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- Creators: School of Film, Dance and Theatre
- Creators: Department of Marketing
Description
Trailers are an effective tool used by marketing teams in the film industry to persuade people to spend money to see a movie. Their role in film marketing has changed and exponentially increased throughout the history of the medium, and their form is constantly evolving. While the core function of trailers is to advertise a finished product, they are created with a focused effort on grabbing an audience's attention and initiating an emotional interaction. The development of a feature film trailer by an organized marketing group is also an artistic venture that requires a high level of proficiency at editing and storytelling to effectively communicate the necessary elements of a film in an effort to persuade. Trailer making is a craft honed by an extraordinary amount of person-hours and intentionality, with a blend of plenty of diegetic and non-diegetic functions which exhibit the best parts of a movie. While trailers can suffer from hyperbolicism as well as excessive genre signaling, it's important to stand out and prove a product worthy of a customer's dollars especially in a film culture saturated with content. As marketing budgets continue to balloon in the entertainment industry, it seems that trailers will continue to be a mainstay of promoting art, and will evolve to fit any societal shifts they encounter.
ContributorsHolmgren, Devin Brent (Author) / Scott, Jason Davids (Thesis director) / Fortunato, Joseph (Committee member) / School of Film, Dance and Theatre (Contributor) / W.P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
DescriptionA short film about a mother and a daughter.
ContributorsJun, Seo-Young (Author) / Taylor, Philip (Thesis director) / Bernstein, Gregory (Committee member) / Clay, Anne Safiya (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2013-12
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
My thesis project entitled Petticoats for Petty Killers was a feature length screenplay intended to be a solid first draft in the area of screenwriting. The story follows a young woman named Lottie in Victorian Era London, as women in her class are murdered by a serial killer. When her best friend becomes a victim, Lottie takes it upon herself to dress up as a man and solve the crime. In order to complete this project, I began in an Introduction to Screenwriting course in order to understand the basics. From formatting, to story, and plot I learned the essentials of screenwriting. Though often lacking written detail, screenplays require a visualization of the actual film. My conception of the project came from murder mysteries, period pieces, and concepts involving hardheaded women head of their time. This included Jack the Ripper, Sherlock Holmes, The Da Vinci Code, and Outlander. I researched the victorian era with Great Courses, read screenwriting books such as Save the Cat and The Writer’s Journey, and read screenplays for films. Most helpful was the former novel and the screenplay for Silence of the Lambs, as the story followed the same flow with a strong female protagonist. I spent time drafting outlines, treatments, and character development in order to keep a strong flow and dynamic character arcs. With the basics in place, I wrote the first twenty pages (the first act) a handful of times. The outline was perfected and written out into the full eighty-three pages. With a lot of exposition, stagnant characters, weird time jumps, and too much dialogue I redid the first act another two times. Finally, my director and I determined that further changes would be reserved for later drafts, and that this first draft of eighty-three pages was complete.
ContributorsLee, Samantha Morrow (Author) / Bernstein, Gregory (Thesis director) / Nascimento, Eliciana (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Every engineer is responsible for completing a capstone project as a culmination of accredited university learning to demonstrate technical knowledge and enhance interpersonal skills, like teamwork, communication, time management, and problem solving. This project, with three or four engineers working together in a group, emphasizes not only the importance of technical skills acquired through laboratory procedures and coursework, but the significance of soft skills as one transitions from a university to a professional workplace; it also enhances the understanding of an engineer's obligation to ethically improve society by harnessing technical knowledge to bring about change. The CC2541 Smart SensorTag is a device manufactured by Texas Instruments that focuses on the use of wireless sensors to create low energy applications, or apps; it is equipped with Bluetooth Smart, which enables it to communicate wirelessly with similar devices like smart phones and computers, assisting greatly in app development. The device contains six built-in sensors, which can be utilized to track and log personal data in real-time; these sensors include a gyroscope, accelerometer, humidifier, thermometer, barometer, and magnetometer. By combining the data obtained through the sensors with the ability to communicate wirelessly, the SensorTag can be used to develop apps in multiple fields, including fitness, recreation, health, safety, and more. Team SensorTag chose to focus on health and safety issues to complete its capstone project, creating applications intended for use by senior citizens who live alone or in assisted care homes. Using the SensorTag's ability to track multiple local variables, the team worked to collect data that verified the accuracy and quality of the sensors through repeated experimental trials. Once the sensors were tested, the team developed applications accessible via smart phones or computers to trigger an alarm and send an alert via vibration, e-mail, or Tweet if the SensorTag detects a fall. The fall detection service utilizes the accelerometer and gyroscope sensors with the hope that such a system will prevent severe injuries among the elderly, allow them to function more independently, and improve their quality of life, which is the obligation of engineers to better through their work.
