978-1457663543 Chapter 1

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CHAPTER 1

ENCOUNTERING FILM: FROM PREPRODUCTION TO EXHIBITION

KEY OBJECTIVES

•

List the ways the stages of filmmaking, from preproduction through production to postproduction, and explain

how each stage informs what we see on the screen.

•

Describe how the mechanisms of film distribution determine what films we can see as well as when and how

we can see them.

•

Analyze how film promotion may predispose us to see certain films and to see them in certain ways.

•

Evaluate the ways in which film exhibition both structures and is influenced by audience reception.

•

Explain the ways in which media convergence and rapid technological advances are affecting virtually all

aspects of the film experience from production to consumption.

CHAPTER OVERVIEW

Chapter 1 talks about film as an industry, rather than an art. It begins with a detailed outline of the production

cycle—from the screenwriter writing the script to securing financing to shooting to the very end, when

postproduction wraps and the picture is locked. Then, it examines how distribution, marketing and promotion, and

exhibition help determine what we see, why we want to see it, and the contexts in which movies are —and have

been—viewed.

This chapter cites our experience of film and film culture within the different cultural, emotional, intellectual, and

social preferences that shape our tastes. Students know when they are being marketed to, but often they are not aware of

the extent of the industry infrastructure that determines how movies get financed, which movies they see, and when or

where they see them.

TEACHING THE OPENING VIGNETTE

While many students may be unfamiliar with Ryan Coogler’s film Fruitvale Station (2013), they are more

likely to be familiar with, or to have seen, his film Creed (2015), the most recent installment in the Rocky franchise.

Point out that just knowing about the Rocky franchise demonstrates that they are part of a shared film culture. You

may also point out that students who are unfamiliar with Fruitvale Station are likely familiar with the broader

cultural context to which the film belongs, and that they might consider themselves part of the same conversation

about race and criminal justice in which Fruitvale Station participates. One way to use this opening vignette as a

springboard for introducing the material covered in the chapter is to point out how these two very different films

demonstrate a few of the myriad ways in which broader social, cultural, and institutional forces shape the film

experience.

TEACHING THE CHAPTER

An introductory film class is one of many film experiences that students will have in their lifetimes. When

teaching this chapter, it can be useful to refer to the structure of the course as an example: What we can see

(distribution) depends on the collections of the instructor, the institution, nearby video stores and art houses —even

RedBoxes and streaming sites like Netflix or Vimeo. Promotion of the movies we watch may rely on assigned

readings, familiarity with the stars, viral online advertising, or word of mouth from friends who have already taken

the course. Exhibition could take place in a theater or a classroom or on the laptops, televisions, or smartphones of

each individual student.

Because film culture surrounds us, it is easy to keep the lesson plan for this chapter current by drawing

examples from whatever movies are showing nearby. Students can bring in print ads or look at trailers, discuss

ratings and reviews, or debate the merits of various theaters based on the comfort of the seats, the clarity of the

sound, or the quality of the popcorn.

TEACHING THE VIEWING CUES

Release Strategies, p. 29

How might a distribution strategy determine a response to a film? Does knowing this strategy help you understand the

film’s aims better?

Consider looking at Will Smith’s years-long dominance of the Independence Day holiday weekend or the

premiere of the latest Transformers installment as examples of saturation releases. Or use Idiocracy (2006) as a case

study for a limited–release movie. Director Mike Judge’s black satire was “dumped” by Twentieth Century Fox. The

distributor didn’t screen it for critics, ran no print ads or trailers, and showed it on a mere 130 screens nationwide, even

though its predecessor, Office Space (1999), was a word–of-mouth cult hit that sold well on DVD.

Television Distribution, p. 31

Was the movie recently screened for class likely to have been shown on television? If so, in what way? How might such

distribution have significantly changed the look or feel of it?

For example, The Avengers (2012) might lose some visual power on a smaller screen or with the absence of 3–

D. And depending on which channel it aired, Deadpool (2016) might need to have scenes cut or potentially

offensive language dubbed for television viewing. Ask students to think of other movies that might be “neutered” if

shown on broadcast or commercial cable television, and explain how.

Ask students to determine where the commercial breaks would be if the movie just viewed aired on network

television, either as an in-class exercise or in a journal entry. Another approach would be to show in class the

“abridged” versions on YouTube of the notoriously foul–mouthed The Big Lebowski (1998) or Glengarry Glenn Ross

(1992) that include only the shots in which characters use expletives.

Home Video, VOD, and Internet Distribution, p. 32

How might the distribution of a film that was released in the last year have been timed to emphasize certain

responses? Was it a seasonal release?

Students can demonstrate their savvy by distinguishing between a summer blockbuster and an autumn award

contender. Are horror films released close to Halloween? Do romantic comedies come out in February? Ask

students, either working alone or in small groups, to try to name at least one movie per holiday and share the results

with the class. Challenge them to come up with some titles that provide an alternative to family–friendly fare by

intentionally flouting holiday traditions, such as the Christmas comedies Bad Santa (2003) and Scrooged (1988) or

controversial horror movies like Black Christmas (both the 1974 original and the 2006 remake) and Silent Night,

Deadly Night (1984; 2008).

