Post on 04-Apr-2023
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Julian Grant Student # 1403347 Course Code RAIN 70075 Module Info: Research Methods/ Module 2
STRANGE! DARING! SHOCKING! TRUE!
Propagative Strategies For Cult Cinema Engagement Abstract: How can independent media artists leverage their
visibility in today’s cinema marketplace using the quirky
publicity and promotional strategies as practiced by ‘cult’
exploitation filmmakers?
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INTRODUCTION 3
LITERATURE REVIEW 5 DWAIN ESPER 5 WILLIAM CASTLE 8 SAMUEL Z. ARKOFF 11
RESEARCH METHODOLOGY 14
FINDINGS 15 TRADITIONAL STUDIO MARKETING TOOLS 15 INDEPENDENT FILM MARKETING TOOLS 16 CONTAGIOUS 6 STEPPS PROGRAM 19
COMPARATIVE ANALYSIS 20 ESPER STEPPS 20 CASTLE STEPPS 20 ARKOFF STEPPS 20
DISCUSSIONS & EVALUATIONS 23
CONCLUSION 25
BIBLIOGRAPHY: 26
FILMOGRAPHY: 27
APPENDIX 28 PERSONAL ESSAY 29 DWAIN ESPER FILMOGRAPHY 32 DWAIN ESPER SELECT PROMOTIONAL MATERIALS 33 WILLIAM CASTLE SELECT FILMOGRAPHY 34 SELECT WILLIAM CASTLE ADVERTISING MATERIALS 35 SAMUEL Z ARKOFF SELECT FILMOGRAPHY & PROMOTIONAL MATERIALS 36 SELECT SAMUEL Z. ARKOFF PROMOTIONAL MATERIALS 41 APPENDIX #1 INDUSTRY SUPPORT ANALYSIS 42 1.1 MOVIE PROMOTION ELEMENTS AS USED BY TRADITIONAL STUDIO MARKETING 42 1.2 MOVIE ADVERTISING SPENDING BY MEDIUM, 2010 42 1.3 LOW BUDGET $800,000 MOVIE MARKETING CAMPAIGN 42 APPENDIX #2 INDEPENDENT SUPPORT ANALYSIS 43 2.1 – HIT FILMS CARRIED BY WEB-‐CENTRIC MARKETING 43 2.2 DIGITAL OPTIONS FOR ENTERTAINMENT PROMOTIONS 45 2.3 DIGITAL MEDIA PLATFORMS 46
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Introduction
As per industry trade magazine Variety’s recent report,
Broken Hollywood (Jan. 28, 2015), Hollywood is poised on the
brink of a creative and financial reversal never before felt
due to a proliferation of events (waning cinematic
attendance, digital downloading, the ongoing collapse of the
domestic DVD marketplace, audiences moving online) resulting
in a seismic shift of consumer viewing habits.
“Talk to any top executive or producer in the movie, television and digital businesses today and they will tell you that the challenges they face are more severe and confounding than ever. Industryites are grappling with profound concerns that cut to the heart of the traditional models to which Hollywood has adhered for decades.” - Variety Co-Editor in Chief, Andrew Wallenstein [Online] Accessed: Jan. 28, 2015.
Independent cinema, operating outside of Hollywood, faces
an even-greater challenge in engaging with their viewers as
this specialized marketplace is marginalized and ignored even
more than Hollywood by the general viewing public.
Even with the extensive spending of the established
Hollywood system on television advertising (way beyond what
could be attempted by an independent producer or filmmaker –
as noted by film business journalist, Robert Marich), the
self-financed, creative ‘cult’ filmmaker has to design a bold
new marketing and promotional strategy to engage their
specific audience and by-pass the roadblocks currently
challenging the studio systems. Yet where to begin? How does
one make a difference? How does one become a ‘cult’
filmmaking presence?
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What can today’s ‘indie’ media artist learn by examining
the exploitive shock advertising and outlandish promotional
activities as practiced by the early exploitation ‘cult’
pioneers of cinema; Dwain Esper, Samuel Z. Arkoff and William
Castle before the reliance on television advertising to
promote new cinema releases? How did their carnival-styled
propagative strategies enhance their sales and market
dominance?
By examining the past and current ‘cult’ kings of ‘in-
your-face’ movie advertising and extrapolating their one-of-
a-kind techniques, we can review their unique brut marketing
strategies and confront methodologies for selling, promoting
and marketing new independent cinema. In this report, we
shall compare and define the tactics of Hollywood cinema
advertising contrasted again independent niche-branded ‘cult’
media creators to offer a comparative analysis of strategies
and potential applications.
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Literature Review
Three key players in early exploitation cinema
historically lay the groundwork for practices that can be
revisited and now re-interpreted for independent filmmakers
today. Each of these ‘cult’ creators used a unique hook to
sell their films and these practices were instrumental in the
development of their specific cinema brands or niches. By
examining each of their bold approaches to their advertising
and brand marketing, we can then document examples of best-
practiced ‘cult’ innovative promotions used historically –
and determine their viability today.
Dwain Esper
One of the original “Forty Thieves” (itinerant roadshow
film exhibitors) who toured throughout the rural USA engaged
in the showcasing of sex-hygiene and exploitive cinema, Esper
was a writer, producer, director and showman who created
specific, audience-driven showcases for his second-tier and
marginal motion pictures during the 1930’s.
As detailed in the seminal text, Grindhouse: The
Forbidden World of Adult Cinema (1996), authors Eddie Muller
and Daniel Faris describe Esper as the consummate ‘road-
showman’, as he and his wife Hildegard were responsible for a
unique sales and marketing strategy that would set the high
standard for devising profitable engagements for their low
class productions. They worked with a very specific rural
audience in mind and capitalized on artfully promoting and
exploiting their opportunities to the best of their truly
shameless abilities. They identified and KNEW what their
‘cult’ audiences wanted – and delivered it nationwide!
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Esper, a former carnival barker, made sordid low-rent
motion pictures that were sensational in nature yet opted to
present the films as an educational tract for the consumption
of his enlightened viewers (and to avoid prosecution). Using
lurid multiple titles and multiple advertising campaigns,
Esper was able to recycle, reformat and re-release a wide
variety of topical and tantalizing cinema to his audiences
over and over again in both ‘hot’ and ‘cold’ movie versions.
