Chinese government and related censorship bodies. Since China is a widely untapped marketplace for foreign filmmakers, it makes sense to enter, and there are three ways a film can do so: a flat-fee export, the revenue sharing, and the co-production model. The flat-fee export model entails a straight export into China, including only a flat price, no sales revenue. The revenue-sharing model is the desired choice for big-budget studios since they get a percentage of the ticket sales in China, but there are only a select few spots that are filled each year. The co-production model is when an American film studio partners with a Chinese production company and they create a film together. This model allows the film be considered domestic, but comes with many stipulations regarding Chinese presence and influence in the film.
For an independent film company looking to expand in the most lucrative international market, the best way to effectively create, market, and distribute a movie in China is to first craft a broad, unique, and attainable mission statement. Once the goals of the company are created, then key factors for success are choosing the best method of entry into the marketplace while adeptly taking the government influence into consideration, hiring locals who have previous experience in the Chinese film industry and have a deep understanding of Chinese history, culture, and the current social trends, and taking advantage of all the avenues that are available to market and distribute the film. Overall, the best options for a small independent film company in America would be to create an animated feature with two versions, or a live-action film featuring prominent Chinese actors. These are the most feasible under the flat-fee model for those with a limited financial budget, or a co-production approach for those interested in a more long-term investment plan with China.
Overall, there are many moving parts and aspects to consider when entering the Chinese movie marketplace, and this research and suggestions are geared towards making sure that if going to China is possibility, then this information provides the best tools and resources to ensure that venture is a success.
However, while the general public has a high demand for foreign films, the key player in exporting a film and distributing it into China is the Chinese government and related censorship bodies. Since China is a widely untapped marketplace for foreign filmmakers, it makes sense to enter, and there are three ways a film can do so: a flat-fee export, the revenue sharing, and the co-production model. The flat-fee export model entails a straight export into China, including only a flat price, no sales revenue. The revenue-sharing model is the desired choice for big-budget studios since they get a percentage of the ticket sales in China, but there are only a select few spots that are filled each year. The co-production model is when an American film studio partners with a Chinese production company and they create a film together. This model allows the film be considered domestic, but comes with many stipulations regarding Chinese presence and influence in the film.
For an independent film company looking to expand in the most lucrative international market, the best way to effectively create, market, and distribute a movie in China is to first craft a broad, unique, and attainable mission statement. Once the goals of the company are created, then key factors for success are choosing the best method of entry into the marketplace while adeptly taking the government influence into consideration, hiring locals who have previous experience in the Chinese film industry and have a deep understanding of Chinese history, culture, and the current social trends, and taking advantage of all the avenues that are available to market and distribute the film. Overall, the best options for a small independent film company in America would be to create an animated feature with two versions, or a live-action film featuring prominent Chinese actors. These are the most feasible under the flat-fee model for those with a limited financial budget, or a co-production approach for those interested in a more long-term investment plan with China.
Overall, there are many moving parts and aspects to consider when entering the Chinese movie marketplace, and this research and suggestions are geared towards making sure that if going to China is possibility, then this information provides the best tools and resources to ensure that venture is a success.
ContributorsCrozier, Julianna (Author) / Eaton, Kate (Thesis director) / Schlater, John (Committee member) / School of International Letters and Cultures (Contributor) / School of Art (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Every color that you see in film is purposely chosen by the filmmakers. The majority of film viewers do not consciously realize the role that color plays in their movie experience. Subconsciously, viewers are deeply affected by the color choices in the film as it changes moods, tones, characters, and more. By examining color in film, filmmakers are able to create better stories, therefore having a greater effect on the audience. By becoming aware of the role of color in film, audience members become better, more involved viewers.
The following project is cut into three major parts: Color Theory in Film, An Analysis of Symbolic Color, and the Technical Applications of Color in Film. Part One gives the necessary background on color theory, light theory, color mixing, color associations, and color palettes needed to understand the rest of the project. Part Two examines color symbolism and color psychology in three films, detailing their importance to the storylines in-depth. Part Three looks at the ways filmmakers employ color during post-production, principal photography, and post-production. By looking at production design, the history of color grading, and the power of lighting and cinematography, one is able to discern the different effects color creates and how that effect is created.
The following project is cut into three major parts: Color Theory in Film, An Analysis of Symbolic Color, and the Technical Applications of Color in Film. Part One gives the necessary background on color theory, light theory, color mixing, color associations, and color palettes needed to understand the rest of the project. Part Two examines color symbolism and color psychology in three films, detailing their importance to the storylines in-depth. Part Three looks at the ways filmmakers employ color during post-production, principal photography, and post-production. By looking at production design, the history of color grading, and the power of lighting and cinematography, one is able to discern the different effects color creates and how that effect is created.
ContributorsMcholland, Megan (Author) / Nascimento, Eliciana (Thesis director) / Klucsarits, Philip (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Art (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
In the Film and Media industries, it seems like it is completely male dominated both on and off the screen. With movements like Me Too and See Her it is important now, more than ever to make a change in the film industry. These movements have been great sparks to create changes in the field which lead to having more representation of women both on and off the screen and in film, tv and media. In my personal experience, when you are a woman on a film set it feels like you can get incredibly overshadowed or if you try to stand up for an idea you could be called bossy. A female mindset on a set, in major positions, seems like it can only be a good thing. Whether that is true or not there have been so few experiences and records of how an all-female set is ran. There is lot of fear that goes into running a set. Many women feel like they cannot handle the environment of a film set because of a certain stigma and stereotype of women in powerful positions. Women, while not always true, can be more understanding when difficult circumstances arise. The gender bias for larger film crews is almost 75 % male, this is a statistic that needs to change soon. It is important to teach the new generation that women in powerful creative roles in film is a normal occurrence and the only way we can get there is being more conscious about who is on our sets.