Marketing and Promotion: What We Want to See, p. 37

Name a movie you believe has had a strong cultural and historical influence. Investigate what modes of promotion

helped to highlight particular themes in and reactions to the film.

Distribute a list of the top-ten grossing films or recent Academy Award best picture winners and ask the class to

identify modes of promotion for each movie. Ask whether success at the box office or recognition by the industry has an

effect on a film’s historical and cultural impact. Why or why not?

Media Convergence, p. 44

Watch a clip of the trailer for Suicide Squad (2016). What kinds of messages does the trailer send about the film? What

are they? Are they coherent and complementary, or self-contradictory?

Have students watch the clip on LaunchPad for The Film Experience before class. Ask them to bring film

advertising examples for a similar blockbuster in current release with them or have them e-mail examples before the next

meeting. Do any seem to be appealing to more than one audience? Do any use imagery that resembles what they saw in the

Suicide Squad trailer? Point out subtle advertising campaigns, like sponsored Web pages on the New York Times site or

tie-ins at the grocery store or sporting events. What is the strangest place they’ve seen a movie advertisement? Did it make

them more or less likely to see that film?

Word of Mouth and Fan Engagement, p. 45

Consider a recent film release that you’ve seen, and identify which promotional strategies were effective in

persuading you to watch it. Was anything about the promotion misleading? Was there anything about the film you feel

was ignored or underplayed in the promotion?

Assign this Viewing Cue as an out-of-class research assignment. It offers a great opportunity for students to

learn how to research newspaper and magazine coverage using LexisNexis Academic. Remind students to search for

articles about the stars and the director, as well as the movie itself. To model what students should consider, you may

screen in class the “film press book” for Alfred Hitchcock’s 1960 shocker Psycho, which Universal distributed to theater

exhibitors instructing them how to engage and manage ticket buyers. The “press book” is streaming on YouTube and is

also included as a bonus feature in the Psycho DVD and BluRay releases.

The Timing of Exhibition, p. 49

Consider how viewing the movie you most recently watched in class on a large screen versus a laptop would affect your

response.

Ask students how they decide to see a movie in the theater, or at home on a laptop, a tablet, or a smartphone.

What are the advantages and disadvantages of each? Have they ever changed their opinion of a movie after seeing it

in a different format? Ask students to consider the captive viewing experiences of traveling on a bus or an airplane

in which a movie is shown. Have they ended up enjoying a film they otherwise would not have sought out?

Leisure Time, p. 49

Think of a movie you’ve watched as a “leisure time” versus a “productive time” activity. How might the film be viewed

differently in a classroom versus during a long airplane flight? How might your film choice be affected by the timing

and context in which you will view the movie?

Have the class nominate films as “leisure time” candidates and write them down. Ask students to explain why

they feel these films are classified as “leisure time” rather than “productive time.” Then ask them how a movie like

This Is the End (2013) might go over in class. Could they use the movie to illustrate any of the concepts covered in

this chapter? How?

TEACHING THE FORM IN ACTION

The Changing Art and Business of the Film Trailer, p. 43

Perhaps the easiest way to approach the topic of trailers is by screening some examples during class —perhaps

the infamous “elevator trailer” for The Shining (1980) or more recently, the trailer for Mad Max: Fury Road (2015).

What sort of trailers would be shown before any of these films? What does the selection of trailers before a given

movie suggest about the assumptions marketers made about likely viewers? Or have the class generate a list of

trailer clichés: pieces of music that are overused or cases where the best jokes are spoiled by their inclusion in the

trailer. The site www.traileraddict.com is a wonderful resource. Ask students to research award–winning trailers at

www.goldentrailer.com. Were there any winners that were better than the films they were advertising? Look at the

fake trailers in movies like Grindhouse (2007) or Tropic Thunder (2008)—why are they so effective? Finally,

consider the decade–spanning career of voiceover master Don “In a world where . . . ” LaFontaine by showing the traile r

for In A World… (2013), Lake Bell’s film about rival voiceover artists.

TEACHING THE FILMS IN FOCUS

Distributing

Killer of Sheep

(1977), pp. 38-39

Start by assigning newspaper and magazine articles about Killer of Sheep’s release after a thirty-year delay, or ask

students to find some on their own.

Discussion Question 1:

What influence might this film’s version of black urban life have had on other films if it had

been released in 1977?

Discussion Question 2:

What was Milestone’s history of restoring and distributing other movies both before and after

Killer of Sheep’s theatrical, non–theatrical, and DVD distribution?

Exhibiting

Citizen Kane

(1941), pp. 50-51

It’s difficult to convey to students the notoriety enjoyed by Orson Welles at the time of Citizen Kane’s release.

Consider showing the “War of the Worlds” sequence from the documentary The Battle over Citizen Kane (1996) to

give them a sense of the place he occupied in the culture. Look at how the original ad campaigns promoted his

celebrity. The theatrical trailer, available on YouTube, gives a fascinating glimpse into the promotional tactics of

another era in film history.

