University of Southern California Dissertations and Theses

Commercialized camaraderie: leveraging friendships to sustain fame

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Commercialized camaraderie: leveraging friendships to sustain fame

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Content C OM M E R C I A L IZE D C AMAR AD E R IE :
L E VE R A G IN G FR IE N DSH IP S TO S UST AIN F AME
b y
D e v yan i S aw ant
A T hesis P r es en t ed t o t h e
F A C U L T Y OF T H E U SC A N N E NB E R G SCH OOL FOR CO M MU NICA TI O N AN D
J OU R NAL IS M
U N I VE R SI T Y OF SOUT H E R N CAL I FOR NIA
I n P artial Fulfillment o f t h e
R e qui r em ent s f o r t he D egr ee
M ASTE R OF A R T S
( P U B LI C R E L A TIONS AND A DV E R TIS IN G )
M ay 2023
C o p y r i g h t 2 0 2 3 D e v y an i Saw ant
T ab le of Co nten ts
G l o s s a r y o f T e rm s … ……… … ……… … ……… … …… … … … …… … …… … … … …… … …… … … … …… … …… … ..……………..………….…. ii
A b s t ra c t … ...… ……… … ……… … ……… … ……… … …… … … … …… … …… … … … …… … …… … … … …… … …… … … … . . … …………....… …… . . ii i
C h a p t er O n e : In t r o d uc t ion … …… …… ……… … … … … …… … …… … … … …… … …… … … … …… … …… … … … … ……………….. … …. 1
H is t or y o f t h e C e le br it y …… …… … …… … …… … … … …… … …… … … … …… … …… … … … …… … . .………………………… 3
A c t o r a s a C e leb ri t y ……… … ……… … … …… … …… … … … …… … …… … … … . … … … … … … … …… ….…………………… …… 4
A c t o r s a n d t h e M ed i a … … ……… … … …… … …… … … … …… … …… . … … … … …… … …… … … … …… .……………………… . . . 5
D ra m a T h a t F o ll o w s …… … ……… … …… … … … …… … …… … … … …… … …… … … . .… …… … … … … ….…………………… … . 8
C h a p t er T w o : T h e Age o f th e I nt e rn et … … …… … …… … … … …… … …… … … … …… … …… … … … …… …………………… … 1 0
F il m M a rk et in g a n d S o c ia l M edi a …… … …… … … … …… … …. …… … …… … … … …… … …… ..….…………………… 11
F a n d o m o n t h e In te r ne t …… …… … … … …… … …… … … … …… … …… … … … …… … …… … … … … ..….………………… … 12
E a s e o f A c c es s t o A c t or s … … ……… … …… … … … …… … …… … … … …… … …… … … … …… … …… ……………………..… 1 4
C h a p t er T h r e e : R is e o f F ra n c h i s e F ilmm ak in g … …… … …… … … … …… … …… … … … …… … …… …………………..…… 17
2 0 08 : A Y e a r o f T u rm o il …… ……… … … … … …… … …… … … … …… … . .… … …… … …… … … … …… .……………………… 1 8
E m e r ge n c e o f F o r e ig n M a rk e ts … … … … …… … …… … … … …… … …… … ..… … …… ..… …… … ………………………… 19
F r a n c h is e a s t h e N o rm …… …… ……… … … … …… … …… … … … …… … …… … … … . . . … … …… … … … … ………………… … 2 1
S t u d io s a n d F r a n c h is e s ……… … … …… … …… … … … …… … …… … … … ….…… … …… … … … …… ………………………… 2 3
C h a p t er F o ur : C om m e r c ia liz e d C a m arad er ie …… … …… … … … …… … …… … … … …… … …… … ………….…… … …. ..… 28
D efi n iti o n a n d E x p la n a t ion … … …… …… … … … …… … …… … … … …… … …… … … … …… … …… ……………………… . 3 1
I n te r vie w s ……… … ……… … ……… … ……… … … …… … …… … … … …… … …… … . … … … …… … …… … … … … …………………… 32
S o c i a l M e d ia …… … ……… … ……… ..… … … …… … …… … … … …… … …… … … … …… … …… … … … …… …………………….…… 3 3
T h e M a rv el C in e m a ti c U n iv e r s e : A C as e Stud y … …… … … … …… … …… . … … … … … ………………….…… 35
C h a p t er F iv e : C o n c l u s io n … …… …… …… …… … … ….. … … … … …… … …… … … … …… … …… … … … …… … …… …………...………. 42
R ef er en c e s ……… … ……… … ……… … ……… … ……… … …… … … … …… … …… … … … …… … …… … … … …… … …… … ….…………………… 4 3
G lossar y of T erm s
B lo c k b u s t er s : fi lm s p r o d uc e d b y m a j or fi l m s tud i os w i th a hi gh pr o ducti on an d m ar keti ng
b u d g et t h a t y i eld h igh p r o fi ts .
C o m m e r c ia liz e d c a m a ra d e r ie : a p ub l ic r el atio n s tact i c th at le v er ages t h e i nterper s o nal
r e la ti o n s h ip s be t w e en a c t o rs to pr o mo te an d i nc r eas e br and aw ar en es s abo ut t hei r
u p c o m in g / cu rr en t p r o j e c t t o get h e r via s o ci al med ia an d m edi a in terv ie w s .
F a n c a m : s h o rt - f o r m 1 0 - 15 s e c o n d v id e os cr eated b y fan s f eatur i ng f oo t ag e o f th eir f av o ri te
c e leb ri ti es a n d / o r c h a r a c te r s w i th c a tch y m usi c .
F r a n c h is e: a c ollec t i o n of r e la t ed fi lms i n succe ss i o n th at s h ar e the same ci n emat i c w orl d an d
c h a r a c t er s .
S t a n : e n t h us ia s t ic a ll y v o c a l fa n s t h a t s h ar e th eir o p ini on abo ut t h ei r p ass i o ns o n l i ne an d ac t
a s w o r d - o f -m o ut h a m ba s s a d o rs f o r t he same.
T e n t p o l e fi lm s : m o v i es w it h a h ig h p r o d ucti o n bud get, m in i mal d ialo g u e, and hug e r et u rns
o n i n v es t m e n t a t th e b ox o ffi c e
i i
Ab stract
T h e id ea of “ c ele b rit y ” h a s a lway s be en a m ain s tay o f so ciety. The em per ors and
a r i s to c ra t s o f t h e p a st h a v e be e n r ep lac ed wi t h m o vi e st ar s an d m usi c i ans in m o der n times.
T h es e c el e br it ie s h a v e c o m m a n d e er ed t h e po p ul ar cul t ur e c o n v er satio n , w ith t he gen eral
p u b l ic h o ld in g a d ee p in t e r e st in th e ir pub l i c an d pr i vate li v es. T h e l as t c en tu ry h as s een a
s h if t in p u b lic in t er es t f r om c e l e b rit y f e uds to ce l eb r ity f r iend shi ps. T he i n v en tio n o f soci al
m e d ia p l a t f or m s h a s m a d e c e l e br it ie s mo r e acce s si bl e t o t hei r f an s an d s tr en gth ened t h e
in fl u en c e of f a n d om s. T h e r is e o f fr a nchi se fi l m m aki n g an d t he p op ularizati on of soci al
m e d ia , c o u p led w it h fa n in v e s tm en t in celebri t y fr i end s h ip s, h as g i v en bir t h t o a ne w film
p u b l ic it y t a c t ic – c o m m e r c i a liz ed c a mar ader ie. C o mm e r ci al i zed camar ader ie l e v er ag es
c e leb ri ty f r ie n d s h i ps t o p r om o t e a n d cr eate p osi t i v e e ar ne d me di a and fan co n v er s ati on s
a b o u t u p c o m in g fi lm s . T h is p a p e r w i ll tr ace t he societal cir c ums t anc es t hat hav e m ade
c o m m er c i a li ze d c a m a ra d e rie p os s ib l e a nd hi gh l i g ht t h e s ucce s s th e t actic has enjo yed i n a
c a s e s t u d y o f t h e M a rv e l C in em a t ic Un i v er se.
i i i
C h a p t e r O n e : I n t r o d u c t i o n
T h e c ou rs e o f h um a n l i f e c h a nged d ras t i call y w hen Au guste and L o ui s L u m ièr e
in v en t e d t h e ir c in é m a t ogr a p h e m o vi ng p i ct u r e t ec hno l ogy and intr o duce d th e wo rld to
c in e m a in 18 9 5 . T h e Lu m iè r e b r ot h e rs u sher ed in the Ag e o f C i nem a wi t h th e r el ease of th e i r
W o r k e rs L e a v in g th e L um iè r e F a c t o ry i n L yo n o n 2 2
n d
M ar ch 18 9 5. T he p op ular i zatio n of
c in e m a led t o a c t o rs ex pe r ie n c in g w ide -sc ale r eco gni tio n .
W it h t h e s p r e a d o f d em o c ra c y an d t he ad v en t of t h e In dustrial R e v olut i o n , peo p le
b eg a n t o s h if t t h e ir i n te r e s t fr o m m o n a r chs and no bi l i t y t o s el f -made c el ebr i ties l i ke actors,
in v en t o r s , a nd sin ger s . T h e s e a r t ist i c cr eat i v es became the mo der n “ celebri t i es ” th at
m a in t a in e d a p r o m i ne n t r o le i n so c ietal c o n sci o us n es s. H o l l y wo o d an d the in di v id u als
a s s o c ia t e d w it h t h e in d us t r y be c a m e a co r ner st o n e o f m oder n s o ci et al disco urse.
P eo p l e lin e d up in d r o v e s j us t to c atch a g lim pse o f ear ly Ho l l y w oo d c eleb ri t i es l i ke
C h a r li e C h a p lin , R ud o lph V a le n t in o , an d M ary P i ckf o r d. Act o r s t r an scend ed nat i o n al
b o r d e r s a n d be c a m e h o us eh old n a m es al l o v er th e w or l d . Th e P o st - W ar er a s aw an e v en
b r o a d e r a p p r e c ia t io n – a n d in te r e s t in – m o v ie s tar s, th eir l i v es and th eir an tic s . Fr o m
M a r i ly n M o n r o e t o M a r l o n B r a nd o, starr y -e yed mo v i e g oe r s f o ll o wed t h ei r e v ery mo v e, an d
t h e n c a m e t e l e vis i o n . A ne w ge n r e o f jo ur nalism – decad es l ater d eemed “i nf otain m ent ” –
t h a t p r o v i d e d n e w s a b ou t th es e a c to rs be cam e co mm o np lace. R um o rs abo ut t h ei r p erso n al
l iv e s s p r e a d lik e w ild fi r e a n d t a blo id s r eig ned supr em e. Th e pu bl i c w as hun gr y f o r any
g l im p s e i n to th e ir p r iva t e liv e s.