(Muller & Faris, 1996)
As detailed in Eric Shaefer’s history of Exploitation
Films, 1919 – 1959, Bold, Daring, Shocking, True, by using
hyperbolic ‘sinsational’ titles such as The Seventh
Commandment (Thou Shall Not Commit Adultery), Narcotic,
Maniac (aka Sex Maniac), Marihuana, Reefer Madness and
Forbidden Love, Esper was able to capitalize on topics and
taboos torn from the pages of the newspaper headlines yet
sell them as educational, informative and imperative. As the
Great Depression ravaged the USA, Esper designed no-budget
‘cult’ exploitation cinema that could be sold multiple ways
to the general public - all dedicated to seamy and horrific
public health and welfare issues – yet disguised as a
sanctimonious sermon on the evil that men (and women) do
(Schaefer, 1999).
The ‘cold’ campaign for these films would be designed to
appeal to the female viewers stressing the educational nature
of the programming with nurses and fake medical experts in
attendance to deliver lectures and informative guidance to
the mostly ill-educated audiences (Schaefer, 1999). Published
sex education and drug knowledge was little at the time and
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Esper’s lavish displays, enclosed-glass showcases of drug
paraphernalia and gregarious and lavish sales materials
(books, pamphlets, Bibles and more) helped pry the very
pennies from the pockets of his audience ‘almost obscuring
the entrance of the cinema’ (Schaefer, 1999, p. 120). Every
show had a ‘hook and a book’ to sell. As explained in Felicia
Feaster and Bret Wood’s book dedicated to the golden age of
exploitation cinema, this Forbidden Fruit (1999) would prove
impossible to pass up.
The ‘hot’ campaigns for these ‘cult’ films would be also
geared towards enticing the eager male viewers (dropping the
educational pitch) and be bolstered with a short reel of full
female nudity, actual live (and bloody) childbirth and other
‘informational’ material, which would satisfy the men drawn
by their base instincts. Esper played expertly to these needs
and paid off local police and other city officials with free
tickets, whiskey and cash in order to promote his strange
traveling shows without legal action (Feaster & Wood, 1999).
Utilizing medical stock footage, venereal-disease
pictures, nudity, animal mutilation and “chicanery of the
highest order” (Feaster & Wood, 1999, p. 105) as a matter-of-
course, Esper was able to capitalize even further by
licensing the neglected MGM masterpiece Freaks (1938) by
director Tod Browning and re-release it on his backwoods
circuit as Forbidden Love by hiring actual sideshow
performers to promote the film in-person (Schaefer, 1999).
Using these outlandish performers and shameless promotions,
Esper drove this 1938 classic into the ground showcasing it
through to the 1960’s in backwoods parts of the USA! After
World War II ended, Esper even created a ‘tell-all’ love
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story documentary on Adolph Hitler (Hitler’s Strange Love
Life) and drove around in a 1937 Mercedes claiming it to be
Hitler’s actual car! His ‘chutzpah’ knew no bounds.
As the ‘King of the Celluloid Gypsies’ (Faris & Muller,
1996), Esper was a determined, pragmatic and truly tasteless
showman working with a carnival barker’s eye on profit and
found no film or audience he could not exploit or promote to
make money. Using educational and inspirational messages to
cloak his bold, tasteless, artistically suspect work, Esper
galvanized an audience desperate for cinema outside of the
traditional (and boring) Hollywood fare (Faris & Muller,
1996) with brazen and tasteless audacity.
William Castle
When young New York impresario Wm. Castle rented Orson
Welles’ summer stock theater, little did he know that he
would soon be going toe-to-toe with the Nazi propaganda
machine during the start of World War II (Castle, 1976). Mr.
Castle was taxed when none other than Joseph Goebbels himself
ordered Castle’s German leading lady back to Berlin and like
any good producer, Castle turned this near catastrophe into a
nationwide media event as he refused to let her go back to
Germany. Newspapers across the USA picked up the story of
‘David vs. Goliath’ - and when Nazi sympathizers smashed
Castle’s box office window (and painted swastikas on the
walls), he had a hit on his hands (Castle, 1976) It would be
many years later that he would reveal in his autobiography,
Step Right Up! I’m Gonna Scare the Pants Off America that he
himself was responsible for trashing his own theater in an
brazen attempt to drum up business. As stated by the soon-to-
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be-crowned, ‘King of Gimmicks’ (Weldon, 1983), “It was a hell
of an opening” (Castle, 1976, p. 127).
Soon, Castle would find himself in Hollywood working as a
young assistant director and then-producer under contract
before handed his first picture, The Mark Of The Whistler
(1944) to direct. A flop, Castle started looking for his own
unique film subject matter and crafted a mystery/suspense
picture that would be the genre most often associated with
his brand (Castle, 1976) Leveraging his own money and then
gambling everything he had, Castle hung up his own shingle
and then financed the film that would be the beginning of his
truly independent career - Macabre (1958). (Castle, 1976) All
he needed was a reason for people to come and see his movie.
A unique ‘cult’ ‘Call To Action’.
As detailed in Michael Weldon’s The Psychotronic
Encyclopedia of Film (1983), Castle insured his audience for
Macabre for the princely sum of $1,000 if they died by shock
or fright. Nurses and ambulances were on line at select
theaters and the advertising machines across the country
promoted and sold this special premium. No one ever died
watching the film - but “everyone was talking about his
‘gimmick” (Weldon, 1983, p. 439). It would not be his last.
William Castle became America’s ‘King of The Gimmicks’
(Castle, 1976) throughout the 1950-60’s with an ever-
escalating series of strange stunts, promotions, and special
premiums with ‘cult’ gimmicks to drive his audiences wild. He
perfected ‘Emergo’ where a plastic skeleton would fly out
from besides the screen in his thriller, The House On Haunted
Hill (1959) (Weldon, 1983), installed micro-motors to buzz
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the behinds of viewers in his cult-classic, The Tingler
(1959) (Weldon, 1983) and designed many more thrill-enhanced
promotions to the shock and delight of his fans (Castle,
1976).
Castle further confounded audiences with the androgynous
Jean Arless (playing both male and female roles) in Homicidal
adding a special ‘Fright Break’ to allow cowardly customers
to exit the cinema (before Ms. Arless’ true identity was then
revealed). Few took him up on the offer and miss the spine-
tingling conclusion (and delight) in the ‘secret’ unveiling.
