权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

Brand Hollywood: Selling Entertainment in a Global Media Age

好莱坞品牌：在全球媒体时代销售娱乐

基本信息

批准号：
AH/E50017X/1
负责人：
Paul Grainge
金额：
$ 2.72万
依托单位：
University of Nottingham
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2007
资助国家：
英国
起止时间：
2007 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FE50017X%2F1
关键词：
Brand Hollywood Selling Entertainment Global

项目摘要

The project provides a sustained examination of the impact of branding within the contemporary motion picture business. As a practice, branding has become instrumental to Hollywood's production of filmed entertainment. It is central to a blockbuster economy reliant upon revenues drawn from merchandising, franchising and product placement. While previous critical works has examined Hollywood's marketing strategies within this context, and has analysed specific forms of branded media content and key companies such as Disney, this study examines how 'branding' has come to inflect the motion picture industry across the full range of its activities - within industrial talk, corporate strategy, logo design, trademark licencing and the management of film libraries, blockbuster properties and multiplex exhibition. Conveyed throughout the project is an argument about the processes of 'selling entertainment' in the global media moment, an argument with the particular aim of underlining branding's significance for mainstream commercial film and the industrial culture from which it is produced.Critically, the project has two main objectives. In broad terms, it seeks to widen and deepen the analysis of branding in the contemporary film business, moving beyond generalised theories about commercialisation to a more precise examination of brandings relationship to change in the current media and marketing environment. More specifically, it examines the principle of 'total entertainment' that has given the rise to spectacular forms of brand encounter within cinematic culture. In critical terms, the project asked nested questions about the industrial and affective economy and contemporary cinema. In what respect has branding become to 'make sense' to practitioners within cultural and consumer industries? To what degree does branding pattern the encounter with film as an audio-visual form? In what respect does branding structure the cinematic market place and the circulation of commodities? To what extent is the will to brand historically new or particular in industrial and aesthetic terms?The benefits of this project are twofold. Firstly, it helps to enrich the understanding of the specificity and critical significance of branding in a period widely regarded as heralding key transformations in the organisation of media industries. Unlike studies of Disney, the project's extended focus on warner Bros and Time Warner (the largest and arguably most troubled media giant of the 1990s) provides a vantage point able to draw out the uncertainties and contradictions on the contemporary will to brand; it offers a picture of the film business that is less ideologically (or industrially) coherent then is often supposed. Secondly, the project considers the nature of film as a form of experience, analysing through focussed case examples and function of branding within cinema's enduring attempt to sell sensory and spectacular attraction. Combining themes, text and context never previously brought together, and employing an interdisciplinary approach drawn from film studies, cultural studies and advertising the media studies, this project demonstrates precisely why any assessment of the currents shaping the contemporary motion business must account for the lustre of its logos.

该项目提供了一个持续的审查品牌的影响，在当代电影业务。作为一种实践，品牌已经成为好莱坞电影娱乐制作的工具。它是一个依赖于商品销售、特许经营和产品植入收入的轰动经济的核心。虽然以前的批评作品在这种背景下研究了好莱坞的营销策略，并分析了品牌媒体内容和迪士尼等主要公司的具体形式，但本研究探讨了“品牌”如何影响电影业的全方位活动-在工业谈话，企业战略，标志设计，商标许可和电影库管理中，大型地产和多功能展览。整个项目传达的是一个关于在全球媒体时代“销售娱乐”的过程的论点，这个论点的特别目的是强调品牌对主流商业电影和它所产生的工业文化的重要性。从广义上讲，它旨在扩大和深化对当代电影业品牌的分析，超越关于商业化的一般理论，更精确地研究品牌关系，以改变当前的媒体和营销环境。更具体地说，它考察了“全面娱乐”的原则，这使得电影文化中出现了壮观的品牌遭遇形式。从关键角度来看，该项目提出了有关工业和情感经济以及当代电影的嵌套问题。品牌在哪些方面对文化和消费行业的从业者变得“有意义”？品牌在多大程度上影响了电影作为一种视听形式的遭遇？品牌在什么方面构成了电影市场和商品流通？在工业和美学方面，品牌在历史上的新颖性或独特性在多大程度上是一种意愿？这个项目的好处是双重的。首先，它有助于丰富对品牌的特殊性和关键意义的理解，这一时期被广泛认为预示着媒体行业组织的关键变革。与对迪士尼的研究不同，该项目对华纳兄弟和时代华纳（20世纪90年代最大的、也可以说是最麻烦的媒体巨头）的关注提供了一个Vantage的视角，能够引出当代品牌意愿的不确定性和矛盾;它提供了一幅电影业的图景，它在意识形态（或工业）上并不像人们通常认为的那样连贯。其次，该项目认为电影的本质是一种体验形式，通过集中的案例和电影持久尝试销售感官和壮观吸引力的品牌功能进行分析。结合主题，文本和背景从未汇集在一起，并采用跨学科的方法，从电影研究，文化研究和广告媒体研究得出，这个项目恰恰证明了为什么任何评估的电流塑造当代运动业务必须考虑其标志的光泽。