ContributorsSmith, Mallory Keller (Author) / Scott, Jason (Thesis director) / Lunde, Julia (Committee member) / School of Film, Dance and Theatre (Contributor) / Dean, W.P. Carey School of Business (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12
Description
This thesis takes four modern dance genre films — Footloose (1984), Save the Last Dance, Take the Lead, and Step Up 2: The Streets — and analyzes them through the psychological concepts of trust, self-esteem, and prejudice. This thesis begins by identifying the cinematic elements of the dance film genre. It then explores and explains the underlying psychological elements and the impact they have on the film viewers. This thesis contains three chapters that will explore the significance of this new genre. Chapter One will describe how documentary dance films differ from fictional dance films. This will be followed by a history of the fictional dance films beginning with foundational films Saturday Night Fever (1977) and Dirty Dancing (1987) as a gateway to the modern dance film storylines. Chapter Two identifies the genre elements of modern dance films in regards to the typical characters, settings, and filmic devices. Chapter Three provides an in-depth view of the psychological concepts of trust, self-esteem, and prejudice, showing how they are integrated in the lessons the characters and audience learn throughout the films. The purpose of the thesis is to educate readers that dance films not only have an entertaining element, but also the ability to offer a deeper psychological understanding through the audience identification with the characters.
ContributorsFlack, Desirae Adele (Author) / Ramsey, Ramsey Eric (Thesis director) / Gruber, Diane (Committee member) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
This honors thesis project combines the research of regional marketing trends in international film posters and game packaging designs with a creative application of that research. The thesis consists of 4 main sections. The first section includes background research on film poster marketing design approaches and summary of international guidelines for game packaging standards. The second part contains an analysis of selected global film posters from all genres leading up to Disney/Pixar movies, and also a few popular video game packaging designs. The research is then be applied to 3 designs based on regional trends in the largest hubs of digital design in Asia, Europe and the Americas. Lastly, a survey will be conducted with international contacts to identify if the trends were correctly identified and which designs they personally preferred. The background research on video games includes 3 interviews. Diane Fornasier the current Vice President of Marketing at Immersive Play, and former VP of Marketing at Maximum Games, Sony and Sega talks about the evolution of packaging and packaging trends. Tom Kalinske, the former CEO of Mattel, Sega and Leapfrog details the emergence of the ESRB board in America and of the rating boards and guidelines from Asia, Europe. Al Nilsen, the former Director of Global Marketing at Sega explains international marketing and the character development of Sonic the Hedgehog. The case studies examine some film posters of all genres and some of the most successful international Pixar film posters to compare and contrast the different design elements in different regions, along with any outlying observations that cannot necessarily be allocated to a specific trend. The findings from the case studies are applied towards creating three film poster designs based on the most remarkable trends in the Americas, Europe and Asia that were observed. All of the film posters exhibit successful methods of engaging and appealing to their audiences based on cultural norms and values. Finding Dory, a film with a strong global appeal that showcases different regional design elements was a suitable option for the design concept. This will not only help understand the basic rules of international marketing when it comes to digital art, but it will also help us identify cultural norms and values that most of us might not be aware of when it comes to what can be publicized or not and what appeals to different target audiences.
ContributorsAdivikolanu, Harika Sruthi (Author) / Dove-Viebahn, Aviva (Thesis director) / Viles, Rebecca (Committee member) / Department of Information Systems (Contributor) / W. P. Carey School of Business (Contributor) / School of Art (Contributor) / School of Arts, Media and Engineering (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
This paper will analyze the two films Mississippi Burning and BlacKkKlansman, as well as some of the historical contexts surrounding them, in order to unpack the various aspects of police brutality, protest culture, and ideals of reform shown within. Furthermore, it will investigate the impact of diverging from history on the perception of policing units, and the importance of more accurate narratives like BlacKkKlansman in popular culture. <br/> To find evidence that BlacKkKlansman is a much more accurate narrative regarding law enforcement and the effects that sentiments seen in Mississippi Burning have on modern day events, a comprehensive research analysis was conducted. Both films were watched multiple times and analyzed thoroughly, and further research was done to understand not only the narrative elements of the plot, but how the visual aspects strengthen the arguments both films try to make. Scholarly articles on contexts surrounding the subjects of the film were also analyzed, including topics on the FBI, Martin Luther King Jr, and police brutality. Through this, it became evident that Mississippi Burning overlooked most of the reality of the events the film is loosely based upon in order to present a white savior story, whereas BlacKkKlansman addresses the existing prejudices head on while also showing the relation the events have to a more modern context, specifically surrounding the Trump administration.
ContributorsDistler, Emily Suzanne (Author) / Foy, Joseph (Thesis director) / Miller, April (Committee member) / Department of Marketing (Contributor) / Department of English (Contributor) / The Sidney Poitier New American Film School (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05