The Avengers - Marketing

Marvels The Avengers, one of the most successfully grossing films, was released May 4th 2012. One of the main feature which contributed to the films success was due to the increase of 3D admission prices, almost increasing it by double of standard cinema tickets. The film had an extensive marketing campaign that began well before the film was made due to the original comics. Films such as Thor, Captain America, The Incredibly Hulk and Iron Man were already made and the main characters of each of these films collaborated together to form The Avengers.

Trailers play a vital role in marketing and promoting films as they allow millions of audiences worldwide to view a video which provides an exciting insight to what to expect from the upcoming film. The Avengers was promoted at the San Diego Comic-Con in 2010 where a short trailer was exhibited to tease the audience and was narrated by the worldwide known figure of Samuel L. Jackson. However, at the next Comic-Con, Marvel didn't participate in the event as they were unprepared and un-confident as the production of the film was incomplete. Here, they missed out to gain a major following where hundreds of thousands of people visited the event every year. In 2011, a teaser trailer was shown during the credits at the end of the new Captain America movie which intrigued a large audience who were later pleased in the year as the official 2 minute trailer was released.

Marvel promoted the trailer on iTunes and was downloaded over 10 million times within the first 24 hours, showing the audiences extreme interest and excitement. Marvel also took to social networking creating accounts on networking such as Twitter and Facebook where they would interact with fans and post the trailer for everyone to view. Another website Marvel used was Youtube where they posted their trailer and the views rocketed sky high and amounted to an astonishing 40 million views. They also included 30 second adverts placed between videos to keep the interest and advertisement constant and consistent.  Marvel used the modern technology of television to present a 30 second trailer played during the most watched sporting event in America, the Superbowl. The advert was displayed to ever 120 million viewers which increase the interest and acknowledgement significantly. This cost the company $4 million which is a significant setback but the following increased interest paid off extremely well for the film and covered any spendings.  They  invested in further advertisement on many social networking, posters, comic books ect. where the interest reached a wider audience as gradually more insight to the film was being released and attracting much more attention and engagement and aspiration to watch the film. 

Marvel also began a chain of partnerships between other major brands in order to promote the film. A beneficial example of this was their partnership with Acura cars where both companies profited. Characters such as Tony Stark were being seen driving these cars so then allowing an increase in interest for the car company, but also the advertisement produced on the cars were being seen by a much wider audience on people on the roads and therefore increasing the awareness of the film.

Representation of Sexuality

In this clip, extracted from the TV programme Fingersmith, sexuality is presented through the use of a range of techniques associated with camera work, sound, mise-en-scene and editing. In this essay I will analyse the ways in which the three characters' sexuality in displayed.

In the opening scene a long shot is used to introduce two female characters, Maud and Sue. Here the two characters are presented to be rather feminine through the use of costume as both females are wearing dresses. This long shot then quickly cuts to a two shot where Maud (behind) is displayed to be holding up a dress in front of Sue. This two shot presents Maud to be comfortable with physical contact with others which is shown through her body language. She is shown to be resting her hands on the shoulders of Sue, therefore implying that they have a close bond/relationship. However, Maud only looks directly at Sue when Sue stops making eye contact, perhaps presenting Maud to feel awkward or uneasy. Following this, a non-diegetic narrator is used which seems to be coming from Maud begins saying 'she looked so beautiful' and a second or two later and background piano soundtrack is introduced and could be considered to suggest that Maud has some sort of emotional attraction towards Sue. The emotional connection between the two characters is shown through the pace of this shot which is very slow as it is held for 10 seconds. Perhaps intending to emphasise that this moment is significant. It could also be considered to imply deep emotional thought as everything is very slow and fluent. The shot then cuts into another two shot of the two characters through a reflection of a mirror but once again positioning Maud behind Sue in the composition. Maud's body language is further enhanced in this shot and is displayed to be rather serious through her expressionless facial expressions. Portraying she is in deep thought at this time. This behaviour is quite unusual as most women would be happy and excited in this particular situation. The shot the cuts back to the original where Sue states 'oh my goodness miss.. I look like a real lady'. Maud's sexuality could perhaps be presented through her facial expressions at this point as they remain emotionless which could be in reaction to the words 'real lady'. This could present her to be opposing the traditional heterosexual stereotype of women as throughout the scene she is seen to be seemingly uncomfortable in the situation.

After this, there is a dissolve used where the audience sees a mid shot of Maud on her own, once again seeming to be in rather deep thought, shown through her facial expressions looking rather confused or in thought, perhaps thinking about the previous events. Gradually causing the audience to get a better understanding of her sexuality. This shot then dissolves once again into a long shot of the two characters in bed which each other, Sue is asleep whereas Maud is awake watching over her. There is a slow camera movement towards the two. The use of low key lighting and the setting/props of a bedroom sets a calm peaceful and rather romantic atmosphere. This could be considered to portray Maud's affection towards Sue. Maud's affection towards Sue is defined in this scene where she positions her hand just above her body as though she wishes to touch it. She runs her hands over rather sexual parts of the body, starting at the breast and ending at the crotch, implying that she possesses a sexual desire in towards Sue. Once again the pace of the scene is very slow and the camera movement acquired to this shot intensifies the action taking place and suggests that she should't be doing so. This impression is furthered through the use of the costume of a glove which implies that her feelings towards Sue are forbidden and demonstrates how she has to prevent herself from making it public.