A s t h e m ed ium b e c a me t h e wor ld’ s fav or i t e p ast i m e, fi lm p ubli ci ty b e c am e a pr ecis e
s c ie n c e. T h e st ra t e gie s a n d t a c tic s r e main ed c on si st ent, wi t h v ery li tt le in no v at i o n as
1
t ec h n o l o g y d e v e lop ed a n d s oc i et y e v ol v ed . Act o r s w ent o n p r es s junket s t o p ub l i c i ze t hei r
u p c o m in g fi lm s a n d d r o p p e d t it bi ts o f t h ei r pe r so nal li v es an d r elat i o nsh i p s to placate t h eir
a u d ie n c es . T h e p u blic r e lie d o n t ele v is io n in t er v i e w s, n e wsp aper arti c les, and m agazi ne
f e a t u r e s to le a r n m o r e a b ou t t h e ir fa v o ri t e ce l ebr i ties.
A n d th e n t h e In t e rn e t e x p l o d ed, an d so ciety f ell d o w n t h e r abbi t h o le of so ci al m edia.
O r d in a r y p eo p le c ou ld n o w c om m u n i c ate di r ec tl y wi t h thei r id ols w ith out h avi ng t o g o
t h r o u g h j o u r na li st s , r ep o rt e rs , a n d p u bl i ci st s. T he r is e o f s o ci al med ia c oi nci d ed wi t h th e
n a s c en c e o f th e M a r v e l C in e m a t ic U n iv ers e – an un pr ec eden t ed fr an ch i s e t hat h as chan ged
t h e en t e rt a in m e n t i n d u st ry a n d le d t o the cur r e n t H o llyw o od t r end o f f ran chise fi l m m ak in g.
W it h t h e i n c r ea s e d a c c e ss t o c e leb ri tie s , t h e po pu l ar izat i on of f r anchi se filmm ak in g, and
c u lt u r e o f p o s it iv it y , a ud ie nc e s n o w b ecame m or e in t er es ted i n c elebr i t y fr i end s h ip s t h an in
c e leb ri ty f eu d s .
T h i s c h a n ge in a u d ie n c e pr ef er e nce als o i m pact ed t h e fi lm an d tel e v isi on pub l i c i ty
in d u s t r y . A c ur io us p h en o m e n o n e m er ged t hat i nflu en ced t he tact i c s p ubli ci s ts u s ed t o
in c r e a s e i n te r e s t in t h e ir c lie n t s ’ p r o je ct s: th e y l e v er aged the pe r so nal r e l ati o n shi ps b etween
a c t o r s t o p r o m o t e t h e ir fi l m s. I h a v e t e r me d th is p heno m en o n “co mm e r ci al i zed
c a m a r a d er ie .” A ud ie n c es h a v e n o w b ec om e in v est ed in l ear n ing i f th eir f av o r i te acto rs
b ec a m e f r i en d s o n se t a n d c o n t in u ed th i s fr i end s h ip af ter t h e pr o j ects end ed. Celeb ri t i es
s u s t a in t h is i n te r e s t t h r o ugh so c ia l m edia p o s ts and menti o ns of g r o up c h ats .
I n t h i s p a p e r, I w il l e x a m in e t he h ist o r y o f pu bl i c ce lebri t y r elat i on sh ip s f r o m t h e
d a w n o f t h e A ge o f C in e m a . I w i ll f o ll o w t h e s h i f t in pu bl i c i nt er est f r om celeb ri ty f eu ds and
r o m a n ti c r e la t ion s h ip s t o t h e pu b l ic w ant f o r c el ebr i ty f r ien ds h i p s . Th i s pap er wi l l an al y ze
2
t h e w a y s o c ia l m ed ia c h a n ge d c e l e b rity agen c y and t he v ery n at ur e of th e i nteract i o n s
b et w e e n a ct o rs a n d t h ei r fa n s , a lo n g wi t h the r is e o f t he m ai nst r eam f and o m c ult u r e. M y
m a in a r g u m e nt w ill c on s is t o f h o w t he r i s e of social m edi a and fr an ch i s e fi lmmak i ng has
m a d e c o m m e r c ia liz e d c a m a ra d er ie a n eff ectiv e and d efin i ng p ubl ic r el ati o ns t actic of t h e 21
s t
c e n t u r y .
T h e p a p e r w ill a n a ly z e h o w t he M ar v el Ci n emat i c U ni v er se h er ald ed t he ex i st enc e of
c o m m er c i a li ze d c a m a ra d e rie d ue t o i ts inn o vativ e t r an sm edi a f r anchi se mo d el an d em ph asi s
o n p l o t s ec r ec y . T h e fra n c h ise p e rf ec ted th e us e of co mm er c iali zed cam arad eri e in i t s
m a r k eti n g eff or t s a n d e s ta b lis h e d t h e tac ti c as a vi t al p art o f c on temp o r ary fi lm p u b lic ity .
H is t o r y o f t h e C e le br it y
C ele br it ie s h a v e a lw a y s e x i st ed i n s o me sh ape o r f o r m i n hum an h ist o ry . Th e y
p r o v id e d p e o p le w it h a s e n s e o f e sc a p e f r o m the mo n o t o ny o f thei r l i v es an d cr eat ed an
a s p ir a ti o n a l im a ge to l o ok u p to . In Th e Fr enzy o f R en o wn , Leo B r audy call s Alex and er th e
G r e a t ( 3 5 6 - 3 2 3 B C ) t h e “ fi r s t fa m o us pers on . ”
I n e a r l y h ist o ry , t h e s e c e le br iti es wer e usual l y mo n ar chs o f the v ar io us ki ng doms ,
p e o p l e o f n o bilit y a n d h i gh ra n k , o r h er o e s t hat c h ar acter ized t he f o l k s tor i es and ep ic s of
p a r ti c u l a r r e gio n s . T h e ea r ly c ele br it i es at t ai ned fam e and imp o r t anc e i n s o ciet y b y the vir tue
o f th ei r b i r t h . T h e y us e d w h a t e v er t e ch n olo gy w as avai l abl e to th em t o mai n t ai n t hei r f ame
a n d s t a y i n t h e m in d s o f th e ge n e ra l pu bl ic .
A lex a nd e r t h e G r ea t us e d c oi ns to sp r ead hi s l ik en es s an d gai n fam e in h is ki ng do m.
M o n a r c h s lik e W illia m t h e C on que r o r and H en ry VII I co mm iss i o ne d r o yal p ortr ai ts t o
3
h i g h l ig h t t h e ir i mp o rt a n c e a n d to se t themsel v es ap ar t f r om thei r s ub j ects . T h es e r o yal
p o r t ra i ts w e r e h u n g in p u blic p l a c e s lik e ci vi c build in gs and ed ucati o nal in s ti t ut i o n s to all o w
t h e s u b j e c t s a n op p o rt u ni t y to k n o w thei r ru l er s.
T h e la te n in e t ee n t h a n d t h e e ar ly t wen t i eth cen t ur i es s aw th e bir th o f the
c o n te m p o r a r y c ele br it y c ult ur e . T h e ter m “ c el ebr i ty” with its m oder n co nn o t at i o n s was first
u s e d in t h e n in et e e n th c en t u ry . T h e y e ars after t he I ndustr ial R e v o luti on i ntr o d u ced s ocie t y
t o e ig h t- h o u r w o rk d a y s , w h i c h r es ulted i n an i ncr ease i n leisur e t i me f or m id d l e- cl ass
w o rk er s . T h e po p u l a r iz a ti o n of c i n e ma as a f o rm of ent er t ain m ent , c oup led w i t h th e
a b o l is h m e n t o f m on a r c h i es a r o un d t he w o r ld, led t o t h e “ cel eb r ifi c ati o n” of acto rs on a gl o b al
s c a le.
A c t o r a s a C e leb ri t y
T h e ra p id t ec h n o logi c a l a d v a n ces in the m o ti o n pi ctur e i nd us t r y an d ph ot o g r ap h y
c r e a t ed t h e fi rs t m o d e r n c e leb ri t y a c to r: Sar ah Be r nhar dt. A Fr en ch th eat er an d si l en t fi l m
a c t o r , B e rn h a r d t u s ed t h e te c h no lo g y av ai lable t o her to cr eat e an i nter nati onal pr esence and
b ec o m e a c e l e b rit y . Sh e e m br a c ed th e n e w ly i nv en t ed -pho to g r ap h y c am er as to m as s pr oduc e
a n d d i s t r i b u te h e r im a ge a r o un d t h e wo rld and t alked t o j o u rn ali s ts ab out e v er y thi n g i n h er
l if e . B er n h a r d t c r ea t e d t h e pla y bo o k f or m oder n tal en t p ubli c r elat i o ns th at c el eb ri ties f oll o w
d e c a d e s a f t er h e r p a ss i ng in 1 9 2 3 ( M ar cus, 20 19).
T h e e a rly 2 0
t h
c e n tu ry s a w t h e co ns oli datio n o f what wo ul d beco me t h e c urr ent
H o ll y w o o d s y st e m . F ilm pr o d u c t ion i n t he U ni ted S t at es m o v ed f r o m th e E as t Co ast t o
S o u t h er n C a li f o r n ia in 1 9 07 , a n d t h e fi r st t alki e – Th e Jazz Si ng er – was r el eas ed i n 19 27 . T h e
4
H o ll y w o o d s t ud io s y s t e m s oli d ifi e d the ac to r as th e mo d er n ce l eb r ity w ith Char l i e Chap lin ,
w h o w a s c o n s id e r e d th e m o st fa m o us man o n t he planet dur i ng t he h eig ht o f h is f am e.
T h e go l d e n a g e of t h e H o l ly wo o d studi o sy s tem i n t he 19 30 s and 1940s i n t r o duced
t h e w o r ld to c ele br it ie s s uc h a s C la rke G able, J oan Cr awf o r d, Fr ed Ast ai r e, H u m ph r e y
B o g a r t , a n d B et t e D a v is . G o ss i p r a gs would p r o v i d e hun gry au dien ces w ith in f o rmati on
a b o u t t h e ir fa v o r it e c e leb ri t y a c to rs ’ wher eabo uts, r e l atio n shi p dr ama, u pco mi ng pr o j ec t s ,
a n d d i et p la ns .
W it h t h e su bs e qu en t t ec h n o logi cal p r o gr ess and in cr eas e in p r o du cti on, t h e n u mbe r
o f a c to r c e leb ri tie s r os e in fi n it ely . T he 19 50 s an d 19 60s s aw the bi rth o f t ele vi s i on acto rs , w ith
s o m e o f t h e m – l ik e S a ll y F i eld , L uc il l e Ball, and Wi ll i am Sh atner – risi n g to the st at us o f
c e leb ri ty w i t h a s h if t t o t h e s il v er sc r een . G o ss i p m agazi nes lik e P eo p le M agazi ne an d T he
N a ti o n a l E n q u ir er p o p u l a r iz e d in f o t ai n m en t i n t h e 1 970 s.
T a l k s h o w s l i k e E nt e rt a i nm ent T o n igh t, Acces s H o l ly wo o d, Th e Op r ah Sho w, and
T h e T o n ig h t S h o w s olid ifi e d a c t o rs lik e M i c h el le P fi ff er and K ur t R ussell as t he backbone of
c o n te m p o r a r y po p u l a r c ult ur e . P e o ple b e gan id o li zi n g ac t o r s on a wh ole ne w l e v el . P ost er s o f
c e leb ri ti es l i k e F a r a h F a w c et t , G e o r ge C l o o ne y an d T o m C r ui se ado rn ed m ul ti p l e b ed r oom
w a l l s a r o u n d t h e w or ld . A c to r s be c a m e s y no n ym ous w i th g ods and do mi nat ed m ost social
c o n v er s a t i on s . G o s sip a n d n e w s a b ou t act o r s bec ame a p ar t o f tr aditi o nal med ia i nf o rm atio n
c y c l e s .