(Weldon, 1983)
Castle quickly became a horror ‘cult’ brand unto himself
with merchandised toys, memorabilia and filmed introductory
speeches (like Hitchcock) for each of his movies. He knew the
true benefit of appealing to his ‘cult’ audience and geared
specific films and their campaigns to markets determined to
exploit and entertain them (Castle, 1976).
As one of the first producers to recognize the importance
of the international marketplace (Weldon, 1983) his classic,
13 Frightened Girls (1963) had thirteen unique film openings
featuring the international ‘frightened girl’ who had won a
part in his picture. This ensured that the film would open in
their territories with a local beauty showcased. As his
‘cult’ career evolved, Castle would add notable performers
like Joan Crawford to bring luster to his later pictures and
move away from pure gimmicks yet continue to work in the
macabre (Weldon, 1983). He is now best remembered now as the
producer of Rosemary’s Baby (1968) the psychological horror
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hit based on a best-selling novel and directed by Roman
Polanski (Castle, 1976).
Samuel Z. Arkoff
If there is a ‘cult’ king of the drive-in movie, it is
the producer Samuel Z. Arkoff (1918-2001) who pioneered the
youth-oriented cinema in the 1950’s and continued to expand
upon his legacy throughout the 1960’s - 70’s (Weaver, 1988)
Arkoff was quick to recognize that teens had no interest in
sitting at home marveling at the new television technology
that was dominating the American home (Weldon, 1983). Old
Hollywood was continuing to make cinema that did not speak to
the disenfranchised youth and Arkoff quickly made low-budget
‘cult’ ‘B’ movies that capitalized on the needs and desires
as these young adults (Muller & Faris, 1996).
Arkoff designed low-rent racing car and rock music dramas
that played in dual picture combinations (for one price to
the exhibitor with a greater percentage of the box-office to
Arkoff) and then changed the face of American cinema as the
teenage werewolves, hot-rod girls and hormonally challenged
Frankenstein’s terrorized the ‘passion pit’ drive-ins (Muller
& Faris, 1990).
As detailed in his autobiography, the A.R.K.O.F.F formula
stated that a film required the following to be a success.
• Action (exciting, entertaining drama)
• Revolution (novel or controversial themes and ideas)
• Killing (a modicum of violence)
• Oratory (notable dialogue and speeches)
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• Fantasy (acted-out fantasies common to the audience)
• Fornication (sex appeal for young adults)
(Arkoff, 1992)
This acronym of his name proves to be a true milestone in
market actualization as each section points to specific modes
of engagement designed for maximum audience appeal (Weaver,
1988) and keeps Arkoff name front and center. Utilizing the
bold A.R.K.O.F.F. formula and pre-selling films based on the
key poster art alone, he could project the success of his
work and then finance the directly focused pictures based on
the anticipated appeal (Arkoff, 1992).
As per Arkoff interviewed for B Science Fiction & Horror
Movie Makers by Tom Weaver, “Exhibitors would come up to me
and say "Sam, if we could just punch sprocket holes in the
campaign and throw the film away.” Like Esper, Arkoff was an
astute ‘Carny’ salesman providing salacious titles backed
with exceptional date-sensitive advertising on no-budget
motion pictures that rarely lived up to the hype (Weaver,
1988).
Arkoff was responsible for recognizing the early value of
importing foreign genre-based cinema after witnessing the US
success of the Italian muscleman film, Hercules (1959) and he
quickly capitalized on dubbing, re-editing and re-titling
available schlock Italian and British horror cinema to appeal
to North American audiences (Weldon, 1983). Often these
European films had nudity, blood and violence greater than
their American counterparts and the Arkoff versions were re-
shaped to be recycled to the domestic US drive-in circuit
(Weldon, 1983). Black Sunday (1960), an AIP re-working of
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the Italian shocker, La Machero del Demonio (1960) is a prime
example of this practice trimming the nudity for American
tastes and rescoring and dubbing as needed. (Weldon, 1983).
Inspired by his ability to mix and edit elements together
to create new and salable ‘cult’ genres, Arkoff would pioneer
the topical ‘Beach Party’ films of the 1960’s combining Old
Hollywood stars with nubile youngsters with Beach Party
(1963) appealing to both the young and the old, (Weldon,
1983), the “Blaxploitation” genre mixing horror and black
audiences with Blacula (1972), and create the new outlaw
genres of The Wild Angels (1968) celebrating biker and the
emerging hippie culture (Muller & Faris, 1996) and would be
instrumental in designing the movies that would bring to
prominence notable cinema ‘cult’ artists such as Roger
Corman, Francis Ford Coppola, Jonathan Demme, Martin Scorsese
and more (Weldon, 1983).
As Arkoff was competing with the larger studio marketing
organizations, he knew that word-of-mouth, and targeted,
focused ‘cult’ campaigns were truly essential to financial
success (Weaver, 1988) Recognizing the value of under-served
marketplaces, he bought cheap and spent money on artwork only
to sell ‘the sizzle, not the steak.’ Bold, shocking, sexual,
adventurous, and unique ‘cult’ promotions offered hard
violence, open nudity and ‘never-before-seen’ spectacles as
the bait for his topical motion pictures (Weldon, 1983).
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Research Methodology
The research methodology employed for this report shall
be a qualitative, inductive enquiry using the following
tactics as outlined below.
1) Researching the three distinct cinematic pioneers of ‘cult’ marketing (Esper, Arkoff and Castle) and examine their
promotional practices juxtaposed against today’s media
environment.
2) Provide an overview and definition of contemporary media strategies/terms used by accepted Hollywood practioneers
(using data as provided by business journalist Robert
Marich and documented in his textbook, Marketing To
Moviegoers.
3) Examine how contemporary new media ‘cult’ practioneers may excel today by using historical ‘cult’ advertising combined
with propagative self-marketing with only limited financial
resources.
4) Cite examples of successful practioneers of propagative ‘cult’ strategies utilizing hyperbolic and market-focused
tactics.
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FINDINGS
In examining the works of Esper, Castle and Arkoff it was
evident that all three were very successful with reaching
their ‘cult’ audiences through niche branding, bold and
inventive public personas combined with hyperbolic shock
marketing to the public.
Using Esper, Castle & Arkoff as the standard bearers of
shock engagement for independent ‘cult’ cinema, we can now
look at their strategies in the context of the current state
of industry marketing for traditional studio-based motion
pictures versus their independent counterparts. By defining
traditional studio marketing elements (and their usage
today), we can juxtapose these stolid approaches against the
independent ‘cult’ cinema toolkit. Contrasting and comparing
the shock tactics and personal hyperbole used by the kings of
yesteryear can reveal a new paradigm for success today.
