By Justin Wyatt
Steven Spielberg as soon as acknowledged, "I like rules, specifically motion picture rules, that you should carry on your hand. If an individual can inform me the belief in twenty-five phrases or much less, it will make an exceptional movie." Spielberg's remark embodies the essence of the excessive proposal movie, which might be condensed into one basic sentence that conjures up advertising campaigns, lures audiences, and separates luck from failure on the field office.
This pioneering learn explores the advance and dominance of the excessive idea motion picture inside advertisement Hollywood filmmaking because the past due Nineteen Seventies. Justin Wyatt describes how field workplace luck, constantly very important in Hollywood, turned paramount within the period during which significant movie studios handed into the palms of media conglomerates involved extra with the economics of filmmaking than aesthetics. specifically, he indicates how excessive proposal movies grew to become absolutely built-in with their advertising and marketing, in order that a unmarried word ("Just if you happen to proposal it used to be secure to return within the water...") might promote the motion picture to studio executives and supply reproduction for enormous ads campaigns; a unmarried snapshot or a subject track may well immediately remind power viewers participants of the motion picture, and tie-in item may perhaps generate hundreds of thousands of greenbacks in more income.
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Extra info for High Concept: Movies and Marketing in Hollywood
Example text
P. "13 While many scenes are played by Nicholson with a reserved naturalism, his persona fractures the world of the film at other times, suggesting a level of meaning beyond the fictional character. Indeed, the most memorable scene from the film—Nicholson coos "Here's Johnny" while axing down the bathroom door to attack his wife — works primarily due to the humor and self-deprecation associated with Nicholson's "bad boy" persona. This excessiveness is especially evident in Batman, which foregrounds Nicholson's star persona.
Since high concept films are conceived as highly marketable, one might wonder about the actual commercial performance of these films within the marketplace. After my investigation of the marketing strategies in the high concept films and their impact upon the films' reception, the links between this commercial style of filmmaking and their actual popularity at the boxoffice will be investigated. A statistical model accounting for boxoffice revenue will be developed, with an eye toward explaining the commercial success or failure of the high concept films.
By style, I am referring to the usage of techniques within the film that become characteristic of the film. Extending the common usage of the term, which relates to cinematic techniques and capabilities, I am also including as style those elements within the film (such as stars and music) which are central to the film's operation (and marketing). Style is a defining characteristic of high concept, and its importance to an understanding of both the aesthetics and economics behind these films cannot be overestimated.