A c t o r s a n d t h e M ed i a
5
T ra d i t ion a lly in H o lly w o o d , a c tor s hav e been hi gh l y in s u lat ed f r o m th eir au di ences.
W it h t h e ex c e p t io n o f a f e w c h a n c e m eet i ng s on the st r eet , t he g ener al p ublic r ec ei v ed al l its
in f o r m a ti o n a bo ut t h e H o l ly w o o d a cto rs vi a v ario u s f o rm s o f n e ws med i a. And e v en thi s
in f o r m a ti o n w a s us ua lly c ur a t ed b y la yer s o f m anagem ent an d pu bl i c r elat i ons eff o rts .
F r o m t h e l a t e 19 7 0s to th e e a rly 200 0s, the av erage Ho l l y w oo d act o r w as u s uall y abl e
t o s h in e h is / h e r c e le br ity s t a t us a n d in t er act with t he m edi a d ur in g t h e film m ark et i n g
p e ri o d . P u b lic iz in g t h e a c to r s a n d t h e ir upco m in g pr oject s w as a f or m ulai c p r o cess , i nv olv in g
v a ri o u s t y p e s o f in t er v ie w s a c r os s d iff er en t ne w s plat f o r ms.
I n t h e m o n t h s l e a d in g up t o t hei r fi l m pr emi er es , ac t o r s wo uld typ i call y d o the r ou n ds
a t v a r io u s d a y t im e , en t e rt a in m e n t -f o cused and lat e-n ig ht tel e v i s i on t alk sho ws. T he y w ou ld
c h a t w it h t h e f a m ou s h o s ts a b o u t t h ei r fi l m , thei r per so nal li f e, and t h ei r o p ini o n s on a f e w
c u r r e n t i s s ue s . T h e in t e rv ie w s w o u l d be c ar ef ul l y v ett ed b y t hei r per so n al p ublic ist s an d th e
s t u d i o p u b lic it y d e p a rt m e n t s t o e n s ur e th at on ly t h e m ost r e l e v ant i nf or m at i on was p r o vid ed
t o t h e a u d i en c e s . T h e y w e r e c o a c h ed abo ut ho w to i nc l ude “ t easer s” abo u t th e film i nto s aid
in t e rv ie w s .
T h e a c t or s w o uld a ls o b e e x p ect ed to p ar ti ci p at e i n j un k ets to gai n max i mu m
e x p o s u r e f o r t h e up c o m in g fi lm . T h e ju nkets wo u l d f eat u r e j o u rn ali s ts acr oss v ar i ou s
p l a t f o r m s l ik e p ri n t, t e l e vi s ion , a n d radi o . These i n t er v i e w s wo uld typ i call y las t any wh er e
f r o m b e t w e en t h r e e m i nu t e s t o h a lf an ho ur , dep end i n g o n th e j o u rn ali s t an d the p u b l i cati o n
t h e y r e p r e s en t .
T h e p r e s s j un k et in t e rv ie w s w oul d co ns ist o f gen er ic que st i o ns ab ou t the fi l m , th e
a c t o r s ’ c h a r a c t er s , a nd th e d ir ec t o r o f th e fi lm. The jo ur nali s ts m ig ht i nc l ude o ne qu es ti on
6
a b o u t t h e ac t o r’s p er s o n a l l i f e o r a r e cen t awar d t hat the y w o n. T h es e in terv ie w q u est i ons
w e r e c a r ef u ll y v et t e d b y p ub lic is t s a n d di d n ot inv i te any de v i atio n f r o m th e appr o v ed topi cs
o f c o n v e r s a t io n .
A lo n g w it h t h e ta lk s h o w s a n d th e p r e s s jun ket , t h e l ead ac t o r s of a film wo u ld d o a
c o v e r s t o r y a n d a f e a tu r e w i t h a p r e s ti gio u s pr i nt pu bl i c ati o n lik e V an i t y F ai r, G Q , V ar i ety,
E s q u ir e , o r N e w Y o rk M a g a zi ne . T h is co v er st o r y wo u l d si m ilar ly i ncl u de i n f ormati on ab o u t
t h e u p c o m i n g fi l m , t h e ir c h a ra c t e r’s jo ur ne y , as w el l as t hei r r easo ns t o ch oo se t hi s pr oject.
T h e a c t o r s w o u l d a ls o m e n ti o n a n y fu tur e p r o j ec t s and g iv e a s m al l i nsi gh t in to thei r
p e rs o n a l l iv e s , w h e t h er it i s a b ou t t h e bo o k t h e y ar e cur r ent ly r eadi ng or thei r r elat i o n s h ip.
A ll t h e se in t e rv ie w s e m p lo y e d i n th e p ublic ity p r o ce s s ser v e tw o m aj or g o al s: t o
g e n e ra t e a n t i c ip a t ion a n d e x c it e m e nt o v er t he fi l m , and t o gen erate a p o s i t i v e i mag e o f th e
a c t o r to i n c r e a se a n d m a in t a in th e ir s o c i al r ele van c e. Th e i nter v i e ws ar e car ef u l ly c urat ed to
e n s u r e th a t t h e a c t o rs p or t ra y t h e n ecessary aur a o f “ c el ebr i ty” , whi l e also mai n t ai n in g t h ei r
r e la ta b il it y t o t h ei r a ud ie n c es .
I n t h e ir 2 0 19 bo o k C ele b rit y : A H ist o r y o f F am e, Su san J . D o uglas and And r ea
M c D o n n e l l w r it e a b ou t th e c e leb ri ty in ter v i e w ( 2 6 ):
C ele b rit ie s w h o, i n in te r vie w s , s eem to o s cr ipted, e v ade qu es tio n s, o r gi v e ob v io u sly
c l ic h e d or p a n d e rin g a n sw er s co me ac r o ss as pho ny o r as hid i n g so m eth in g. T hose
w h o a r e o v er e a ge r w ith th e in terv ie w er or d o n 't g o v er n t h ei r beh avi o r s - as w hen T o m
C ru is e i n 2 005 fa m o u s l y j u mp e d up and do w n o n Op rah Wi nf r e y 's co u ch pr oclaim in g
h i s lo v e f o r Ka t ie H o lm es c a n s e em n o t i n c on tr ol o f t hei r per f o r manc es and e v en
u n h in ge d . ( An d t h e t h o ugh t th at C r ui se ac tually mig ht h av e p lanned su ch a s tu n t w as
a n eq u a l ly t r o u blin g v ie w in t o hi s b ack r eg i o n.)
I n t h e la te 2 0
t h
a n d th e e a rly y ear s o f th e 21
s t
cen t ur i es , th e t r adi tio n al ne w s m edia
a c t ed a s a n in f o rm a t io n f un n e l be tw ee n actor s an d thei r audi ences . F an s h ad to tu n e i n t o
7
e v er y ra d i o a n d t e l e vis i o n in t e rv ie w a n d co ll ec t ne w s pap er s and magazi n es t o gai n i nsig ht
in t o t h e ir f a v or it e c e le br it ie s’ liv e s . T h e t r aditi o nal film pu bl i c i t y er a dem and ed that th e
a t t en t io n r em a i n f o c u se d on t h e c o n ten t o f th e fi l m , an d n o t h er o th e act or s th emsel v es.
D ra m a T h a t F o ll o w s
A m a in s ta y o f 2 0
t h
c e nt u ry H o lly wo o d w as the i nf am ous – an d f r equ ent ly
m a n u f a c t u r e d – f e ud s be t w e e n v a ri o u s c elebr i t i es . I n th e age o f the g ossi p r ag and t h e
t a b l o i d m a ga z in e , a u d ie n c e s l o v ed t o he ar abo u t whi ch ac t o r hat ed who m and w hy . The
s p ec u l a t i o n a n d t h e d ra m a c r e a te d a f r en zy th at d o min ated al l p o pular c ultur e di s cou rs e. An
e a s y w a y t o ge t c e le br ity r ele v a n c e w as t o hav e a fam o us “h at er . ”
S o m e o f t h e m o s t in fa m o us f euds o f H olly wo o d ar e st i l l tal k ed ab ou t to thi s day .
B et t e D a v is a n d J o a n C r a w f o r d ’s h a t r ed o f eac h o ther r esul t ed in e x c ellent pr ess c o v erag e f or
t h e ir 1 9 6 2 fi lm W h a t E v er H a p pe n e d t o B ab y Jan e?.
T h eir l o n gs t a n d in g h a tr e d o f ea c h o th er r eached a b oi l i ng p oi nt , w ith goss i p colum n s
w r it in g a b o ut D a vi s h i t tin g C r a w f o r d wi t h un ne ces sar y f o r ce f o r o ne sc en e, an d C r aw f or d
r e t a li a ti n g b y in c r e a sin g h e r w e igh t wi t h r ocks wh en D avi s h ad to car ry her bod y ( Bos e,
2 0 2 2 ) . T h e Os c a r c a m p a i gn f o r th e fi l m co nti nu ed t h e f eu d o n a p ublic s tage, wi t h Cr awf o r d
a c t iv e l y c a m p a ign in g a g a in s t D a v is ’ no mi nat i on , when sh e fai l ed to r ecei v e on e h er sel f .
C ra w f o r d e v e n a c c e p t e d A n n e B a n c r o f t ’s B e st Actr es s s tatue t t e that y ear in fr on t o f D avi s,
f u rt h e r a d d in g fu el t o t h e fi r e.
T h e v e r y pu b l ic h a tr e d be t w e en C r awf or d and Dav is d i d its j o b and W hat E v er
H a p p e n ed to B a b y J a n e ? gr o s se d o v e r $9 m i ll i o n i n N or th Am er ica. Th e fi lm became their
8
h i g h e s t g r o s sin g p r o j ec t in o v e r a d e c ade, th er eb y succe ss f ul l y r e vi vi ng Cr awf o r d and Davi s’
c a r e er s . T h e ir c o n fl ic t r e ma i n s le ge n dar y in H o ll y w oo d hi s to ry and s paw ned a lim i t ed se r ies
b y R y a n M ur p h y in 2 0 1 7 , t it led F eu d , s tar r in g Jessic a L ang e as J oan C rawf o r d an d Su s an
S a ra n d o n a s B e tt e D a v is .
H o w e v er , s in c e t h e 2 0 1 0 s, t h e i nf am ous f eud s o f H o ll y wo o d h av e be en f e w and f ar
b et w e e n . C o n t em po r a ry a u d ie n c e s a r e m or e li k el y t o co ndemn the ac t o r s pub l i cl y eng agin g
in c o n fl i c t t h a n t h e y a r e to su b sc r ibe to t h e d r am a. N e w s ar ti cles abo ut m o dern f eu ds lik e the
o n es b e t w e en S e x a n d t h e C it y a c t o r s K i m Cat tr all an d Sar ah J es s i c a P arker an d between
F a s t a n d t h e F u ri o u s c o -s t a rs D w a y n e “The R o ck” Jo h n s o n an d V in D iesel r ec ei v e c o m me nts
f r o m f a n s u r gin g t h e a c to r s t o s t o p sp eak i ng abo ut t h e c o n fli c ts .