Traditional Studio Marketing Tools
Today’s motion picture industry has a standardized (and
expensive) approach to marketing and selling their cinema.
Appendix #1.1 -1.3 shows marketing breakdowns and defines the
tactics used for major Hollywood films.
As these campaigns are universally designed for maximum
appeal, the following key sales points are reviewed for the
engagement with the audience of any mass-released motion
picture–
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1) Star or Known Names
2) Intriguing or Unusual Story
3) Do the opinions of film critics count? 4) Does the title communicate what the film is about?
5) Is there a sympathetic character?
6) Are there relatable or salable subplots?
7) Is the audience transported to a fantasy landscape?
8) Is the music memorable? 9) Are there colors, backdrops, or props that are memorable?
10) Is the film geared towards a specific audience?
(Marich, 2013, p. 21-22)
Studios must decide well in advance the ‘kind’ of movie
being marketed and often times a delivered motion picture
will differ from the original campaign as designed by the
studio (Marich, 2013). All marketing elements will be
generated for brand-control (in the past, exhibitors designed
and posted ads in their specific marketplaces) with all ad
space and times purchased by a central studio-approved media
buyer (Marich, 2013). There is no room for personal or
regionally based innovations in studio marketing and
promotion. The depth and breath of creating these long-lead
media events takes much time, money and expertise.
Independent Film Marketing Tools
Faced with limited financial resources, new cinema ‘cult’
practitioners cannot afford or pay for successful market
awareness at the depth of studio promotions (Marich, 2013).
New low-cost and innovative marketing and distribution
strategies must be used to develop independent cinema
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audiences and provide a working ecosystem for titles or
topics outside of Hollywood’s omnipotent reach. Appendix
#2.1-2.3 outlines the successful web based advertising and
promotional advertising practices used by new media savvy
promoters.
As Marich contends, independent filmmakers must develop
supporters through personal engagement finding peer groups
and their own evangelists sharing in the enthusiasm of the
content. The question is, “How best to reach them?”
Facebook (established 2004) and Twitter (established
2006) define movie-marketing tools for emerging filmmakers
and the most potent film element (the movie trailer – as
per Marich) can be promoted by both the well-financed and
the new kitchen sink ‘cult’ film creator. The goal for both
is the same - for users to share film content online with
their friends and family. Endorsed personal recommendations
are the most successful of all media promotions regardless
of the amount of money spent on advertising. Yet the viral
adoption of a trailer or campaign eludes most marketers.
Even Hollywood.
As per Jonah Berger, author of Contagious: Why Things
Catch On (2013), “Word of mouth is the primary factor behind
20-50 % of all purchasing decisions.” (Berger, 2013, pg. 7)
As both the mainstream studio and the independent filmmaker
seek this same virtual approval, the goal of an active, viral
and interested audience is the same outcome. Yet, research by
the Keller Fay Group (2012) find that only 7% of word of
mouth happens online. Despite the prestigious amount of time
most modern audiences dedicate to their Internet lives, we
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place greater credence and authenticity on face-to-face
engagement as stated by Berger. He believes that Facebook and
Twitter are media technologies. They do not replace the bonus
of peer-to-peer social (in-person) transmission (Berger,
2013).
Studios don’t sell one-to-one (Marich, 2013). They are
designed to shotgun the largest amount of people with the
greatest number of impressions four to six weeks prior to
their movie’s release (Marich, 2013). They are too large to
tailor-make their influence. They cannot be artisanal in
their marketing of ‘cult’ promotions.
Contagious author Berger has created a STEPPS program
that he believes leads to effective viral engagement that can
cause films to be talked about, shared, imitated and then
purchased (Berger, 2013).
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Contagious 6 STEPPS Program
Social Currency - Does the knowledge of the film make the
viewer look smarter? The information must make the
acolyte feel like an insider.
Triggers - Does the title or film link to similar or
comparable related items or films? This linking of
‘peanut butter and jam’ is essential for sharing.
Emotion - When we care, we will share. How does the
message make us feel? Emotions get shared.
Public - What does it look like? What does it sound like?
How can we share it?
Practical Value - Does this save us money or time? How
long is it? Will I learn something new? Will it make me
feel or do something? What’s my takeaway?
Stories - Anecdotal, humorous, engaging narratives drive
content sales. What’s remarkable or noteworthy?
(Berger 2013, pg. 21-27)
By using all or a combination of the STEPPS outlined,
Esper, Castle and Arkoff increased their ‘cult’ value to the
viewer and promoted their respective project or body of work
successfully. By reviewing these ‘cult’ artists and comparing
them to the program of STEPPS analysis, one can draw the
following conclusions and see the success of their efforts in
engaging audiences.
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Comparative Analysis
Esper STEPPS
Esper travelled to and engaged with his rural audience in
person and brought with him something that was unavailable
and truly unique. He spoke directly to his audiences and sold
them ‘in person’ with anecdotal and engaging patter designed
to both educate and entertain. He knew what the women wanted
and understood the ‘urges’ of the men.
Castle STEPPS
Castle pulled a rabbit out of his hat with every movie
creating a new ‘cult’ gimmick for each film. He was a movie
magician and sold himself as a likable, charismatic father
figure promising to scare us all in good fun. William Castle
cultivated a playful ‘scary’ persona mass merchandised to
children and the young at heart by selling secrets, insider-
fun and delivered his water-cooler styled ‘must-know’
entertainment.
Arkoff STEPPS
Using triggers effectively combining film elements – (I
Was A Teenage Frankenstein (1957) - Muscle Beach Party (1964)
- The Wild Angels (1966)), Arkoff was able to merge and mix
cinema genres. He created emotional and practical stories of
under-represented markets (African Americans, Bikers, Rebels
and Youth) and brought exotic and new ‘cult’ material to the
USA (never before seen) in the guise of imported horror films
retooled for North American Sensibilities.
As each of these master showmen practiced their own bold
STEPPS variations on the viral branding message as outlined
by Berger, these techniques and attitudes may be transposed
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to other independent ‘cult’ cinema work as filmmakers design
their own specific and unique branded opportunities for
audiences.
