Catching Fire - Synergy and Convergence

§  Katniss Everdeen happy meals, action figures and commemorative bows and arrows.

§  The studio has lined up a string of tie-ins, from “Hunger Games” inspired chocolates to a mobile video game entitled “The Hunger Games: Catching Fire – Panem Run.”

§  There are also a series of merchandising and promotional efforts that range from the high-end — such as the movie-inspired clothing line with web retailer Net-a-Porter — to more middlebrow offerings like Subway’s sriracha chicken and steak melts, which the fast food company says have bold flavors that mirror Katniss’ bravery.

§  On a conference call with analysts this month, Lionsgate CEO Jon Feltheimer said the company is exploring the possibility of “Hunger Games” theme park attractions. So like you have the ‘Hulk’ ride in places like universal, they may add hunger games themes rides.

§  Mugs, posters, t-shirts, mocking jay pins (popular), bags, necklaces etc.

§  It was reported that they spent about $45 million to advertise and market the movie in the U.S.

§  Launching the teaser trailer for Catching Fire was a “hugely pivotal moment” in the on-going campaign.  Tim explains that because The Hunger Games was such a huge success, now that they had a new director (Francis Lawrence) at the helm, a new editor, a new cinematographer and a new costume designer, they needed the first glimpse of Catching Fire to reassure fans that the integrity of the first movie was still intact.

§  Teaser trailer received more than 30 million views. Theatrical trailer, official trailer, and final trailer.

§  Promotion tactic, a fake website, http://capitolcouture.pn/, was created as promotion for the film’s universe. It features fashion advice, profiles on what the characters are wearing and the season’s best furniture Part of the film’s uniqueness lays in its extravagant culture, and this furthers it in a way that fans will enjoy The website was later nominated for an award.

§  Dolls made of the actors as their characters eg Katniss and Peeta dolls.

§   2 inch mini figurines of the characters were made.

§   The Hunger Games: Catching Fire – Original Motion Picture Soundtrack with famous artists like Coldplay, Sia, Christina Aguilera and more.      

§  The album sold 151,000 copies in the US in 2013, making it the seventh best-selling soundtrack album for the year.

§  Domestic DVD Sales - $53,036,034

§  Domestic Blu-ray Sales - $56,562,485

§  Total Domestic Video Sales - $109,598,519         

Technological Advances in the Film Industry

This is a link to an article written by the BBC explaining the new technological advancements used in the film industry. 
http://www.bbc.co.uk/news/technology-26291673

Digital Technology

Digital Technology Development

The use of DV cameras among audiences has significantly affected the film industry, in that audiences themselves can feel closer to the film industry and take part in similar processes of production. The decreasing price of DV cameras, as well as the introduction of new technologies over the last decade has increased the use of them, making them available to more people, and increasing the quality of the product. The use of DV cameras has benefitted the film industry, in that the audience can create their own productions, and extend the brand of the film, where users can upload their own ‘films’ to the internet, on websites such as YouTube, due to the increased number of broadband connections in homes, promoting the films in doing so. However, the use of DV cameras has also increased levels of piracy-the 2009 film, ‘The Boat That Rocked’, although having a large budget of around $50 million, grossed around $35 million. Although this is a large inflow of revenue, other British films, funded from abroad, have been known to triple their budget-2006’s ‘Casino Royale’ grossed $594 million, with a budget of only $150 million. With more people owning DV cameras, and the decreased size of the cameras due to technological advancements, cameras can be concealed upon entering a cinema, in order to record a film, to make it illegally available to others, through the use of DVD burning and the internet. The decreased quality encountered in pirate copies may make many viewers feel that the film itself was not exceptionally good, which may lead to viewers advising friends and family not to see the film, decreasing revenue for production companies, such as Working Title films, further.