F e u d s a n d t h e su b se qu e n t d ram a the y p r o v id e t h r o u gh go ssip mag azi n e and t ab l oi d
a r ti c le s a p p ea l to a v e ry s m a ll p e r c e nta ge o f the c on temp o r ary gener al pu bl i c . Au di ences in
2 0 2 2 a r e m o r e l ik e l y t o b e t u rn e d o ff wi t h th is p er cei v ed “ c hi l d i s h be hav i o r” and gen er ally
d i s l ik e p u b lic s ta t e m e nt s of c o n fl ic t fr o m ac t o r s . T h e mo der n c u lt u r e o f p osi t i vi t y h as s h if ted
a u d ie n c e p r e f e r e n c e fr o m e ne m i es to f r ien ds .
9
C h a p t e r T w o : T h e A g e o f t h e I n t e r n e t
F il m m a rk et in g h a s be e n a p art of film p r o du cti o n i n som e way o r another s i nce th e
b eg i n n in g o f th e c om me r c i a l iz e d in d us tr y. It s tar ted out as a r ud i mentar y attemp t b y film
e x h i b it o r s to lu r e in a u d ie n c e s t h r o ugh “ th e p rin ted w o r d – b y p ai d ad v er ti s i ng s p ace,
d i r ec t - b y - m a i l p ri n te d m a t t e r, l i t h o g r aph ic po st er s an d so on ” an d “t h e di ss em in atio n of
in t e r es t in g r e a d in g m a tt e r” ( H a m el, 26 9). Thi s s i mp l e mar k eti ng st r ategy was s up port ed b y
t h e s m a l l n u m b er o f fi lm s r e le a se d a n d t he n o v elt y o f th e med iu m o f ci n ema.
H o w e v e r, w it h t h e d e mo c r a tiz atio n o f th e fi lm m aki n g p r oce ss and t he h i g h f r equ en cy
o f fi lm s b e in g r e le a se d , t h e r e w a s a n ur g ent c om pe titi o n f or vi s i bi l i t y . T h is comp et i t i on gav e
b i rt h t o t h e ne e d f o r s op h ist i c a te d mar ket i n g strateg i es . Mi n gan t et al . menti on t h at t h e
f o rm u la i c sc i en c e of fi lm m a rk e t in g was d e v elo pe d in H o ll y w oo d in the 19 30 s an d fl o u ri sh e d
in t h e 1 9 6 0 s w ith th e in t r o d uc t io n o f blo ckbu s ter fi lm s (26). T hi s b lo ckbust er fi lm mar k etin g
s t r a t eg y r ef er s t o “ a n in t ri c a t e m a r k eti ng camp aign – beg i n ni n g m on ths in ad v anc e and
s a t u r a ti n g th e m a rk e t in t h e d a y s b e f o r e t h e w i de r elease – co mp r ised of mu lt i pl e ad v ertisi n g
m e d iu m s t h a t f o c us o n t h e s e ll a b le, app ealin g elemen ts o f a fi l m ” (H e r ri ng t on , 80) .
T h e blo c k bu s te r fi l m m a r k et i ng st r at egy has f our b as i c tenet s: pai d adv er t i s i ng ,
p u b l ic it y , e x p lo it a t io n , a nd pr o m o tio n ( Jo wet t and Li nto n, 5 5 ). E x p l o itat i o n f all s u n der
p u b l ic it y in c on te m p o ra ry m a rk e t in g v er n acular. P aid ad v er t isi n g i ncl u des ex pen di t ur e to
s ec u r e s p a c e in p rin t, t e l e vis i o n , ra d io, and bi l l b oar d s in o r der t o pr o m o t e th e offi c ial p osters
a n d t ra i le r s f o r t h e fi lm . P u blic it y c o ns ist s o f g et ti ng med i a co v erage due to the ne w s wo rt h y
n a t u r e o f u p c om in g fi lm s a n d ge n er ati ng wo r d-o f -m ou th ch atter. It i ncl u des t alk sho w
in t e rv ie w s , p r e s s j un k et s , a n d p ub lic ity s tunts.
1 0
S o c i et a l la n d sc a p e a n d t h e w ay pe o ple v i e w ed t he w o r l d c hang ed wi t h the p u b lic
a v a il a b i li ty o f th e I n t er n e t in t h e 1 9 9 0s. Wi t h r ap id techn o lo g i c al ad v ances i n t h e I ntern et,
t h e w o r ld w a s i nt r o d u c ed t o s oc i a l m edi a. T h e mid -2000 s s aw th e bir th o f m ul ti p l e
c o n te m p o r a r y so c ia l m ed i a p l a t f o rm s like F acebo o k , Y o uT ube, and T w i t t er . T h e wo rld
b ec a m e m or e in t e r c o n n e c te d a n d ga i ned u np r eced ent ed ac c ess t o i n f o rm atio n, f or c i ng t h e
e n t er t a i n m e nt c om mu n ic a t io n s in d ustry to e v olv e.
F il m M a rk et in g a n d S o c ia l M e d i a
T h e in v en t io n a nd th e p o pu lar i zati o n o f t h e Inter ne t chan ged th e way s tu di o s
m a r k ete d t h e ir fi lm s . P a id a d v e r tis e m ents an d pu bl i c i t y wer e no lon g er ex pl o r ed i n ju s t th e
p r i n t a n d b r oa d c a s t r ea lm s ; t h e d igi t al r ealm was i n c luded i n th e mi x n o w . M ajo r s tu di o s
s t a r t ed ex p er im e n t in g w it h d ig it a l fi lm m ar ket i n g in the lat e 19 9 0s and t h e e ar ly 200 0 s
( H er ri n g t o n , 6 7) . B u t it w a s n ot u nt i l the wid espr ead use and accep t anc e o f so ci al m edi a t h at
s t u d i o s m a d e d i git a l ma r k e t in g a m a i nst ay of t hei r mar ketin g st r at egi es.
H e rr in gt o n a t t ri but e s th e in c r easi n g i mp o r t anc e o f social m edi a mar k eti ng f o r fi lms
w i th i ts a b i lit y t o s h a r e in f o rm a t io n quic kly ( 79). In t he p r e-dig i tal age, st u dio s had t o r ely o n
t h e ir p a i d te le v is io n s p o ts a n d t h ea t er s to scr een ne w trailer s f o r upco m in g fil m s . Th i s
c o m m u n ic a t io n b e t w ee n s tu d io s a n d aud i en c es was on e -way an d f o r ce f ul. H o w e v er , i n t h e
d i g it a l a g e, a ud ie n c es h a v e t h e c h o ic e t o sear ch f o r an d cho o s e t o watc h trailers f or
u p c o m in g fi lm s o n v a rio us so c ia l m edi a c h an nels .
S o c i a l m e d ia h a s d e m oc r a t iz ed the fi l m pr o m o t i o n p r o cess b y p r o v id i n g en t husias t i c
f a n s a p la t f o rm t o in fl u e nc e t h e ir p e er s (S m ith , 2 0). T her e ar e mu l tip le v id eos on s o ci al
1 1
m e d ia s it es lik e Y o u T ube o f pe o p le r e a ctin g to th e t r ai l er s f o r h i g hly anti ci p at ed films. T hi s
r e s p o n s iv e c om m u n ic a t io n a llo w s s t udi o s t o g aug e aud i en c e ex c item ent an d get
w o r d - o f - m o u t h p ubli c ity f or u p c o mi ng fi l m s . H err i n gton stat es t h at, “ D i g ital i s al s o t h e o n ly
m e d iu m th a t a c t iv e ly e nc o ur a ge s a udi en ce i n t er acti o n an d f aci litates v i r al m a rketi ng – o r a
c r e a t i v e p i ec e t h a t s p r e a d s t h r ou gh c ul t ur e in a un ique, i nt er est i n g, o r ex c iti ng w ay” ( 1 0 ).
S o c i a l m e d ia fi lm pu b l ic i t y c amp aig ns can al s o help cr eate an audi enc e f o r fi lms.
N a n d a et a l . s t a t e t h a t “ a n i mp o rt a n t aspe ct o f an y p r om oti o nal c am pai gn is t o b e ab le t o
c r e a t e a n emo t ion a l c o nn ec t w it h t h e au di enc e” (245). So cial med i a adv erti s i ng encou ra ges
c h a r a c t er i d e n t ifi c a ti o n b y “ e n c o ur a gi ng us to f eel w e ar e in a r el ati o ns hi p” wi t h the fi l m an d
it s c h a ra c t e rs (K ilbo ur n e, 9 5 ) . A goo d so cial m edi a cam pai g n i n vi t es th e aud i ence in to th e
w o rl d o f i t s fi lm , th er e b y c o mp ellin g th em to g o w at ch it i n o r d er to g et t he f u l l ex per i enc e.
F o r e x a m p le, t h e c a m p a ign f o r t h e 2 0 20 fi l m E mma. b y Au tum n de Wi lde i nv o l v ed a vi deo of
t h e c a s t in c os t um e giv in g a s et t ou r.
F a n d o m o n t h e In te r ne t
T h e c o nt e m p or a r y “ fa n d o m ” in en t er tai nm en t saw its n as cenc e i n t he 192 0 s, w i th
w o m en c o n s um in g a n d a p p r e c ia t in g so ap o pe r as, r o man ce no v els , po p ul ar m u s i c , an d fi lms.
J a s o n L o v ig l io m en tio n s th a t t h e po p ular r adi o s h o ws o f the 19 20 s an d th e 19 3 0 s c r eated an
“ i n ti m a te p ub lic ” t h a t a llo w e d th e h o sts’ v o ic es t o ent er thei r aud i ence’ s ho m es.
W it h e v e r y n e w m e d iu m t h a t w as added t o t h e cult ur al and societal lex i con, t h e
n u m b e r o f i n d iv id u a ls e n ga g ed in “ f ando m s” in cr eas ed. T el e v i s i on al l o wed p eo ple to
e x p e ri en c e a c t o rs fr o m t h e c o mf or t o f th eir h om e s , ad d in g ano th er l ay er o f i nt i macy and
1 2
c o n n ec t io n . T h e 19 6 0s s a w t h e te le v ised ru n o f th e o r ig in al Star T r ek ser ies , whi c h to ok
f a n d o m c u lt ur e to un p r e c e d e n t ed h ei ght s. The sho w h elp ed c r eat e an op en com mu ni t y wi th
d i a lo g u e b et w e e n c r e a t or s a n d f a n s ( M c C r ack en , 423).
I n t h e Ag e o f t h e I n te r n et , fa n c u lt u r e t r an sf o r med f r o m a n i ch e in di vi d u al h ob b y t o a
g l o b a l c o m m un ity c o m p r isi n g o f t h o u s and s o f ac ti v e par t ic ip ants . The ear ly I ntern et al lo we d
f a n d o m s to gen er a t e r e a l - t im e lo n g f o rm co nv er sati o ns wi t h par t ic ip ants f r o m al l ar o u n d th e
w o rl d in d e d i c a te d s p a c es v ia blog s a nd f o r um s. F ans co uld s h ar e thei r tho u gh t s and
o p i n io n s , a n a ly z e c a s t i n te r vi e w s a n d act o r p er f or m ances , an d h i g hlig ht f an-c r eat ed ar t .