Contemporary examples of ‘cult’ filmmaker showmen
practicing this style of branded entertainment that have
proven to be very successful adoptees of the STEPPS formula
are:
Quentin Tarentino – Mixing and mashing film genres while
publically providing a vocal and energetic public persona for
press and promotional advocacy.
Lloyd Kaufman – Founder of Troma Films, the schlock
horror creator of “The Toxic Avenger”, “Class of Nuke ‘Em
High”, “Tromeo and Juliet”
Robert Rodriguez – CEO/Founder of the El Rey television
network. The original ‘Rebel Without A Film Crew.’
Kevin Smith – Bad boy advocate of independent filmmaking,
comic book writer, blog kingpin, in-demand public speaker,
and entertainment personality.
John Waters – the “Prince of Puke”, author, filmmaker,
television personality, public speaker and cult legend.
Elliot Grove – Filmmaker, educational guru, acclaimed
public speaker, blogger, evangelist and mentor. As the ‘cult’
creator and founder of Raindance, he has encouraged, cajoled,
celebrated and coerced worldwide recognition of independent
cinema.
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By creating ‘cult’ cinema that touches on the STEPPS
philosophies and styles, each of these contemporary high-
profile filmmakers have created a ‘larger-than-life’ ‘cult’
hyperbolic propagative persona that offers us a P.T Barnum
style impresario spinning tales of wonder, shock, horror and
genre-bending interpretation in a manner befitting Esper,
Castle and Arkoff. Their personalities and perspectives are
as valued as their cinematic creations with each providing a
specific ‘cult’ focus to their entrepreneurial film events.
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Discussions & Evaluations
This report has identified specific chief practitioners
of ‘cult’ cinema marketing (past/present) and provided a road
map for new cinema makers to develop specific and focused
‘cult’ branded cinema. The following evaluations may be made
regarding this material.
That engagement on a one-to-one basis with a film specific
‘cult’ market is essential for building brand awareness and
loyalty. Meeting fans in person makes for a personal
connection and undying support.
Timely and topical ‘cult’ cinema will be of greater news
interest for audience members looking for social currency
and VIP insider status. They want to be the first to know
about it – and will share it with their friends and family.
Genre blending and the mixing of known quantities allow for
stronger associations or triggers for interested audiences.
Peanut butter and chocolate mash-ups of the cinematic kind
are unique, flavorful and different.
Visual engagement matters with vivid trailers, key-art and
graphic promotions geared toward specific ‘cult’ markets
online and in-person. Artwork, trailers, promos and self-
styled stand-up ‘personality’ videos all serve the visual
branded ‘cult’ identity of the media artist.
Emotions get shared. Feeling or sharing how one responds to
art is common for social engagement and the importance of
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creating authentic conversations outpaces the shotgun paid
‘one-size-fits-all’ generic advertising.
Understanding the psychological and emotional requirements
of your ‘cult’ audience as an evolving family or ‘tribe’.
The ‘cult’ zeitgeist of specific times and ideals will
change over time. You must make the boat as you row it.
World events, social uprisings, conflicts and laws can
impact specific genres allowing greater growth for a very
limited window only. One must act fast to capitalize.
Tribe-building and authentic contact with like-minded
‘cult’ followers leads to greater advocacy. One cannot fake
active engagement for a cause or ‘cult’ belief.
Face-to-face advocacy is the most effective marketing tool.
People sell and share to people – not companies. Becoming a
‘cult’ cinema spokesman for a specific style or type of
personal movie is critical to message clarity and cohesion.
A unique ‘Call To Action’ can entice ‘cult’ fans once they
are familiar with a body of work. They will readily come
along with someone they trust and respect.
Vigorous and continuous application of core ‘cult’ concepts
based upon a consistent personal methodology result in
branded cinema tribal followers.
Shock, outrage, quirky and unique events are specialized
and effective ways of cutting through the media clutter of
25
the 21st century with sacred cows, heroes and beliefs all
grist for the mill. Nothing is sacred to the ‘cult’ market.
Being funny, shocking, suspect, irreverent, and profane can
be an effective calling card for a select ‘cult’ audience.
Know whom you are speaking to. Use their language and style
to communicate effectively to your followers.
_____________________________________________________________________________________
Conclusion Using the STEPPS programs of engagement outlined here
filmmakers may develop their own strategic campaign of truly
original and personally-branded ‘cult’ cinema by recognizing
the value of timely, topical and audience-focused materials.
Artists not afraid to ‘make some noise’ can build a
branded ‘cult’ presence with a select audience or marketplace
by recognizing the inventiveness, ‘chutzpah’, and unique
calls-to-action and flamboyant quirkiness of Esper, Castle
and Arkoff.
Artists can develop a relatable artisanal ‘cult’ cinema
dedicated to a micro-focused eco-system of their own making
by using both the STEPPS and their own guiding principles.
Using the self-promotion and genre-blending inventiveness of
Tarentino, Rodriguez, Kaufman and other modern-day salesmen,
new cinema creators can build a branded presence and persona
to rival the appeal of known ‘cult’ cine-celebrities as
Waters, Smith and Grove by using propagative, insightful,
daring and audacious acts of daring, shocking and true self
promotion.
“Cult status is manufactured, not earned” – Elliot Grove (99 Minute Film School [Online] Accessed: Jan. 02, 2015
26
Bibliography:
Arkoff, Samuel Z. (2012) Flying Through Hollywood By The
Seat Of My Pants. New York. Birch Lane Press.
Berger, Jonah (2013) Contagious: Why Things Catch On. New
York: Simon & Schuster.
Castle, William (1976) Step Right Up! I’m Going To Scare
The Pants Off America. New York: Pharos Books.
Feaster Felicia; Wood, Bret (1999) Forbidden Fruit: The
Golden Age of the Exploitation Film. Baltimore, USA: Midnight
Marquee Press.
Marich, Robert (2013) Marketing To Moviegoers: A Handbook
Of Strategies & Tactics. USA: Southern Illinois University
Press.
Mueller, Eddie; Faris, Daniel (1996) Grindhouse: The
Forbidden World of “Adults Only” Cinema. New York, USA: St.
Martin’s Griffin.
Schaefer, Eric (1999) Bold! Daring! Shocking! True! A
History of Exploitation Films, 1919 - 1959. Durham, NC: Duke
University Press.
