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The Horror of Marketing and the Internet

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Ryan Barnett

on 17 March 2013

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Transcript of The Horror of Marketing and the Internet

NARM! NARM! 1-18-08 “People intrinsically know there are secrets being held from us,” explains Dimension head Bob Weinstein. “Look at WikiLeaks: There are secrets that are really true to the world. It’s not bogus.” Weinstein balks at the idea that this is a work of fiction. “We didn’t shoot anything,” he says. “We found it. Found, baby!”” (Stack). Apollo 18 FMST 645D: Discourses on the Horror Genre The Horror of Marketing and the Internet Presented by Ryan Barnett THE BLAIR WITCH PROJECT
The World of Witchcraft “In the instance of Blair Witch, that promotional project certainly relied heavily on an extensive elaboration of a Web site already developed by the film’s producers” (Telotte 33). “[...] calmer heads are realizing that the ‘Blair Witch’ site was not an added-on marketing tool, but was designed as part of the film experience—one that tapped into fans of the horror genre” (Qtd in Telotte 34). The contents of the site aim “[...] to create a completely autonomous experience from the film. You don’t have to see the film to actually have fun on the Web site, and investigate it and get creeped out” (Telotte 35). THE SITE “[...]rather than pointing to the entertainment industry, [the site] lures visitors into a world that is, on the surface, deceptively like our own, and even anchors us in that realm of normalcy with maps, police reports, found objects […]” (Telotte 36). “[…] a crucial distinction to be made with the Cloverfield example is that its trans-media properties go beyond textual practices and storytelling aspects, additionally encompassing a range of audience practices and interactive opportunities” (Wessels 75). PARANORMAL ACTIVITY “[…] it also created a new kind of direct marketing for movie studios and brand marketers: Rather than having a wide release or product-launch strategy […] it inverted the funnel, democratized the process and let consumers tell [distributors] where to go first?” (Hampp) "Winning over your fans and letting them feel included in the process is instrumental in the marketing of any film, it's just a matter of how far you take that notion […] The notion of virtually shaking hands with each and every one of your fans is an incredibly intimidating one. For a long time, movie marketing was a mass-market approach that wasn't personalized-there was no thank you." “[…] offered those who had not yet seen the film but who might have heard some of the hype, as well as those who had already seen it, a path of further investigation and a source of other, similarly creepy sensations—in effect, a different context for view the film” (Telotte 35). “Audiences erupted in applause. YouTube was quickly infected. Within hours, Paramount, feigning horror, had its killer lawyers demand the ubiquitous and mysterious "Cloverfield" trailer be quarantined, citing copyright infringement. The result has been exactly what the studio and Mr. Abrams must have been hoping for: a worldwide (or at least, a worldwide-web-wide) dissection of the trailer” (Brodesser-Akner).
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