I n t h e ea r ly 2 00 0 s, t h e I n t er n et e v o lv ed , an d th e wo rld was i ntr o duce d t o s oci al medi a
p l a t f o r m s l ik e Y ou T ub e, T w it t er , F a c ebo o k , an d T umblr . Wi t h the w i desp r ead use and
p o p u l a ri ty o f s o c ia l m ed ia , p e o p le c ou l d eng ag e wi t h thei r fav or i t e p i eces o f med i a on a
g l o b a l s c a l e . It w a s n o lo n ge r n e c e s sar y to fi nd d edi cated f an sp ac es. P e o pl e c o u ld p u b l i sh
t h e ir t h o u gh ts on m ic r o b l o ggin g w e bsites l i ke T wi t ter and T u mb l r and in s tan t ly fi nd a
c o m m u n it y o f l ik e -m in d ed in d iv id u als o n li n e. H as h t ag s an d co mm o n o ffi ci al ac c o u nts
b r o u g h t p eo p l e in fa n d o m s t o ge th e r in var i ous c ir cl es.
F a n d o ms e n te r e d t h e ma i n st r eam po pu l ar c u lt u r e and be came t he no r m i n t h e 20 1 0s.
P eo p le s t a r t e d e m b ra c i ng th ei r m e d ia pr ef er en ces and sp eaki n g ab out them onli n e on
v a ri o u s s o c i a l m e d ia p la tf or m s. T h e cr e at o r s and pr o duce r s o f t h es e fi lms and t ele vi sio n
s h o w s s ta r te d c o n v e rs in g w ith th ei r au di enc es di r ect ly and e nco ur aged them to s h ar e th eir
l o v e o n l in e . In s t ea d o f m e d ia - sp ec i fi c f ando m r ul es an d jar g o n, a ne w s u bcul t u r e c alled “stan
T w it t er ” o r “ st a n T um b lr” be c a m e c o mm o np lace. A ne w f o rm o f li ng o s ty le of t alki ng f o r fan s
c h a r a c t er iz ed th is “ st a n ” s ub c ult ur e .
1 3
A h igh p e r c e n ta g e o f m a in s tr ea m co nt emp or ar y me di a is d iscussed and deb at ed
o n li n e a f t e r it s r e le a s e. F a n s t a lk a b o u t t h e nar r ati v es , ch aract ers , an d o v er all st ory cho i ce s of
v a ri o u s fi l m s a n d t e l e vi s ion s h o w s o n T w i t t er , T umblr , and In stagr am. T h e y t ai l o r th eir
o n li n e s o c i al m e d ia p r ofi le s to fi t t h e ir f av o r i te c h ar acter s b y dedi c ati ng t h ei r user nam es,
s o c i a l m e d ia b ios , a n d p r o fi le p ic tu r es to them. F an s cr eat e sho r t 15 to 30 s ec o n d edi t s –
t er m e d “ f a n c a m s ” – to sh a r e o n t h e abo v e-m en tio n ed p l atf o rm s , alo ng w i t h g i f set s of t h ei r
f a v o r i t e s c en es .
F a n s ge n e ra t e c o n s is t e nt c on t e nt on l i ne b y tw eet i n g abo ut t hei r f av o r ite tel e v i s i on
s h o w s a n d fi lms a s th e y w a t c h th e m. Th is r eal -ti me c on v er sat i on al l o ws me di a to s ust ai n a
f o llo w i n g , e v e n y e a rs a ft er it s i ni t ia l r e l eas e an d wi den s i t s f and om . In the ag e of soci al medi a,
fi l m s a n d t e le v isi o n s h o w s c a n b e e x p er i enced f o r th e fi r st ti me b y mu lt i pl e g ener atio ns and
g a r n er t h e s a m e l e v e l o f c o n v e r sa t io n and discussi o n as th eir o ri gi nal r el eas e.
C o n t e m p or a ry fa n d o m c u l t u r e i s shap ed b y t he ad van c es i n social m edi a. I t e v o lv ed
f r o m d ed ic a t ed ni c h e blo g s a n d o nli ne f o r um s t o be i ng ac c es s i ble to e v er yo ne v ia T w itter an d
T u m b lr . T h e r e c e nt p o pu la ri za t io n o f T ik T o k h as seen the r is e o f fan -m ade edi t s an d
f a n c a m s , a s w ell a s fu rt h e r v id e o -b a s ed d isco ur se o n p lo t po in ts and c h ar acters .
E a s e o f A c c es s t o A c t or s
A s m e n t ion ed p r e vio us ly , f o r a maj o r i ty o f H o ll y wo o d’ s h ist o r y , th er e h av e b een a
m u lt it u d e o f ga t ek e ep e r s be t w e e n a cto rs and t hei r f an s . Th e f ans hav e hi s to ri c ally b een g iv e n
a h ig h ly li mi t ed a n d c u ra t e d in s igh t in t o t h ei r fav o r ite acto rs’ p er so nal and pri v at e l i v es. T hi s
1 4
in f o r m a ti o n w a s v e tt e d b y m ult ip le la yer s o f m anagem ent ex ecuti v es and was o n l y accessib le
t h r o u g h t r a d it io na l n e w s m e d ia s ou r ces .
F a n s h a d to sc o ur mu lti p l e r a di o s h o ws , t ele vi sio n i nt er v i e ws, ne ws p ap er art i c les, and
m a g a z in e f e a tu r e s t o le a rn m o r e a bo ut th eir f av o ri t e actor s . The y had to h o pe t h at
in t e rv ie w er s w ou l d a sk t h e a c t o rs t h e qu est i on s the y w er e dy i n g t o kn o w t he an s wer s to ,
w i th s o m e o f th em e v en s en d in g in t hese quest i on s to the r adi o an d tel e v isi o n tal k sho w s.
F a n s r e s o r te d t o w r it in g f a n m a il and send in g let ter s ex pr essin g thei r tho u g ht s t o
t h e ir f a v o r it e a c t o rs . T h e y w o u ld w a it o ut s i d e filmi ng l o cati o ns an d r ed c ar p et pr emi er es to
g e t a g li m p se of t h e m a n d m a y b e e n g age i n a f e w s ec on d s o f co nv er sati o n. H o w e v er, w ith
s o c i a l m e d ia , fa n s c a n n o w c o m m u ni ca te di r ec tl y wi t h thei r fav or i t es w ith out an y
in t e rm e d i a r ie s .
N o w , a c t o rs a r e a va ila b l e a c r oss m ultip le social m edi a net w o r ks – th e y hav e a T wi tt er
a c c o u n t to sh a r e t h e ir t h o ugh ts a n d eng age wi t h f ans, the y m ai ntai n an In st ag ram accou nt to
g i v e a g l im p s e o f t h e ir liv es , a n d t h e y use th eir T ik T o k acco unts t o sho w cas e thei r
p e rs o n a li ty . All t h e s e a v en ue s m a k e i t eas ier f o r fan s to h av e ac c ess t o t h ei r fav ori t e
c e leb ri ti es . F a n s c a n n o w e a s il y t w e e t th ei r bur n ing que s ti o ns t o t hei r f av o r ite act o rs and s ee
t h e ir l iv es o n I ns t a gr a m . A c la s s ic ex amp le o f t hi s was meg ast ar M att D am on pl ay full y
d e m o n s t r a tin g t h e W h ip N a e N a e d an ce to h i s c h i ldr en , so li d if yi ng hi s im age as a “ ni c e g uy ”
a n d s o l id f at h e r fi gur e .
A c t o r s a ls o us e so c ia l m ed i a t o ackn o w l edg e and app r e ci ate t hei r f an b ase b y po st i n g
u n i q u e f a n d o m - sp ec i fi c c o n te n t a n d beh in d- the- scenes p ho to s o f thei r po p ular pr ojec ts .
T h e y c r ea te c a r e fully c ur a te d p h o t o d u m ps o n In s tagr am t o mak e thei r fan s f eel lik e the y ar e
1 5
a p a rt o f t h e ir l iv es . M a n y a c t o rs a l s o h o s t Q &A s es s i on s o n T wi tt er an d I nst ag r am d u ri n g the
p r e m ie r e o f t h ei r fi lm s a n d / o r t e l e vi s i o n sho w s.
S o c i a l m e d ia h a s c r ea t e d a br idge be t w een acto r s and t hei r f an do ms b y r em o vi ng
g a t e k e ep er s lik e t h e t r a d it io n a l n e w s m edi a sour ces . It has c h am pi o ne d f ans t o r eac h ou t an d
s eek t h e ir o w n in s igh t s in t o t h ei r fa v o r it e act o r s’ li v es. So ci al med ia h as also led to a fl oodi n g
o f c o n t en t a bo ut a c t or s t h a t is r ea d i ly av ai l ab le f o r st ans to ac c ess and us e f o r th eir o wn
f a n - m a d e ed i t s a n d d i sc o ur se .
1 6
C h a p t e r T h r e e : R i s e o f F r a n c h i s e F i l m m a k i n g
E v e r y f e w y e a rs or so , t h er e c om es a fi lm t hat ch an ges th e filmi c lan dscape o f
H o ll y w o o d a n d s e n d s it i n a b ra n d -n e w d i r ec t i o n. These in flue nti al l and mar k fi l m s c an be
e a s i ly p i n p o in te d b y a n ob se r va n t s t ud ent o f the Am er ican fi lm i nd us t r y. Th es e land mar k s
g i v e b ir th t o – o r t ru l y f o s te r a n e n v ir on me nt – f o r a n e w genr e o f fi lm s .
T h e blo c k bu s te r en t e r e d t h e cin em atogr aphi c lex i co n in the 19 50 s an d 196 0 s t o
c h a r a c t er iz e fi lm s w it h a big b ud get a nd a big b ox o ffi c e. P o st - W or l d W ar II H ol ly wo od w e n t
a l l i n w i t h h igh b ud get fi lm s lik e B e n -H ur , L awr en ce o f Ar ab ia, and C l eo p atra to c at er to an
a u d ie n c e t h a t s o u gh t e s c a p is m a t t h e ci n ema.
T h e c o nt e m p or a r y blo c k bus t e r, ho we v er , w as in tr o duced t o t h e wo rld wi t h Ste v e n
S p ie lb e r g ’s 19 7 5 fi lm J a w s . M a r c o C u cco ex pl ai ns t h at t he di ff er ence bet w een the p o s t- w ar
a n d c o n te m p or a r y blo c k bus t e rs a s “ The inv es tment is just as h ig h as in the p ast bu t wh at is
d i ff e r e n t n o w i s t h e pr o m o tio n a l pr o c es s , th e cho ice o f genr e, t h e nar r ati v e com ponen t a nd
t h e p la c e o f c o n s um p t ion ” ( 2 1 6 ) .
J a w s s a w a n e v o lut io n i n th e fi l m m ark etin g p r oce ss b y in c o r p or atin g tel e v isi on
a d v er t i s em e n t s t o p r o m ot e th e fi lm . F o r th e fi r st t i m e in hist o r y , a fi lm w as ad v er t i s ed o n
t ele v i s i o n w h i l e a l s o b e in g r e l e a s e d in multi p l e t heater s on o pe ni ng week end . J aw s play ed i n
4 6 4 th ea t e rs in th e U ni t ed S t a t es d u r in g i t s pr em i er e w eekend – a r ec or d f o r the t i me.