Wallenstein, Andrew (2015) Variety: Broken Hollywood
[Online] Available from:
http://www.variety.com/brokenhollywood [Accessed Jan. 28,
2015]
Weaver, Tom (1988) Interviews with B Science Fiction and
Horror Moviemakers. North Carolina, USA: McFarland & Company.
Weldon, Michael J. (1983) The Psychotronic Encyclopedia
of Film. New York, USA: St. Martin’s Griffin.
27
Filmography:
Black Sunday. (1960) Film. Directed by Mario Bava. [DVD]
USA: Sony Pictures Home Entertainment.
Blacula. (1972) Film. Directed by William Crain. [DVD]
USA: MGM Home Entertainment.
Beach Party. (1963) Film. Directed by William Asher.
[DVD] USA: MGM Home Entertainment.
Freaks. (1932) Film. Directed by Tod Browning. [DVD] USA:
Warner Brothers Home Entertainment.
House On Haunted Hill, The. (1959) Film. Directed by
William Castle. [DVD] USA: Reel Enterprises.
Macabre. (1958) Film. Directed by William Castle. [DVD]
USA: Allied Entertainment.
Maniac. (1934) Film. Directed by Dwain Esper. [DVD] USA:
Kino International.
Narcotic. (1933) Film. Directed by Dwain Esper. [DVD]
USA: Viacom Media.
Raven, The. (1963) Film. Directed by Roger Corman. [DVD]
USA: Sony Pictures Home Entertainment.
Sex Madness. (1938) Film. Directed by Dwain Esper. [DVD]
USA: Synergy Entertainment.
Tingler, The. (1959) Film. Directed by William Castle.
[DVD] USA: Sony Pictures Home Entertainment.
Wild Angels, The. (1966) Film. Directed by Roger Corman.
[DVD] USA: MGM Home Entertainment.
28
Appendix
I have enclosed samples of historic exploitation advertising
as used by the subjects of my literary review and a select
filmography for all three filmmakers as examples of their
innovative branding techniques.
Further enclosed is a personal essay in support of this
document outlining my reasons for choosing this area of
research and the impact of exploitation cinema on my own
personal/ professional development.
Enclosed over is a definition of terms used by traditional
studios coupled with internet-themed promotional components
for consideration in support of enhanced online development.
29
Personal Essay
In researching this report I was tasked with looking at
the world of new media promotion and how best to develop my
own strategies for my own emerging branded content.
I knew that it would be impossible for me to outspend or
out promote large companies and so I looked back to the
pioneers of cinema promotion to see what I could learn from
the past. I have had a rich history in developing and
promoting my own cinema programs and I quickly recognized a
kinship with the showmen and charlatans of the past.
I started my career ‘ballyhooing’ cinema in middle school
selling tickets to a screening of the Hammer horror film,
“The Scars of Dracula” (1972). I knew this film to be full of
bloodletting, partial nudity and savage violence – all the
things that would be attractive to pre-pubescent teens. I
sold tickets for $0.50 a seat and $1.00 to cavort in the
‘Monster Pit.’ This added premium was really just wrestling
mats laid on the ground surrounded by my glow-in-the-dark
model kits at the front of the screen – and this proved to be
the most popular seat in the house.
As the lights dimmed and the horror unfurled on screen,
one hundred and fifty kids wrestled, rolled and mashed
themselves in the ‘Pit’ as I ran the projector and counted my
cash. The film proved to be a shocking and bloody affair
filled with sex and horror as only the Hammer Studios could
provide. Little did I realize my screening would soon come to
the end when the Vice Principal showed up and was appalled by
the orgiastic and blood inspired shenanigans onscreen and the
mass make out session happening in the pit.
30
The show was shut down, I kept every dollar and nobody
asked for a refund. I was now in show business at the old age
of 13.
During my time in film school, my professional career as
a sales executive for both Roger Corman and Walt Disney
Studios and my eventual move into full-time production, I
came to realize that selling is an art and you often make the
most sales when the customer does all the work for you. If
you have an interesting hook, a convincing personality and
the ability to work the STEPPS as outlined in my Report, you
can usually create an event opportunity that sells itself. I
was amazed to see the same sales techniques used by both the
Disney Company and Corman’s New World pictures. They knew
their market and played straight to it at all times. They did
not go off-brand and understood the importance of artwork,
compelling visuals and a consistent reinforcement and
reiteration of their values. It didn’t matter if you were
selling cartoon classics or female impersonators, an
emotional appeal designed to enhance profit, status or virtue
has an instinctive and valued appeal.
As I develop my own pedagogical and aesthetic platform
and expand upon the marketing and digital cinema production
methodologies I work with, I shall keep in mind foremost the
STEPPS and the ARKOFF principals as I engage with my new
friends and tribal followers.
I shall use social media to come to understand my market
but it is through one-to-one peer engagement that I can close
the deal. I look forward to talking about my methods and
showing my films worldwide as I expand outwards from my home
base in Chicago, IL, USA. As a tenured professor, an award-
31
winning filmmaker and cinema activist, I now look forward to
giving behind-the-scenes secret info away for free with a
hope of winning your trust.
Would you like to know how I make my movies with no
money? How they get seen and sold around the world? How to
start making your own films right now in your own hometown
and find an audience for them?
Seats are only $0.50. But you might enjoy ‘The Pit”? Look
at what you get for just a dollar.
Step right up, step right up! Let me tell you about
“Cinema 2.0.”
32
Dwain Esper Filmography
• Will It Happen Again? (1948) aka Love Life of Adolph
Hitler (USA: reissue title) aka The Strange Love
Life of Adolf Hitler (USA: reissue title) aka The
Strange Loves of Adolf Hitler (USA: reissue title)
• Curse of the Ubangi (1946)
• Sex Madness (1938) aka Human Wreckage (USA: reissue
title) aka They Must Be Told (USA: reissue title)
• How to Undress in Front of Your Husband (1937)
• Marihuana (1936) aka Marihuana, the Devil's Weed aka
Marihuana, the Weed with Roots in Hell!
• Modern Motherhood (1934)
• Maniac (1934) aka Sex Maniac
• Narcotic (1933) (aka Narcotic Racket (USA: reissue
title) aka Narcotic! (USA: promotional title), aka
Narcotic: As Interpreted by Dwain Esper (USA:
closing credits title)
• The Seventh Commandment (1932)(aka Sins of Love (USA:
reissue title) aka The 7th Commandment (USA:
poster title)
• Sinister Harvest (1930)
Producer credits - Excluding films Esper directed.