Digital technology has also decreased many costs for production companies, so that films can be produced at a higher quality, with a lower budget. As many films are shot partly or fully in the digital format, some film can be offered to cinemas in the digital. However, films distributed in the digital format currently have low demand, because the costs of converting cinemas to theatres with digital screens are very high: up to $150,000 per screen or more, and it is debatable whether the picture quality is any clearer-there are also more risks of digital projectors having faults and may require a replacements after only 5 years. A simultaneous ‘blanket’ release could remove this problem, through digital distribution, as copies would be cheaper and faster to manufacture, and more could be produced (where smaller optical discs would be easier and cheaper to transport, rather than a large film reel), or it could be made available over the internet, with significantly lower costs to a distribution company, which may allow for more money to be spent on production.

Specific audiences may be deterred by the concept of digital film consumption. Some individuals, that may have a professional interest in film, may notice slight differences in quality of a digital film, and may decide that they would rather not see the film at a cinema, and may wish to wait to purchase the film when released to DVD, for example, which would decrease the revenue, and may have an effect on the budget of future productions, for the production company. However, it is evident that the repeated use of film reels, currently used in cinemas, can degrade the quality after a number of viewings-scratches and dirt on the reels will affect the quality and may deter many audiences from viewing the film after a period of time ahead of the release. Digitally distributed films, however, can be viewed repeatedly, without affecting the quality greatly, and may therefore continue to gain higher revenue, weeks after the release.

The recent developments in 3D might have something to do with it. With around 25 movies releasing theatrically in 3D in 2011, the money is clearly in the digital realm (yes, the industry is currently testing out more viable techniques for shooting 3D on film, but right now, as far as 3D goes, digital rules the day). But that doesn’t mean a filmmaker has to make a total switch and give up on film entirely. Yet, we have rarely heard from famous filmmakers who tested the waters of digital cameras and come away wanting nothing to do with the format again.

It is not uncommon for certain productions to devote segments of filming to the digital format. Black Swan used the Canon 7D to shoot its subway sequences because of its many benefits to a production. The DSLR cameras that plague film schools currently are the industry’s hottest new gadget. Anybody can shoot cinema-quality imagery for less than the price of a computer. When most professional film cameras cost tens of thousands of dollars, that’s quite a bargain. Arguably more importantly, it’s much easier to fit a DSLR into a subway car than a full film camera setup.

Film possesses a certain texture that is unrivalled by digital cameras. A talented editor or colourist can easily manipulate digital footage to look more like film, but this seems contradictory in nature. Do we alter digital footage this way because audiences are still not ready to see the true power of digital? It is possible. It seems more likely that those in charge of financing and distributing movies are not prepared to risk their investments on technology that they themselves are not ready to embrace entirely. But the look of a product on film is ingrained in our collective vision to the point that we don’t notice it until we see something different.

Many audiences today argue that a crisp image without the grain associated with film is better-looking. Audiences evolve just as fast as the technology presented to them. But a large contingent of those movie goers still want the classic look, regardless of the content of the film itself. That audience won’t be going away for a while yet – and neither will the classic film look.

The most important difference between film and digital might be seen on set. Film reels run out of film. Digital cards run out of space. But when a reel runs out, it is done forever. When a card runs out, it can be dumped and re-used rather quickly. This pushes production along financially in a number of ways

Hotel Babylon – Ethnicity

This clip is about a hotel that has illegal immigrants working for them and a man of a high authority has come to take the immigrants away. The clip deals with the representational issue of ethnicity and challenges the hegemonic norms that people of ethnicity and immigrants should not be allowed to work in a high end hotel, like in the clip.

The first thing the audience hears in the clip is the sound of a lift door opening in what seems to be a storage room. There is a smartly dressed man, and then there is instantly a two shot of two police men, symbolising authority and power. This creates the idea that the hotel is on lockdown and is about to, or has effectively become a prison, which the director uses as a running theme throughout the clip with many different uses of locks and keys and the idea of being imprisoned and captured.