Discussion Question 1:

What do you know about Radio City Music Hall and what it might mean to have the

premiere moved from there to a less glamorous location?

Discussion Question 2:

What influence did the French critics writing in Cahiers du cinéma after World War II have on

propelling Citizen Kane to renewed acclaim and classroom study?

ADDITIONAL SUGGESTIONS

Alternative Activity

FILMS CITED

Adaptation (2002)

Alien (1979)

Argo (2012)

Avatar (2009)

The Bad and the Beautiful (1952)

Bad Santa (2003)

The Battle over Citizen Kane (1996) Be

Kind Rewind (2008)

The Big Lebowski (1998)

The Birth of a Nation (1915)

Black Christmas (1984)

Black Christmas (2008)

Black Hawk Down (2001)

Blade Runner (1982, 1992, 2007)

The Blair Witch Project (1999)

Bonnie and Clyde (1967)

Boyz N the Hood (1991)

Bring It On (2000)

Bringing Up Baby (1938)

Brokeback Mountain (2005)

Bubble (2006)

Casablanca (1942)

Citizen Kane (1941)

Clerks (1994)

Clueless (1995)

Creature from the Black Lagoon (1954)

Creed (2015)

Crouching Tiger, Hidden Dragon (2000)

Days of Heaven (1978)

Deadpool (2016)

The Departed (2006)

Despicable Me 2 (2013)

Do The Right Thing (1989)

Dreamgirls (2006)

Driving Miss Daisy (1989)

Eat Drink Man Woman (1994)

Eyes Wide Shut (2000)

Fantastic Four (2015)

Finding Dory (2016)

4 Months, 3 Weeks, 2 Days (2007)

Fruitvale Station (2013)

Glengarry Glenn Ross (1992)

The Gold Diggers of Broadway (1929)

Gone with the Wind (1939)

Grad Budapest Hotel (2014)

Great Expectations (1998)

Grindhouse (2007)

Harlan County, U.S.A. (1976)

Harry Potter and the Prisoner of Azkaban (2004)

High-Rise (2015)

His Girl Friday (1940)

Hitchcock (2012)

Hobbit trilogy (2012-2014)

Hot American Summer (2001)

The Hunger Games (2012)

The Hurt Locker (2009)

I Am Cuba (1964)

Idiocracy (2006)

I’m Not There (2007)

In A World… (2013)

In the Realm of the Senses (1976)

Independence Day (1996)

Innocents of Paris (1929)

Inside Out (2015)

Irma Vep (1996)

It’s a Wonderful Life (1946)

Jaws (1975)

The Jazz Singer (1927)

Jurassic World (2015)

The Kid (1921)

The Kids Are All Right (2010)

Killer of Sheep (1977)

Lawrence of Arabia (1962)

Life of Pi (2012)

A Little Princess (1995)

Lincoln (2012)

The Lord of the Rings trilogy (2001-2003)

Love and Friendship (2016)

Lust, Caution (2007)

Mad Max: Fury Road (2015)

The Marriage of Maria Braun (1979)

Minions (2015)

Monsters University (2013)

Mr. and Mrs. Smith (2005)

My Brother’s Wedding (1983)

Napoléon (1927; 1981)

Nightmare on Elm Street movies (1984-1989)

Office Space (1990)

Only Lovers Left Alive (2013)

Pacific Rim (2013)

Pan’s Labyrinth (2006)

Paranormal Activity (2007)

The Passion of the Christ (2004)

Pearl Harbor (2001)

The Pillow Book (1996)

Planet Earth (2006)

Pride and Prejudice and Zombies (2015)

Prometheus (2012)

Psycho (1960)

Rebel without a Cause (1955)

Rocky (1976)

Salaam Bombay! (1988)

Schindler’s List (1993)

Scrooged (1988)

Sense and Sensibility (1995)

sex, lies, and videotape (1989)

Shaft (1971)

The Shallows (2016)

Shame (2011)

She’s Gotta Have It (1986)

The Shining (1980)

Silent Night, Deadly Night (1984).

Silent Night, Deadly Night (2008).

Silver Linings Playbook (2012)

The Singing Detective (1986)

The Sixth Sense (1999)

Snakes on a Plane (2006)

Snowpiercer (2013)

Speed (1994)

Star Trek films (1979-1994)

Star Wars prequel trilogy (1999-2005)

Star Wars: Episode III—Revenge of the Sith (2005)

Suicide Squad (2016)

Sunset Boulevard (1950)

Sweet Sweetback’s Baadassss Song (1971)

Tarnation (2003)

The Ten Commandments (1923)

There Will Be Blood (2007)

Thelma & Louise (1991)

This Is the End (2013)

Titanic (1997)

To Sleep with Anger (1990)

Toy Story (1995)

Trainspotting (1995)

Transformers movies (2007-2017)

Tropic Thunder (2008)

Turbo (2013)

The Walking Dead television series (2010-2017)

What Time Is It There? (2001)

X-Men: Apocalypse (2016)

Yentl (1983)

Zero Dark Thirty (2012)

Zodiac (2007)