• How to Take a Bath (1937)
• Angkor (1935) aka Beyond Shanghai (UK) aka
Forbidden Adventure (USA: informal reissue title)
aka Forbidden Adventure in Angkor (USA: reissue
title, 1937)
34
William Castle Select Filmography
• Bug (1975, writer/producer)
• Shanks (1974)
• Riot (1969, producer only)
• Project X (1968)
• Rosemary's Baby (1968, actor/producer only)
• The Busy Body (1967)
• The Spirit Is Willing (1967)
• Let's Kill Uncle (1966)
• I Saw What You Did (1965)
• Strait-Jacket (1964)
• The Night Walker (1964, producer/director)
• 13 Frightened Girls (1963)
• The Old Dark House (1963)
• Zotz! (1962)
• Homicidal (1961)
• Mr. Sardonicus (1961)
• 13 Ghosts (1960
• The Tingler (1959)
• House on Haunted Hill (1959)
• Macabre (1958)
36
Samuel Z Arkoff Select Filmography & Promotional Materials
• Hellhole (executive producer) 1984
• Up the Creek (executive producer) 1983
• Underground Aces (executive producer) 1980
• How to Beat the High Co$t of Living 1979
• C.H.O.M.P.S. (executive producer) 1979
• The Amityville Horror (executive producer) 1979
• California Dreaming (executive producer) 1979
• The Visitor (executive producer - uncredited) 1978
• Our Winning Season (executive producer) 1977
• The Island of Dr. Moreau (executive producer) 1977
• The People That Time Forgot 1977
• Empire of the Ants (executive producer) 1976
• The Town That Dreaded Sundown (executive producer) 1976
• A Matter of Time (executive producer) 1976
• Futureworld (executive producer) 1976
• The Great Scout & Cathouse Thursday (executive producer) 1976
• The Food of the Gods (executive producer) 1976
• Street People (executive producer) 1976
• Dragonfly (executive producer) 1975
• Return to Macon County (executive producer) 1975
• The Land That Time Forgot (producer - uncredited) 1975
• Hennessy (executive producer) 1975
• Cooley High (executive producer) 1975
• The Wild Party (executive producer) 1974
• Abby (executive producer) 1974
• Madhouse (executive producer) 1974
• Sugar Hill (executive producer) 1973
37
• Hell Up in Harlem (executive producer) 1973
• Slaughter's Big Rip-Off (executive producer) 1973
• Heavy Traffic (producer) 1973
• Dillinger (executive producer) 1973
• Scream Blacula Scream (executive producer) 1973
• Coffy (executive producer - uncredited) 1972
• Blacula (executive producer) 1972
• Slaughter (executive producer) 1972
• Dr. Phibes Rises Again (executive producer) 1972
• Whoever Slew Auntie Roo? (producer) 1972
• Baron Blood (executive producer) 1971
• Bunny O'Hare (executive producer) 1971
• Murders in the Rue Morgue (executive producer) 1971
• Godzilla vs. the Smog Monster (executive producer) 1971
• The Abominable Dr. Phibes (executive producer) 1970
• Up in the Cellar (producer) 1970
• Yog: Monster from Space (producer - US version) 1970
• Cry of the Banshee (producer) 1970
• Wuthering Heights (producer) 1970
• Dorian Gray (executive producer) 1970
• Bloody Mama (executive producer) 1970
• The Dunwich Horror (executive producer) 1970
• An Evening of Edgar Allan Poe (executive producer) 1969
• De Sade (producer) 1969
• Chastity (executive producer - uncredited) 1968
• Three in the Attic (producer) 1968
• Wild in the Streets (producer) 1968
• The Savage Seven (executive producer) 1968
• Witchfinder General (executive producer - uncredited) 1967
38
• Devil's Angels (executive producer) 1967
• Thunder Alley (executive producer) 1966
• Dr. Goldfoot and the Girl Bombs (executive producer) 1966
• The Wild Angels (executive producer) 1966
• Fireball 500 (producer) 1966
• The Ghost in the Invisible Bikini (producer) 1966
• Queen of Blood (producer) 1966
• The Big T.N.T. Show (Documentary) (executive producer) 1965
• Dr. Goldfoot and the Bikini Machine (producer) 1965
• Monster of Terror (executive producer) 1965
• Planet of the Vampires (executive producer) 1965
• Sergeant Dead Head (producer) 1965
• Frankenstein Conquers the World (executive producer) / (producer - US version) 1965
• How to Stuff a Wild Bikini (producer) 1965
• Ski Party (co-executive producer - uncredited) 1965
• City in the Sea (executive producer - uncredited) 1965
• Beach Blanket Bingo (producer) 1964
• Pajama Party (producer) 1964
• The Tomb of Ligeia (producer - uncredited) 1964
• The Time Travelers (producer - uncredited) 1964
• Uchû daikaijû Dogora (executive producer - US dubbed version) 1964
• Bikini Beach (producer) 1964
• Crypt of the Vampire (executive producer: US version) 1964
• Muscle Beach Party (executive producer) 1964
• The Last Man on Earth (executive producer) 1964
• Rome Against Rome (executive producer) 1963
39
• The Comedy of Terrors (producer) 1963
• Hercules and the Masked Rider (presentation producer - english version) 1963
• The Lost World of Sinbad (producer - english version) 1963
• The Haunted Palace (executive producer - uncredited) 1963
• Beach Party (executive producer) 1963
• X: The Man with the X-Ray Eyes (executive producer) 1963
• Operation Bikini (executive producer) 1963
• The Raven (executive producer) 1963
• Summer Holiday (executive producer - US prints only) 1962
• Fury of Achilles (producer) 1962
• Panic in Year Zero! (executive producer) 1962
• Tales of Terror (executive producer) 1962
• Invasion of the Star Creatures (producer - uncredited) 1962
• Burn, Witch, Burn (producer) 1962
• Journey to the Seventh Planet (producer) 1962
• Premature Burial (producer) 1961
• Pit and the Pendulum (executive producer) 1961
• Master of the World (executive producer) 1961
• Reptilicus (producer) 1960
• Assignment: Outer Space (executive producer) 1960
• Saiyûki (producer - English version) 1960
• Black Sunday (executive producer - U.S. version) 1960
• Circus of Horrors (producer) 1959
• A Bucket of Blood (executive producer - uncredited) 1959
• Horrors of the Black Museum (producer) 1959
• Tank Commandos (producer) 1959
• Paratroop Command (producer) 1958
40
• Submarine Seahawk (executive producer) 1958
• The Day the Sky Exploded (executive producer - uncredited) 1958
• Earth vs the Spider (executive producer) 1958