The clip then cuts to a woman dressed in a very classy and expensive white outfit that is representative of the expensive lobby and theme in the hotel. An exaggerated, slow zoom is used to introduce the woman’s character. Moreover, the zoom is used to bring the audience into the hotel and the scene to make them feel more involved in the clip. Suddenly a shot reverse shot is used when the man, who seems like the leader of the police, walks through the class doors into the room. This emphasises his authority especially when the percussive beats build to create a rising tension, which acts as a metaphor for a heartbeat. Furthermore, the shot reverse shot makes the man look more powerful as he seems taller compared to the woman and his sense of authority extends to the point that he dresses comfortable and does not need to dress in a suit and tie, unlike the two man standing guard behind him.

Once the woman tells her colleague the signal to get all of the immigrants out of the hotel, it is clear that the man recognises the code as he makes a slight smirk on his close up. The quick shot of the hotel lobby when the woman alerts the colleague allows the audience to see the ethnicity diversity in the lobby which is representation of opulent wealth. The clip then reflects the panic of the situation in the camera movement as the colleague is running through the corridor alerting fellow staff to hide the immigrants, the director uses steady cam to mirror the panic. Once he has alerted the main staff lady she then goes to the kitchen and speaks in a variety of different languages so all the different ethnicities understand what she is saying. As the staff are running to a small room we see the repeated use of the shot through the fence, this deliberate editing or camera work is a visual motif and continues with the idea of being in a prison and being behind bars or being trapped.

As the main staff lady is opening the ‘staff only’ the noise of keys rattling and a lock opening is purposely made louder so the audience notices it more, this adds to the symbolic prison and trapped feel. Then there is a series of close ups on the staff, showing all the different ethnicities and suggesting that they are all together working as a cohesive unit and are now a team. Suddenly there is an exaggerated zoom on the woman’s face, and a lack of non-diegetic sound highlights the tensions and worry as someone is missing.

There is immediate cross cutting to the staff member they just realised is not there and depth of field focuses on the member vacuuming. Moreover, the shot in the corridor is very red in colour, implying danger and foreshadowing something bad will happen. The calmness of him hovering juxtaposes with the tension of the scene to create more tension as he is oblivious to the dangerous situation. The cross cutting to the staff in the room and the woman fainting is a vital scene for the representational issue ethnicity. The use of medical knowledge and the dialogue ‘I wasn’t always a cleaner’ challenges the stereotype that his ethnicity means he would not have previously been educated and not have medical skills. Most would not associate a man of ethnicity who is now a cleaner to be so well educated, considering his current situation/circumstances.

The non-diegetic, percussive drum beats heightens tension and the continuous cross cutting from the serious situation in the room to the man obliviously vacuuming creates a pressured situation that keeps building. The hyper zoom on the cleaner being caught and the juxtaposing cleaner suit and the men in smart suits plays into the ethnicity issue that the cleaner is of less power and importance. Then another hyper zoom from a higher angle on the woman’s face in the small staff room with all the members as there is a deliberately loud knock on the door, suggesting it is one of the men in suits.

Once he has been caught and the scene is now in the lobby area the woman previously working at the desk, dressed in white orders people of ethnicity around. Furthermore, the camera is moved around the lobby showing all the different ethnicities, some of a higher position, as the expensive clothes suggest, and others of a lower, staff position as they are being ordered around. The scene then cuts to a more emotional part of the clip were they are cleaning out the man who has been taken’s locker. The non-diegetic violins are very dramatic and slow as violins symbolise sad moments and that the action is over now and there is a more despondent mood. Additionally, there is a lock and key further creating the prison like scenario.

Lastly the clip shows all of the staff of all ethnicities sitting in the lunch room eating; the slow track across everyone highlights the disparity between all of the staff as they speak their own languages. Moreover, everyone has separated as they became a sort of team during the clip and have gone back to being separate in their own ethnicity group.  

Film Poster Analysis

Institutional Background Information for Catching Fire

Lions Gate Entertainment Corporation is a leading independent film and television production company based in Canada. Lions Gate has a number of subsidiaries located in both Canada and the United States, and the company is also a partner in several other ventures. The company's founder, Frank Giustra, stepped down as CEO in June of that year and his place was taken by former Sony Pictures executive Jon Feltheimer.