D o u g l a s G o m e ry m e n t io ns , “ J a w s w as n ot t he fi r st fi l m s old b y an d t hr oug h b r o ad c ast
t ele v i s i o n , bu t i ts m illion - d o l la r s u c c ess p r o v ed t hat th at st r at egy w as the o ne t h at w o u l d
r e d e fi n e H o l ly w o o d t h r ou gh s a t ur a tio n ad v er ti s i ng ” ( 5 1) .
1 7
N ex t, G eo r ge L uc a s ’ o r igi na l Star W ar s trilo g y i n t r oduce d th e wo rld t o b lo ckbu s ter
f r a n c h is e s w h e n t h e fi rs t fi lm p r e m ier e d i n 19 7 7 . J im E m ers on wr o te th at t h e o ri g in al t r i logy
“ c r e a t ed th e m od e rn " fr a nc h is e p i c tu r e" -- a s er i es o f " e v en t " fi lms (u s ually w i t h n u m er als in
t h e ir t it l es ) t h a t e it h e r c o nt i nu e d a par tic ular stor y w ith s o me o r all o f th e s am e ch ar acters ,
o r r ep ea t e d th e c o n c e pt w it h n e w c h ar acters (so th e ac to rs w o ul d n' t hav e t o r ecei v e st ar
s a la r ie s f r o m t h e s t a r t, u nle s s t h e p ic t ur es becam e succe s s f ul)." T h e St ar W ar s tr i l o g y cr eated
t h e b l u e p r i n t f o r m o d e rn s e que ls – mak i ng e v er y fi lm a m ust-s ee e v en t wi t h an
in t e r c o n n e c t ed na r r a tiv e.
H o w e v e r, fr a nc h is es a n d t e nt p ole fi l m s – mo v i es wi t h a h i g h pr o ducti o n b u d get,
m in i m a l d i a l o gu e, a n d h u ge r et ur n s o n i n v est m en t at t he b ox o ffi ce – wer e n ot the no rm in
H o ll y w o o d f or m o s t o f it s h i s to ry . B ig fi l m s tudi o s i nv es ted i n o ne o r tw o tent p ol e films a
y e a r , w h il e a ls o p r o d uc i ng mu lti p l e m id -b ud g et fi l m s l i ke d r amas an d r o mant i c com edi e s t i ll
t h e la t e 2 00 0s . A nu m be r o f fa c t o rs in c ludi ng th e in cr eas i ng d epen den c e o f H ol ly wo od o n
f o r ei g n m a rk et s , th e e c o n o m ic c on s t rai nt s o n t h e ind us t r y aft er the 2 008 r ec essio n, and th e
2 0 07 - 2 0 0 8 W ri te r s G u ild o f A m e ric a s t r ik e led to the r i s e of fr an ch i s e filmm ak in g i n
H o ll y w o o d .
2 0 08 : A Y e a r o f T u rm o il
2 0 08 s a w a lo t o f up h ea v a l i n H ollyw o od . T he st o ck m arket cr ash and ho u sin g cri sis
r e s u l t ed i n m illio n s o f Am er ic a n s lo sin g thei r j o bs and t h ei r h o m es. D iscr eti on ar y s pen di n g
p l u m m e t ed a nd pe o p le n o lo ng e r h a d th e fu nds t o g o o ut to w at c h fi l m s i n th eat ers.
1 8
P r o d u c t io n le v e ls slo w e d d o w n a n d stu di os no lon g er f elt s af e tak in g ri s k s o n i nn o vativ e
s t o r y t el l in g w it h n o g ua r a n t ee o f a fav o r abl e audi en c e r esp on se.
A t t h e sa m e t im e , th e W r ite r ’s G ui ld o f A mer ica o r gan i zed a wr it er s’ s tr i k e in 2 0 0 7 ,
w h i c h a ff ec t e d th e e n t ir e in d us t r y . T he st r ik e las ted f o r o v er 1 0 0 d ays f r o m N o v ember 200 7
t o F e b r u a r y 2 0 08 , c os t in g t h e fi l m i ndu s tr y b e t w een $3 80 mi l l i on t o $2 . 1 bil li on i n l o ss es
( C i ep l y , 2 0 08 ) . E rt a n et a l w rit e a bo ut t h e s trik e:
I n t h e in t er v e n in g m o n t h s , t he r e was m uch m edi a s pec ulatio n as to w hen WG A
m e m be r s w o uld s tr ik e. W G A leader shi p dec id ed t hat a N o v em ber st r i ke w ou l d p ut
t h e G uild in t h e be s t p o s iti o n to n ego ti at e t h e s tr o ngest co n t r act, as mor e than 7 0
f e a t ur e fi lms — m a n y of t h e s e fi lms bei ng st udi o s’ s umm er ‘ tent p o le films’ , the
b lo c k bu s te r s t h a t a c c o u n t f o r a d isp r o po r ti o nat e sh ar e o f stud i o r e v en u e — w o u l d be
p u t o n h ia tu s . T h r o ugh ou t O cto ber 2007 , neg o ti atio n s wer e h eat ed , yet i nc o n c lu siv e.
O n O c to be r 19 , m e m b er s c a s t a v o te aut ho r izi ng the WG A t o cal l a st r i ke. M embers
o f th e t w o G u ild s c a st 5 , 5 0 7 v o tes — th e hi gh es t tur no ut i n G uild h ist o ry — w ith 90.3
p e r c e n t v o t in g f o r a ut h o r iz a tio n ( 111 4 ).
S t u d i o s w er e m or e lik e ly to p r od u c e fi lm s th at en s u r e d pr o fi t mar gi ns and bo x offi c e su c cess.
T u r n in g t o t en tp o le b l o c k b us t er fi lm s a lso all o wed H o llyw o od s t udi o s to dec r eas e thei r
d e p e n d e n c e o n w ri te r s b y p r o d uc i ng les s o r i gi nal co nt en t and r el y i n g o n adap t ed w o rk s wi t h
a n es t a b li s h ed n a r ra t iv e.
E m e r g e n c e o f F o r e ig n M a rk e t s
S in c e t h e p op ula riz a t io n o f t he ho me en t er tai nm en t sector in the 19 8 0 s, Ho ll y w ood
s t u d i o s r el ie d h e a v ily o n it to tu rn a r e s p e c tabl e pr o fi t f o r all t h ei r p r oj ec ts . Wi t h the
in v en t io n o f t h e D V D in 1 9 9 7 , h o me en t er tai nm en t b e c am e e v en mo r e l ucr at i v e f o r st u d ios
a s th e c o s t o f p r o d u c tio n lo w e r e d s ig nifi c an tl y an d D VD sales out earn ed r ent als. I n
1 9
H o ll y w o o d i n th e N e w M illen n i um , T in o B al i o menti o ns t hat stud i os ear n e d 75 % o f t h e
r e v en u e t h r o ug h D V D s a le s a s o p p o sed to 2 5 % t h r o u gh r en t als .
H o w e v e r, th e r is in g p op ula rit y of s ub s cr ipti o n ser v i ces l ik e N etfli x – wh ic h off er ed
m a il e d D V D r en t a ls – a n d R e d B o x – w hic h all o wed user s to r e nt D VD s f o r $ 1 – s e v er ely c u t
in t o D V D s a l e s f o r s tu d io s. H o m e e n ter tai n ment r e v en ue r eached its peak in 2 0 0 6, w ith
D V D s a le s a nd r e n t a ls ge n e ra t i ng a bo ut $ 24 b illio n – n earl y h al f of th e tot al fi lm r e v en u e.
H o w e v er , b y 2 0 09 , t h e D V D r e v e nu e f e ll to ab ou t $1 7 . 8 bi ll i o n (S abb agh , 2 0 11) .
T h e 2 0 08 glob a l r e c e s s ion a ls o neg at i v ely i mp ac ted the ho m e en tertai nmen t sec tor .
P eo p le n o w h a d le ss d is c r e t ion a ry fu n ds to s pen d o n en t er tai nm en t an d fi l m s . I n a 20 11
a r ti c le t i t le d “ U nk in d U n w i n d ” , T h e E co no mist s tated t hat “ th e o v eral l h om e ent er tain m ent
m a r k et s t a n d s a t 7 8 % o f it s p e a k le v el, e v en bef or e ad j u st i ng f o r i nflati o n. F e w t h i nk th e d r op
is o v e r. A n d n o bo d y a p p ea r s t o b e lie v e t hat t he m ar ket w i l l r e co v er t he hei gh t s o f fi v e y ears
a g o . "
S t u d io s s t a r te d p a r tn e ri n g w ith N etfli x and oth er o nl in e pr o v i der s to m ak e ne w an d
o ld fi l m s a v a ila b l e o nli ne f o r c o ns u mer s as s o o n as t w o mo nth s af t er th eir t heat r i cal r eleases.
W it h t h e i n v e n t ion a n d p op ula riz a t io n o f st r eami ng s erv ic es , H olly wo o d st u dio s no w off er
s im u lt a n e o u s p r e m ie r e s o f t h ei r fi lm s in th eat er s and o nlin e. Th i s s h if t t o st r eami n g
n e g a t iv e l y im p a c t ed th ea t r ic a l b o x o ffic es f o r th e s tud i o fi lms.
W it h t h e d e c l in e in h o m e e n t er tain m ent r e v en ue and bo x offi ce n umber s i n t h e
U n i te d S t a te s , th e m a j o r H o ll y w o o d stud io s tur ned t h ei r attent i on t o in tern a t i o n al markets.
A c c o r d i n g to B a lio , t h e f o r e ign bo x offi ce r e v en ue o v er to ok do me st i c r e v enu e i n t h e 1990s
2 0
( 9 ) . C h i n a e m e r ge d a s t h e la r g e st in t er n at i o nal m ar ket f o r Ho l l y w oo d fi lms i n 20 12. Joo
w r it es :
O v er s ea s b o x offi c e r e v e nu e e xp lo d ed f r o m $ 1 4.2 8 b illio n i n 20 05 to $3 0 .8 8 bi ll i on in
2 0 1 9 . B y c on t ra s t , t h e d o m e st i c ( i.e., U . S. an d C an ada) bo x o ffic e r ec ei pt i n c r eased
f r o m $8 .8 4 b illion i n 2 005 to $11.32 bil li o n i n 2 0 19. E s pec ially, th e Chi nese b ox offic e
s a les sk y r oc k e te d fr o m $ 2 4 8 millio n i n 20 05 to $ 1 . 4 7 b ill i o n in 20 1 0. It furt h er j ump e d
t o $ 2 .7 bi l lio n in 2 0 1 2 , to $6 .5 bil li o n i n 2 0 15 t o $9 bi l l i on in 2 0 18 (1 15 ) .
T h e b o x o ffi c e n u m be rs p r o v e d t h a t t e ntpo l e fi lm s – w h i ch c o n tai ned u ni v ersal t hem es th at
d i d n o t r eq ui r e in - d e p th c ult ur a l k n o wl edge o f t he U n ited States an d co ul d b e p r omo t ed
h e a v il y in in t e rn a t ion a l m a rk e ts – w er e t he f utur e of a p r o fi table H olly wo o d.