In the next scene, Maud is shown to be painting Sue through a series of close ups and then a long/establishing shot which displays a new calm neutral setting of a lake. This feel is furthered through the diegetic sound of birds tweeting which employ a calm and relaxed atmosphere. As Maud continues her painting a new character is introduced through a long shot and then a close up is used to demonstrate the man interrupting her proceedings by grabbing her hand and saying 'she must think we love one another'. His action and body language conform to the masculine heterosexual stereotype of men as he attempts to show his dominance. Additionally, Maud says to the man 'wake her, she'll burn" which clearly shows that she cares about Sue's health and feels the need to take responsibility for her. The man then reassures his dominance and sexuality by telling Maud to 'shh'. A shot reverse shot sequence, including close ups of Sue's breasts and hands on her lap and also close up reaction shots acquired to Maud. Implying themes of a very sexual nature as she once again shows he desires towards Sue. After this a sequence of close up action matches of paint dripping onto Maud's dress, the dripping of the paint has been slowed down and therefore intensifies the action. The dripping and slow pace is caused by Maud being distracted by admiring Sue, emphasising her attraction towards her. From this point onward the pace of the scene increases and the man becomes seemingly aggressive and violent which is displayed through his body language of holding Maud by her throat. This once again reinforces the man to be particularly dominant and heterosexual. As the two character converse the man says 'she'd laugh in your face if she knew' which implies that he knows that Maud has feelings for Sue and thereofore presenting homosexuality as something which is frowned up on.

In the denouement of the clip Maud refuses to kiss the man and denies him the opportunity to do so by turning away, showing her cheek and therefore defines her status as a lesbian. Demonstrating that she is accepting her sexuality and therefore resulting in confronting the stereotype given to women. In this scene the pace once again decrease down to a slow pace to emphasise the intensity of the situation of the man kneeling before kissing her hand and therefore exemplifying Maud's uncomforted.

Representation on Ethnicity

In the TV programme Hotel Babylon, ethnicity is presented in various ways to show different ethnic groups. In this essay I will be analysing the techniques used in the text to imply the specific stereotypes given to specific ethnic groups. This will be in relation to camera work, mise-en-scene, sound and editing.

To initiate the opening scene, a long shot tracking the movement of a black male employee assisting a guest. This tracking shot presents the costume of the character as being in very smart/formal attire by him wearing a suit.This costume implies that the male takes pride in his smart/groomed appearance which opposes the perspective given to his ethnic group (young black males) as they are stereotypically not as well presented than British males. We can also recognise the body language of the character as he seems polite and has good etiquette; demonstrated through the dialogue acquired to him, here he says "thank you very much" and "hello". This dialogue presents his accent ad the way he speaks which is rather educated and well mannered. A further out long shot is then used to establish the location of a hotel and therefore allow the audience to familiarise them self with the males workplace. Presenting the black male to oppose the stereotype given to his ethnic group through the use of smart costume, well mannered body language and an educated accent. A new character is then introduced through an over the shoulder shot. This shot shows a character which represents the stereotypical male of the same ethnic group as the previous. This impression is displayed further through the use of dialogue and regional dialect/idiolect. Throughout the dialogue exchanged between the two, displayed by a sequence of over the shoulder shots and shot reverse shot, he uses slang phrases such as "ganja", "bro", "blood", "bredrin", "booze" etc. and it is evident that all he is interested in is girls and partying. Implying that his aspirations on life is somewhat opposite to the employee. The young man's ethnicity is also through the visible appearance and body language. A side on two shot shows the man to be wearing baggy shorts and the series of over the shoulder shots displays him to be wearing diamond jewellery such as ear ring and a necklace. His hair is also messy and un-groomed in the style of dread locks. The appearance further relates to his mentioning of "ganja" and could present him to be a crew member or even a drug dealer. Overall, these two characters present both sides of their ethnic group, one conforming to the stereotype and the other confronting it.

In the next scene, a tilt is used to introduce two foreign females, making clear of what their occupations are. This tilt shows the the women in maid costumes and also shows off the props off carts. Dialogue between the two is shared and they both seem to have eastern European accents which initiate the ethnicity of the two characters. The job of a maid is usually low paid and stereotypically occupied by eastern Europeans as they come over to the UK for job opportunities. A close up of a card showing "please service" with two red aster-ix. This is accompanied with dialogue where the woman states "He pays double for double." referring to the girls. This presents the ethnic group of eastern Europeans where they carry out certain jobs to get money, whether it be a formal job or someone paying for their "service". Then a tense non-diegetic background soundtrack is introduced which implies that they are doing something they shouldn't be. After this a long shot of an Asian man sat on his bed. This shot also displays his costume of just wearing a dressing gown. A close up of he prop of money on the side corresponds to the earlier dialogue, supporting the stereotype that eastern Europeans are relatively poor and willing to carrying out manual labour and other activities. However, one of the females appears to be seemingly uncomfortable, shown through close ups of facial expressions/reaction shots and long shot which demonstrate her timid and shy body language. She then runs out saying "sorry.. I cant". Therefore, perhaps implying that she may confront the stereotype as she is not used to the behaviour of stripping and does no feel comfortable.

Towards the end of the text, the setting once again changes to be in a kitchen where the pace of the video increases. Many props are used through tracking shots and close ups of specific items such as a knife. In this scene a mid shot is used to display a man in a stereotypical chef attire. He then converses with other and it becomes apparent that his accent is of a foreign country (Italy) and uses words such as "madame". The chef is then considered as part of an Italian ethnic group, therefore resulting in stereotypes being applied to him. The association with Italians and food is significant and suggests that being a chef is specific to people of this particular ethnicity. Italians are also perceived to be relatively interactive and physical. This "touchy feely" attitude is visible through mid shots and two shots where his body language towards others is displayed by grabbing his "old friends" and kissing them on the head.