Cost $130 million, more than $50 million more than The Hunger Games. Visual effects have been expanded to the tune of $10 million. Jennifer Lawrence got a pay raise to nearly $10 million in Catching Fire. The Hunger Games: Catching Fire became the highest-grossing film released at the domestic box office in 2013 as it grossed an estimated $493,000 in the first 49 days. Catching Fire, which set records for the biggest November opening weekend of all time ($158.1 million) as well as the biggest three- and five-day Thanksgiving box office totals ever, has already become the 13th highest-grossing North American release in history and remains in wide release.

USP - Katniss (Jennifer Lawrence) goes from survivor to reluctant revolutionary — fighting the power is more important than a boyfriend. Represents a strong a powerful female protagonist.  Some of the very famous actors in catching fire to get people to see it/attract people: Jennifer Lawrence, Josh Hutcherson, Lenny Kravitz, Liam Hemsworht, Woody Harrelson, Elizabeth Banks, Donald Sutherland, Stanley Tucci. It is also based off the best- selling novels which will make people want to go and see the film. 

Films Out in October in the UK

Life After Beth

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Dolphin Tale 2

 Directed By: Charles Martin Smith Starring: Morgan Freeman, Ashley Judd, Harry Connick Jr....Releasing in UK cinemas Friday 3rd October 2014 Age Rating: U Runtime: 107 mins Language: English Next Showing: In 328 cinemas on Friday 3rd October 2014.

Dracula UntoldDracula Year Zero

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Draft Day

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Gone Girl

 Directed By: David Fincher Starring: Ben Affleck, Rosamund Pike, Neil Patrick Harris...Releasing in UK cinemas Friday 3rd October 2014 Age Rating: 18 Runtime: 149 mins Language: English Next Showing: Advanced screenings in 389 cinemas today.

Luna

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Violette

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Johnny Winter: Down & Dirty

 Directed By: Greg Olliver Starring: Johnny Winter, James Cotton, Jim Dandy...Releasing in UK cinemas Saturday 4th October 2014 Age Rating: 18 Runtime: 100 mins Language: English Next Showing: In 1 cinema on Saturday 4th October 2014.

Monster High: Freaky Fusion

 Directed By: William Lau and Sylvain Blais Starring: Laura Bailey, Haviland Stillwell, Kate Higgins...Releasing in UK cinemas Saturday 4th October 2014 Age Rating: TBC Runtime: 73 mins Language: English Next Showing: In 80 cinemas on Saturday 4th October 2014.

BremnerBoy Called Bremner

 Starring: Graham Walker and Michael ForrestReleasing in UK cinemas Tuesday 7th October 2014 Age Rating: 15 Runtime: 93 mins Language: English Next Showing: In 1 cinema on Tuesday 7th October 2014.

Sharknado 2: The Second One

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'71

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Annabelle

 Directed By: John R. Leonetti Starring: Alfre Woodard, Annabelle Wallis, Eric Ladin...Releasing in UK cinemas Friday 10th October 2014 Age Rating: 15 Runtime: 99 mins Language: English Next Showing: In 2 cinemas on Friday 10th October 2014.

Effie Gray

 Directed By: Richard Laxton Starring: Dakota Fanning, Emma Thompson...Releasing in UK cinemas Friday 10th October 2014 Age Rating: TBC Language: English Next Showing: In 5 cinemas on Friday 10th October 2014.

Gone Too Far

 Directed By: Destiny Ekaragha Starring: Adelayo Adedayo, Bhasker Patel...Releasing in UK cinemas Friday 10th October 2014 Age Rating: 12A Runtime: 87 mins Language: English Next Showing: In 1 cinema on Friday 10th October 2014.