• Teenage Cave Man (executive producer) 1958
• High School Hellcats (executive producer) 1958
• War of the Colossal Beast (executive producer) 1958
• The Bonnie Parker Story (producer) 1958
• Machine-Gun Kelly (executive producer) 1958
• Suicide Battalion (executive producer) 1958
• Terror from the Year 5000 (executive producer) 1957
• The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent (executive producer)
1957
• The Amazing Colossal Man (executive producer - uncredited) 1957
• Motorcycle Gang (executive producer) 1957
• Reform School Girl (producer) 1957
• Invasion of the Saucer Men (executive producer) 1957
• Dragstrip Girl (executive producer) 1957
• Voodoo Woman (executive producer) 1956
• Runaway Daughters (executive producer) 1956
• The She-Creature (executive producer) 1956
• It Conquered the World (executive producer - uncredited) 1956
• Girls in Prison (executive producer) 1956
42
Appendix #1 Industry Support Analysis
1.1 Movie Promotion elements as used by traditional studio marketing In Theater Trailer Newspaper Reviews Online In-Video Game Ad In Theater Lobby Poster Magazine Reviews &
Articles Twitter Message
Television Commercials Online Banner Ads E-Mail Mass Mailing Television Reviews Online Articles/
Features Outdoor Billboards
Television Talk Shows Online Social Media Comments from Friends/ relatives
Radio Reviews Online Movie Listings In-Store Promotion Radio News/ Talk Shows Online Official
Websites Official Movie Contests
Newspaper Ads Entertainment Websites Source: Marketing to Moviegoers (Marich, P. 70)
1.2 Movie Advertising Spending by Medium, 2010 Network TV 35.8% Newspaper
Advertising 14.7%
Cable TV 25.9% Internet Display 4.0% Spot TV 5.5% Outdoor Display 3.7% Syndicated TV 3.4% Radio 2.9$ Spanish-Language TV
2.4% Magazine 1,7%
Source: Kantar Media
1.3 Low Budget $800,000 Movie Marketing Campaign Print (Daily/Weekly)
$250,000 Creating Trailers & Ads
$40,000
Online & Trailer promos
$250,000 Official Website
$10,000
Wild Posting (Labor)
$30,000 Duplicating Posters
%15,000
Radio 50,000 Publicity, Press Kits & Screenings
$125,000
Outdoor Billboards
$0 Festival Screening Support
$30,000
Print/Magazines $0 NON MEDIA SUBTOTAL
$220,000
Television $0 MEDIA BUY SUBTOTAL
$580,000 GRAND TOTAL $800,000
Source: Marketing to Moviegoers (Marich, P. 348)
43
Appendix #2 Independent Support Analysis
2.1 – Hit Films carried by web-‐centric marketing The Blair Witch Project
July 1999 Artisan Entertainment
$140.5M Box Office
Viral campaign drives web surfers to weird episodic video on mysterious website
28 Days Later June 2003 Fox Searchlight
$45.1M Box Office
Advance screenings and online viral marketing propel $8M budget British horror import
Snakes On A Plane
August 2006 New Line $34M Box Office
Economical viral campaign drives audience to trailer long before theatrical premiere
300 March 2007 Warner Bros. $210.6M Box Office
Surreal sword and sandal epic pushed by online fan boy buzz
District 9 August 2009 Sony’s Tri-Star
$103.4M Box Office
Peppers Internet with “Human’s Only” Ads suggesting prejudice
Paranormal Activity
September 2009
Paramount $115.6M Box Office
Shoestring thriller pushed to college kids with ‘Demand It’ petition at local theaters
Ted June 2012 Universal Pictures
205+M Box Office
Comedy uses Twitter to promote film ‘in character’.
44
Attracts 200,000 followers by premiere date.
NOTE: Primarily digital marketing, not traditional media Source: Marketing To Moviegoers (Marich, P. 114)
45
2.2 Digital Options For Entertainment Promotions Banner Advertising
Paid Ad on website
Email Mass marketed e-mail blasts
Podcasts Content marketed as series
Advertising Video
Paid ad on web video
Email SMS
Text based promos for mobile phones
Search Engine Optimization
Tweaking website data for consumer awareness
Affiliate Marketing
Paying Third Parties To Drive traffic
Fan-based website
Amateur content in support of film
Search (Paid)
Paid advertising associated with key word search
Application Downloadable software provides shortcut to content
Game- Casual (film based)
Simple online or download game
Social Marketing
Sponsored pages on social websites (Facebook)
Behavioral Marketing
Identifying web-users based on movie-page visits and then target marketing
Game- Social (film based)
Simple online game with multiple users
Sponsorship
Cross-promotions and content synergy through compatible partnerships
Blog Online opinion posting that influences consumer thinking
Influence Marketing
Taste maker with track records
Twitter Streaming short text messages to followers
Branded Entertainment
Creation of new content used by partners
iTunes/ Netflix Promotions
Releases with on-line on-demand video platforms
User-generated content
Providing movie content that users can consume and conform
DVR Showcase Promotion with VOD to sell new and old film franchises
Mobile Phones
Geo-targeted messages based on locations
Viral Messaging
Self-propagating messages for online sharing
Source: Marketing To Moviegoers (Marich, 116)
46
2.3 Digital Media Platforms App/ Applications
Downloadable software for use on mobile phone
Sponsorship/ Social
Tie-ins with Facebook, Fandango, Online Movie marketing sites
Cellphone/ Wireless
Ideal for delivery playdate information
Trailer Placements
Posting f film trailers by website with exclusivity or time sensitive relationships
E-mail blast Mass e-mailing using third party list of consumers
Transmedia Moving a movie-narrative into another medium to tell related or continuing stories.
Flash display ads
Basic web display and banner ad promotion
Viral Campaign Peer-to-peer ‘street buzz’ highly effective but completely unpredictable.
Official Website
Stand-alone or floated within promotional window to film content advertising
Online virtual
Display ads or themed locations for virtual communities
Rich display ads
Elaborate website display with interactive touch points enabled
Search marketing
Buying keywords for topics related to movies
Source: Marketing To Moviegoers (Marich, 117)