F r a n c h is e a s t h e N o rm
B lo c k b us t er f ra n c h i s es w e r e cr eated main l y as a s o ur c e o f r e v en ue f o r H o l ly wo od
s t u d i o s a s t h e y s t ru ggle d t o c o m p e t e with eac h o ther o n a g lob al s cale. Th e y ar e
c h a r a c t er iz ed b y th ei r v isu a l sp e c t a c les and t ech no lo gic al pr o wess, and no t f or thei r
o r ig i n a li t y a nd na r r a tiv e c o m p l e x i t y . A s C ucco wr ites :
T h i s la c k of i n n o va t i o n is d ue to eco no m ic co nsi der at io n s wh ic h ar e al s o t h e r easo ns
f o r t h e c r e a t io n a nd c o n t in ua l pr o ducti on of t hese fi l m s . As men tio n ed ab o v e, a
b lo c k bu s te r is n o t t h o ugh t o f as an arti s tic pr o duct b ut as a co mm er c ial on e, mean t to
p r o d uc e m on e y a nd c o v er th e ex p enses o f th ose fi l m s that h av e n o t r eac hed t he
b r ea k - e v e n p o in t a s w e ll a s t ho s e pr o jects that h av e b e en st o pp ed dur in g th eir
d e v elo p m en t, p r e -p r o d uc t i o n o r fi lm i ng , thu s p r o d ucin g n o i nc om e bu t o nly cos ts
( 2 1 8) .
C r ea ti n g u n iv e r sa l t e nt p o l e fi lm s t h a t c o u l d t ran scen d i nter nati on al an d cu l tu ral b ou n darie s
b ec a m e t h e m a i n g o a l o f H olly w o od stud i os. The succe ss of W ar ner B r o s . ’ H arry P ott er
f r a n c h is e , a s w e ll a s , S a m R a im i ’ s S p ide r-M an t r il o gy f o r Son y P i ct u r e s in the ear l y 20 0 0 s
p r o v e d t h e pr o w e ss o f t h e su m m e r bloc kbust er .
2 1
A n it a E l b er s e a ls o s h o w e d in Blo ckbu s ters : W hy B ig H its — an d B ig R i sks—Ar e t h e
F u tu r e o f t h e E n t e rt a in m e n t B us i ne s s that tent p o le films m ak e mo r e eco no m ic al s en s e f or
s t u d i o s d es p it e t h ei r im m e n s e p r o d ucti on co sts . T h e co s t p er co p y f or r ep r odu ci ng t h es e
fi l m s b ec o m e s lo w e r w h e n t h e n um b er o f r epr o d u cti o ns i ncr eases. W ith mult i pl e s h o wi ngs
a c r o s s t h e U ni t ed S t a t es a n d e a sy in ter nat io n al e x p or t, bl ockbust er s be co me m o r e p r ofi tab l e
t h a n m id - b u d ge t fi l m s l i k e d ra m a s a n d co me di es that r ec eiv e a l im i t ed r el eas e. I t b ecam e
b en e fi c ia l f or fi l m s t ud i o s t o in v e s t h ea v ily i n o n e b lo ckbust er t han i n mu lt i pl e m i d - b u dge t
fi l m s ( E lb e rs e , 2 7 -2 9 ) .
B lo c k b us t er t e n t p ole s e v olv e d in to f r anchi s es sp awn in g mu lt i pl e s eq uel s an d
s p in - o ff s . J o o w r it e s t h a t “ B e in g a p a r t of a fr an ch i s e al s o g iv es a fi lm “ bui l t-in au d ien ce
a w a r e n e s s , ” w h ic h m a k e s m a rk e t in g e a si er . As so me fi l m s co st o v er $2 0 0 mi l l i o n t o make,
p u tt in g m o n e y in t o s o me t h in g p eo p le alr eady kno w h el p s r educe r is k s an d mak es s en s e”
( 1 1 7 ) . P o p u la r fr a n c h is e s a ls o a llo w stu dio s t o c ap i tal i ze th r o ug h m er ch and isi n g an d
t ra n s m e d ia e x p a n s ion s, w h ic h in -t u rn help in cr eas e bran d aw ar eness and s o li di fy the
f r a n c h is e ’s p la c e in p o p ula r c u ltu r e .
H o lly w o o d s t ud io s us u a l ly r e leased o ne o r t w o tent p o le films d ur i n g p eak per i ods
l ik e t h e s u m me r a nd th e h o l i d a y s ea son . Th e r est o f t he slat e was f ull o f mi d- b u dg et fi l m s.
H o w e v er , w it h t h e 2 00 8 r e c e s s ion a n d the dec li n e i n DVD s al es, st u dio s s o o n f o u n d
t en tp o les t o be th e m o st r e l i a ble so ur ce of r e v enu e. P eo p le s ti ll s h o w ed up i n d r o v es f o r th e i r
f a m i ly - f r ie n d ly te n t p ole s a nd bo ugh t th em on D VD .
I n T h e B ig P ic t ur e : T h e F i gh t f o r t h e Futur e of M o vi es, B en Fr it z m ent i o n s that
H o ll y w o o d s t ud io s in c r e a s ed th ei r p r o d ucti o n of t entpo l e f r anchi ses fr o m 1 8 in 2 0 0 9, t o 2 4
2 2
in 2 0 1 5 , a n d 3 7 i n 2 0 16 (7 ) . T h i s c h a ng e in the cinem atic land s cap e was ex per i enc ed b y
a u d ie n c es a n d fi lm m a k e rs a lik e . D ir ect or Sh awn L e vy s ai d in a 2 0 16 i nt er v i e w, “ E v er y s i ng le
fi r s t m eet in g I h a v e o n a mo vie in t h e p ast t w o y ear s i s n o t abo ut t he m o v ie i t sel f , b u t ab o u t
t h e f ra n c h i se it w o uld be st a r t in g” ( Fr ien d, 20 16 ).
T h e d o m e st ic a n d in t e rn a t io n al bo x offi ce r e v en ue al s o h i gh l i g ht ed th i s c h an ge i n
fi l m m a k in g n o rm . O ut o f t h e to p t en bo x o ffi c e r e v en ue s o f al l ti me i n th e Un i t ed St ates an d
C a n a d a , ei gh t fi lms b elo ng to blo c k buster fr an ch i s es (S tat i s ta, 2022) . Se v en o f the mo st
s u c c e s s f u l fi l m s o f a l l t im e a r e p a rt of blockbust er fr an ch i s es an d h av e g r ossed o v er a b i l l io n
d o lla r s g lo ba lly , w it h t h r e e o f th e m c r o s s i ng th e $2 bi ll i o n t h r esho l d (S tat i s ta, 2 0 22 ) .
A u d i en c e r e a c t ion s , bo x offi c e n u mb er s, an d i nd us t r y tr en ds h av e p r o v ed th at f ran c h i se
fi l m m a k in g is t h e f ut ur e of H o lly w oo d.
S t u d i o s a n d F r a n c h is e s
S in c e t h e S ta r W a r s t r il o gy i n the 19 70s , H o ll y wo o d s tudi o s hav e had a l o v e affai r w ith
s eq u el s . T h e ris e o f fr a n c h is e fi lmm a kin g r ene w ed thei r c o m mi t men t t o cr eati ng b l o ck b u st e r
s p ec ta c l e s t o e n t er t a in a ud ie nc e s a r ou n d t h e wo rld . Fran chi s e fi lmmak i ng be came th e
t w e n t y - fi r s t c e n tu ry e q ui va le n t o f th e sp ac e r ace f or H o l l y wo o d s tudi o s, wi t h W arn er B r os.
l ea d in g t h e pa c k .
T h e W a rn e r B r o s . su b sid ia r y N e w Li ne C in em a r el eased t h e fir st i nst allment of i ts
T h e L o r d of t h e Rin gs t r il o gy , T h e F ello w s h ip o f th e Rin g, i n Decem ber 200 1. The J . R. R.
T o lk ie n a d a p t a tio n be c a m e th e s e c o n d h i g hest g r o ssin g fi lm of 200 1 an d s p aw ned t w o di r ec t
2 3
s eq u el s , a s p in - o ff fi l m s e ri es , a n d a p r e quel tel e v isi o n s h o w. The o r igi nal t r il o g y i s
c o n s i d er ed t o b e s om e of t h e gr e a t es t fi lms e v er m ad e an d wo n mu lt i pl e Acad emy A war ds .
W a r n e r B r o s . Pi c t ur e s i s a ls o r e spo n si bl e f o r th e film adap t at i on of t h e H arry P ot ter
s er ie s a n d i t s s ub se q ue n t s p in -o ff s e ries, F an t ast i c B eas ts and Wh er e t o Fin d T h em . T h e
o r ig i n a l e ig h t -p ic t ur e s e rie s pr em ie r ed i n 200 1 an d co nclu ded i n 2 0 11, wi th t h e fin al
in s t a llm e n t – H a r ry P ot t er a n d th e D eathly H al l o ws : P art T wo – bec om ing t h e fi f teent h
h i g h e s t g r o s sin g fi lm o f a l l t im e. D e a t h ly H all o ws : P art T w o g r o ss ed o v er $1 .3 4 b i l li on
w o rl d w i d e . W it h th e r e lea s e o f t h e sp in -o ff p ent alo g y F an t ast i c B e ast s an d Wh er e t o Fin d
T h em in 2 0 1 6 , W a rn er B r os . c o n so lid ated the two s eries i nt o t h e Wi zar di ng W orld fr an c h i se,
w h i c h is c u rr en t ly th e f o ur t h h igh e st - g r o ss i ng fr an ch i s e in t he w or l d . T he f r a n c h i se has
s p a w n e d t r a n s m e d ia c o n t e n t a n d i nclud es t he th eat r ical pl ay H arr y P o t t er an d the C u rs ed
C h il d .
W h ile W a r n er B r o s. p ion e e r ed the c on temp o r ary f ran chise fi l m maki ng model w ith
e a rl y h i ts , t h e W a lt D is n e y S tu d io s p erf ected t he p r oce ss . With th e as c ensio n o f Bob I ger to
t h e p o s it io n o f C E O o f t h e W a lt D i sn e y C om pan y i n Octo ber 2 005 , D i sne y ag g r es si v ely
r e v a m p e d it s fi lm d iv is io n a n d f oc u sed on acqui rin g an d p r o du cing f r anchi ses b ou n d f o r
s u c c e s s . I g e r u n d e rs t o o d t h e n e e d f or t e n t p ole fi l m s and wo rk ed to war d s c r eat i ng a
r e c o g n i z a b le b ra n d .
D u r in g t h e e a r l y y ea r s o f Ig e r’s lead er shi p, D i sne y o nly h ad o n e succe ss f u l
b lo c k b u s t er fra n c h ise – t h e P ir a t es of th e Car ibbean . I n 20 08 , M arv el Studi o s enter ed th e
fi l m i n d u s t r y w it h t h ei r s uc c e s sf ul d eb ut Ir o n M an , d i r ec t ed b y J o n F avr eau an d st ar ri ng
e s ta b li s h ed a c to rs R o be r t D o w n e y Jr ., G w y n et h P al tr o w, T er r e nc e H o war d s, an d Jeff Bri dge s.