ContributorsMartin, Katherine Julia (Author) / Thornton, Trevor (Thesis director) / Goryll, Michael (Committee member) / Electrical Engineering Program (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2015-12
Description
This thesis seeks to answer, how could architects design for mystery and suspense and how would the perception of those spaces change for the spectators? By looking into production designers, art directors, and screenwriters, specifically the film Rear Window (1954) by Alfred Hitchcock one can analyze their use of architecture as part of the way that they build mystery and suspense by making movies that can help test if architecture spaces that are originally designed for a different purpose can build mystery and suspense. This research re-creates one scene from the film in four different locations: three on Arizona State University Tempe campus and one in an apartment complex. These short movies tested in different architectural spaces as such as, entering and exiting of buildings, access under a building that restricts individuals from seeing who is coming in or out, enclosed architecture, and by having hallways that lead up to each other and not permitting the occupant/participant to see everything around them. After filming the movies were compared to each other and a set of drawings was made to understand important choices made in each movie. What this thesis comes to investigate are the movies which are tools architects can use in their design process. Instead of starting a project from a sketch, why not start it from a movie. As this thesis reveals the act of choosing a film, dissecting it, and re-creating the experience of the film in their own movies in different locations can create a unique project.
ContributorsKattan, Yasmine Natalia (Author) / Rocchi, Elena (Thesis director) / Hejduk, Renata (Committee member) / Scott, Jason Davids (Committee member) / Cánovas, Elena (Committee member) / The Design School (Contributor, Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
The Academy Awards represent the uneasy tension between art and commerce in Hollywood. The façade of art that the Academy has worked so hard to cultivate is weakened in the face of “for your consideration” campaigning. These advertising efforts, led by the studios and teams employed by potential nominees, make claims to the virtues of a given film and advocate for their celebration. The awards business has grown into a multi-million dollar industry, directly contradicting the art-driven version of Hollywood that the Academy claims to represent.
ContributorsKisicki, Lauren (Author) / Vasquez, Joshua (Thesis director) / Baker, Aaron (Committee member) / Barrett, The Honors College (Contributor) / Department of Information Systems (Contributor) / Department of Marketing (Contributor) / Department of English (Contributor)
Created2023-05
Description
For over ninety years, the Academy of Motion Picture Arts and Sciences has recognized award-winning films for their technical capabilities, acting and storytelling. And for decades, many parties involved have campaigned for Oscar glory. This thesis generates a deeper understanding into the process by which the motion picture ecosystem works - and explains why being nominated and/or winning an Academy Award generates added value for all parties involved ranging from agencies to studios, streamers, talent and even legitimate awards campaign strategists. This thesis analyzes the various methods and price tags different entities put on awards campaigns and explores the various creative and traditional methods in which people vie for nominations and wins. Our title, “For Your Consideration,” is a term widely used in the entertainment industry when courting Academy members to vote for eligible projects in traditional advertising - which can be seen littered about Hollywood in the months leading up to Oscar Sunday.
ContributorsGruca, Benjamin Roman (Co-author) / Kichler, Amanda (Co-author) / Mokwa, Michael (Thesis director) / Giles, Charles Bret (Committee member) / Department of Marketing (Contributor) / Walter Cronkite School of Journalism & Mass Comm (Contributor) / Department of Management and Entrepreneurship (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The goal of this project was to increase my understanding and familiarity with cinema and art by analyzing and reviewing various films. Due to the events surrounding COVID-19 I had to change the initial direction of my project which was to originally apply the experience I gained to go to a film festival and review their movies. As movie theaters and festivals were shut down I changed the project to be more focused on studying a variety of films from throughout film history and of a variety of genres. I picked a wide selection of films that I felt I could review and analyze in a meaningful way. By using different angles of approaching the films I was able to analyze each film in a way that would provide the most the depth in understanding.
ContributorsTaylor, Sean (Author) / Maday, Gregory (Thesis director) / Klucsarits, Philip (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05