The Calling

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The Maze Runner

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The Rewrite

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One Direction - Where We Are - Live from San Siro Stadium

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Gold

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The Best of Me

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Ninja TurtlesTeenage Mutant Ninja Turtles

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Northern Soul

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Palo Alto

 Directed By: Gia Coppola Starring: Jack Kilmer, Nat Wolff, Emma Roberts...Releasing in UK cinemas Friday 17th October 2014 Age Rating: 15 Runtime: 100 mins Language: English Next Showing: In 1 cinema on Friday 17th October 2014.

The Judge

 Directed By: David Dobkin Starring: Robert Downey Jr, Vera Farmiga...Releasing in UK cinemas Friday 17th October 2014 Age Rating: 15 Runtime: 142 mins Language: English Next Showing: In 2 cinemas on Friday 17th October 2014.

United We Fall

 Directed By: Gary Sinyor Starring: Jack Donnelly, Amy Beth Hayes, Anouska Mond...Releasing in UK cinemas Friday 17th October 2014 Age Rating: 15 Runtime: 89 mins Language: English

Fury

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Love, Rosie

 Directed By: Christian Ditter Starring: Lily Collins, Sam Claflin, Tamsin Egerton...Releasing in UK cinemas Wednesday 22nd October 2014 Age Rating: 15 Runtime: 102 mins Language: English

Alexander and the Terrible, Horrible, No Good, Very Bad Day

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Night Train to Lisbon

 Directed By: Bille August Starring: Jeremy Irons, Mélanie Laurent, Jack Huston...Releasing in UK cinemas Friday 24th October 2014 Age Rating: 12A Runtime: 111 mins Language: English

Serena

 Directed By: Susanne Bier Starring: Jennifer Lawrence, Bradley Cooper, Rhys Ifans...Releasing in UK cinemas Friday 24th October 2014 Age Rating: 15 Runtime: 110 mins Language: English Next Showing: In 2 cinemas on Friday 24th October 2014. View Listings

The Book of Life

 Directed By: Jorge R. Gutierrez Starring: Zoe Saldana, Channing Tatum, Ron Perlman...Releasing in UK cinemas Friday 24th October 2014 Age Rating: U Runtime: 95 mins Language: English Next Showing: Advanced screening in 1 cinema on Friday 17th October 2014.

The Guarantee

 Directed By: Ian Power Starring: David Murray, Gary Lydon, Peter Coonan...Releasing in UK cinemas Friday 24th October 2014 Age Rating: TBC Runtime: 90 mins Language: English Next Showing: In 1 cinema on Sunday 30th November 2014. 

The Knife That Killed Me

 Directed By: Kit Monkman and Marcus Romer Starring: Jack McMullen, Reece Dinsdale, Jamie Shelton...Releasing in UK cinemas Friday 24th October 2014 Age Rating: 15 Runtime: 101 mins Language: English

This Is Where I Leave You

 Directed By: Shawn Levy Starring: Rose Byrne, Abigail Spencer, Timothy Olyphant...Releasing in UK cinemas Friday 24th October 2014 Age Rating: 15 Runtime: 103 mins Language: English

Ghost Busters

 Directed By: Ivan Reitman Starring: Bill Murray, Dan Aykroyd, Sigourney Weaver...Releasing in UK cinemas Tuesday 28th October 2014 Age Rating: 12A Runtime: 105 mins Language: English Next Showing: In 67 cinemas on Wednesday 29th October 2014.

Horns

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Aliens

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Invasion of the Body Snatchers

 Directed By: Don Siegel Starring: Kevin McCarthy, Dana Wynter, Larry Gates...Releasing in UK cinemas Friday 31st October 2014 Age Rating: PG Runtime: 80 mins Language: English Next Showing: In 1 cinema on Friday 14th November 2014.

Mr. Turner

 Directed By: Mike Leigh Starring: Tom Wlaschiha, Timothy Spall, Lee Ingleby...Releasing in UK cinemas Friday 31st October 2014 Age Rating: 12A Runtime: 150 mins Language: English Next Showing: In 4 cinemas on Friday 31st October 2014.

Nightcrawler

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Ouija

 Directed By: Stiles White Starring: Douglas Smith, Olivia Cooke, Morgan Peter Brown...Releasing in UK cinemas Friday 31st October 2014 Age Rating: TBC Language: English

Film Distribution

Film distribution from Elliezee

Working Title Films

Working Title Films was co-founded by producers Tim Bevan and Sarah Radclyffe in 1983. In 1992, PolyGram became the company's corporate backer. Radclyffe left Working Title, and Eric Fellner, a fellow independent film producer, joined the company. The company produced a variety of films for PolyGram's London-based production company PolyGram Filmed Entertainment. An Anglo-Dutch film studio, PolyGram Films became a major Hollywood competitor. In 1999, PolyGram was sold to Seagram and merged with MCA Music Entertainment, to form Universal Music Group. PolyGram Films was sold and folded into Universal Studios in 1999.

Although contractually allowed to produce any film with a budget of up to $35 million, on a practical basis, Bevan and Fellner consult with studio executives at Working Title's parent company NBCUniversal. Working Title is located in London, and is known for having a limited number of employees. The company also has other offices located in Los Angeles and Ireland.

Lionsgate

Lionsgate (formerly known as Cinépix Film Properties) is a Canadian-American^] film production/distribution studio and a division of Lions Gate Entertainment. It is the largest and most successful mini-major film studio in North America. It focuses on foreign and independent films and has distributed various commercially successful film series, including The Twilight Saga (partially), The Hunger Games, Saw and The Expendables.

Cinépix Film Properties (CFP) was founded in 1962 by John Dunning and Andre Link and was based in Montreal. CFP was a leading Canadian independent motion picture company, releasing both English- and French-language films and making ten to 12 modestly budgeted titles annually and distributed art-house films like grunge rock documentary Hype, Vincent Gallo's Buffalo '66, and SICK: The Life & Death of Bob Flanagan, Supermasochist.

 

Monarch of the Glen Essay (age)

The extract from the drama ‘Monarch of the Glen’ highlights the disparity between the age of the young girl Amy and the older workers on the farm. The establishing shot shows very scenic images of the rural Scottish highlands where the drama is set.

In the extract the girl, Amy, is wearing very normal clothes that a teenager would wear. The normality of her outfit contrasts with the workers outfit to emphasize the hard labour they are putting into their work, due to their dirty, working clothes. Furthermore, the cream coloured top Amy is wearing reinforces innocence and youth which further creates imbalance between the darker colours, for example blues and browns of the others. The colours of their clothes have a more adult and grown up feel to them. In addition, when the professor is introduced he is wearing a red tie. The red die foreshadows possible danger in the near future. Moreover, the mise en scene of the old, traditional buildings, juxtaposes with Amy as she portrays youth whilst the buildings signify something decrepit.  

Later in the clip an insert shot is used when Amy is looking at the photograph of the people she is currently living with. High emotion is created by this shot and also due to the eyeline match between Amy and the photograph. The eyeline match intensifies and heightens the deep emotion felt in this scene. Furthermore, the close up of the stuffed bear Amy leaves on the bed also emphasises strong emotion felt in this scene. Due to the innocence of the stuffed bear, juxtaposed with the severity of the situation she is in, a very despondent tone is created.  

When Amy is talking to her guardian after he has found out about her age, the way in which he speaks to her has a parent-like feel to it. Her guardian almost speaks down to her paired with the dialogue used; a significant age divide is portrayed. The dialogue and authoritative tone of his voice suggest he has more power and authority in both, situation and conversation further implies he is older. The non-diegetic, almost folk like music, when the people are working creates an almost upbeat and hard-working mood. The lack of background music when the characters are speaking to each other means more attention is focused on what the characters are saying which exaggerates drama and suspense in the situation.

To conclude, the clip contrasts the age of Amy with the age of the others on the farm. It does so by juxtaposing her youth through setting of old buildings, her teenage-like clothes and the little authority she has. 

Catching Fire Trailer

About Time Trailer

Monarch of the Glen

About Time Posters

The Hunger Games: Catching Fire Posters