2 4
D is t r ib u t e d b y P a ra m o un t Pic t u r es , Ir o n M an g r o ss ed $5 85 . 5 m i ll i o n ag ain s t a b u d get o f $ 1 40
m il l io n .
G i v en t h e p r o v e n r ec o r d o f s u pe r h er o adaptatio n s lik e the Sam R ai mi Spi d er - M an
t ri lo g y a n d t h e X - M en fi lm s , a n d t h e v as t i n t ell ect u al p r op er t y i t p ossess ed, I g er l ed th e
a c q u is it io n o f M a r v e l S tu d io s f or D i sne y in 2009 f o r $4 bi l li o n. The co m pan y w ou l d st ar t
d i s t r i b u t i n g M a rv el fi l m s a ft e r t h e st u dio ’ s lic ensin g d eals wi t h o th er c o m pani es ex pi r ed i n
2 0 1 2 . D is n e y ’ s a c qu is it io n o f M a r v e l Stu di o s her alded t h e on set of t h e s u pe r h er o f ran c h i se
fi l m m a k in g e r a w i t h i t s p io n e er in g M ar v el Ci nemati c Uni v er se.
T h e M a rv el C in e m a ti c U n iv e r s e has com plet ely t r ansf o r med t he fi lmmak i ng
l a n d s c a p e, m a k in g bloc k bu s te r t e n t po l es th e n e w n or m al . T h e fi lms d r e w i n u n pr ec eden te d
c r o w d s a n d in t r o d uc e d a ud ie n c es t o n e w le v els of in tric at e i nt er co nn e c ted story tel l i ng on t h e
b i g s c r ee n . T h e fr a n c h is e c o n s is t s o f f o ur o f the h i g hest g r o ssin g fi lm s o f al l t im e. I t has n o w
e x p a n d e d in t o t h e t ele v is io n sp a c e a n d is th e mo st s ucce s sf ul fi l m f r anchi se o f all t i m e.
T h e W a l t D isn e y C o m p a n y e xp and ed i t s po r tf oli o o f succe ss f ul fi lm f ranc hi s es b y
a c q u ir in g Lu c a sF i lms , t h e st u d io b ehi nd t h e S t ar W ar s u ni v er se, i n 20 12 f o r $ 4 b i l li on. Di sn e y
r e in v ig o ra t e d t h e fi lm fr a nc h is e b y r el easi n g a s eq uel Star W ars tr ilogy in 2 0 15, s tar t i ng with
E p is o d e V II : T h e F o r c e A w a k e n s . T h e fil m has gr o s s ed o v er $ 2. 0 7 b illio n w o r l dw i de and is
t h e f o u rt h m os t su c c e s sfu l fi l m of a ll t i me. D i s n e y has c o n ti nu ed t o ex pan d the St ar W ar s
f r a n c h is e w it h m ult ip le s t a n d -a lo n e fi lms and tel e v isi o n s h o ws . Wi t h a co mbi ned worldwi de
g r o s s o f o v e r $1 0 billio n, S t a r W a r s i s the seco nd h i g hest g r o ssin g fi l m fr an ch i s e o f al l tim e.
D is n e y ’s su c c e s s in fr a n c h is e fi lmm ak in g has sp ur r ed r i val s tudi o s to su b s c r i b e to the
s a m e f o r m u la in o r d e r t o m a in ta in t he ir co m petiti v e e dge. W arn er M e d ia v en t u r ed i nto
2 5
l iv e - a c ti o n c o m i c b oo k a d a p t a t ion s in 2 0 13 wi t h i t s Sup e rm an r eb oo t, M an of St eel . T he
s t u d i o f o r m e d t h e D C E x te n d e d U ni v ers e ( DCE U ) fr an ch i s e to ad ap t i co ni c D C Co mi c s
c h a r a c t er s lik e S up e r ma n , B a tm a n, a n d W o nder W o man and ac t as a r iv al to t h e b ehem o th
t h a t i s t h e M a rv el C i n e ma t i c U ni v e rse . Al tho ugh it h as n ot r eached t h e s am e le v el o f su c cess,
t h e D C E U is th e n in th h i gh e s t g r o s s in g f r anchi s e o f al l ti me, with a co mb ined r e v enue of
o v e r $ 6 .1 b ill i o n w o rld w i d e .
E v e n t h o u gh s up e rh e r o fi l m s e xemp lif y f ran chise fi lm maki ng i n so cietal
c o n s c i o u s n e s s, o t h er ge n r es h a v e a ls o u nd er go n e th e s equ el t r eat men t. S t r eami n g
s er v ic e - t u r n e d -s t ud io N e t fli x s ta r te d p r o ducin g o r i gi nal films i n 20 15 . S i n c e th en, t h e
c o m p a n y h a s f o u nd its n ic h e in y o un g adu lt an d r o man ce fr an ch i s es .
I n T h e H o ll y w oo d R e p o rt e r ar ti cl e “ T eenag e D r eam : Y o un g A d ult Hi t s B ecom e
N etfl i x ’s F i r s t F r a n c h is e s ” , M ia G a lup p o tal k s ab ou t the r e vi v al o f t he r o man ti c com edy g enr e
in 2 0 1 7 w it h t h e N e t fl ix or ig in a l fi lm T o Al l th e Bo ys I’ v e L o v ed Bef o r e , b ased o n th e
b es t - s e lli n g b oo k s e rie s o f t h e s a m e n ame b y autho r J e nny Han . She m en t i o n s that :
W it h t h e F e b. 2 1 [ 2 0 2 1 ] d e bu t of T o All t h e B o y s : Al way s and F o r e v er, the t r i lo gy
b ec o m es t h e fi r s t c o m p let e d m a j o r fi l m s er ies b ui lt f or s tr eam i ng . In i t s open i ng
w e e k e n d , t h e m o v ie s a t a t t h e N o . 1 sp ot in the U . S. o n t he s tr eam er ’s “ T o p T en”
f e a t ur e .
G a l u p p o m e nt i o n s t h e o th er s e q ue l s th at h av e been gr een l i t at N etfli x – i n c lu d in g actio n
fi l m s l ik e E x t ra c t i o n a n d T h e Old G u a r d – bef o r e c o n cludi n g:
B u t t h e m a j or it y of t h e s tr e a mer ’s s equ el s – and t h e on l y on e s to actua l ly b e p r od uce d
t h u s fa r – h a v e c o m e fr o m th e Y A ( The K i s s i ng B o o t h) an d h o li day ( T h e Pri nc ess
S w it c h , T h e C h r ist m a s C h r on icles) g enr es .
I n a d d it io n t o s p a w n in g m ult i pl e r eco g n i zable f r anchi s es adapted fr o m c o mi c bo ok s,
b o o k s , a n d o l d c l a s s ic tr ilog ie s, t h e s hif t t o war d s fr anchi s e fi lmmak i ng als o i nspi r ed
2 6
H o ll y w o o d s t ud io s t o r e bo o t a n d fra n ch i s e s ucce s sf ul fi l m s fr o m t hei r catal o g. Sony P ic t u r es,
w h i c h o n l y h a d t h e lic e ns e t o p r o d uce and d i s trib ute Sp i der - M an fi l m s , t ried and f ai led to
l a u n c h a n e w a ll-f em a le -le d G h o st b us t er s r e bo o t i n 20 16. W hi l e th is gamble was
u n s u c c es s f u l, S o ny m a na g e d t o la u n ch a ne w Jum anji fr an ch i s e in 20 17 , r eleas i ng a seq u el in
2 0 1 9 . T h e t h ir d J um a n j i fi lm is c u rr e n tly i n de v el o pm en t.
T h e n e ed f o r a gu a ra n te e d a udi ence, al o n g w ith the g i n or m ous p r o fi t mar g in s
t en tp o le fi l m s p r o m is ed , m a d e t h e sh if t to f ran chise fi l m maki ng a no -br ai ner f o r H oll y w ood.
T h es e f ra n c h i s es a r e h igh ly a n t ic ip a t ed and hav e a gl o bal d eman d, w hi ch ensu r es t hei r
s u c c e s s i n f o r e ign m a r k et s . F r a nc h is e fi l m m aki n g t ran sf or m ed all aspect s o f H ol ly wo od –
f r o m p r o d u c t ion t o m a rk e tin g. T h e n e w n or m al f o r ced fi l m pub li ci t y to e v olv e t o keep u p
w i th t h e d e m a n d s o f fr a n c h is e fi l m m aking and t h e c o n tem po rar y di g ital ag e.
2 7
C h a p t e r F o u r : C o m m e r c i a l i z e d C a m a r a d e r i e
F il m m a rk et in g r e f e r s t o t h e ar ray o f tec h n iq ues em pl o y ed b y st u dio s t o cr eate
a w a r e n e s s a bo ut t h e ir fi lm s i n o r d e r to at tr act audi en c es. It ai ms t o g ener ate t i cket an d
m e r c h a n d i se sa le s f o r th e s tu d io s . It is ab out co l l ec t i n g t he r ele van t i n f o rm atio n and
in t e lli g en c e t o e la bo ra t e a u d ie n c e c o n sump ti o n (M i ng ant et al. , 2) .
F il m m a rk et in g h a s be e n a p art of film p r o du cti o n i n som e way o r another s i nce th e
b eg i n n in g o f th e c om me r c i a l iz e d in d us tr y. It s tar ted out as a r ud i mentar y attemp t b y film
e x h i b it o r s to lu r e in a u d ie n c e s t h r o ugh “ th e p rin ted w o r d – b y p ai d ad v er ti s i ng s p ace,
d i r ec t - b y - m a i l p ri n te d m a t t e r, l i t h o g r aph ic po st er s an d so on ” an d “t h e di ss em in atio n of
in t e r es t in g r e a d in g m a tt e r” ( H a m el, 26 9). Thi s s i mp l e mar k eti ng st r ategy was s up port ed b y
t h e s m a l l n u m b er o f fi lm s r e le a se d a n d t he n o v elt y o f th e med iu m o f ci n ema.
H o w e v e r, w it h t h e d e mo c r a tiz atio n o f th e fi lm m aki n g p r oce ss and t he h i g h f r equ en cy
o f fi lm s b e in g r e le a se d , t h e r e w a s a n ur g ent c om pe titi o n f or vi s i bi l i t y . T h is comp et i t i on gav e
b i rt h t o t h e ne e d f o r s op h ist i c a te d mar ket i n g strateg i es . Mi n gan t et al . menti on t h at t h e
f o rm u la i c sc i en c e of fi lm m a rk e t in g was d e v elo pe d in H o ll y w oo d in the 19 30 s an d fl o u ri sh e d
in t h e 1 9 6 0 s w ith th e in t r o d uc t io n o f blo ckbu s ter fi lm s (26). T hi s b lo ckbust er fi lm mar k etin g
s t r a t eg y r ef er s t o “ a n in t ri c a t e m a r k eti ng camp aign – beg i n ni n g m on ths in ad v anc e and
s a t u r a ti n g th e m a rk e t in t h e d a y s b e f o r e t h e w i de r elease – co mp r ised of mu lt i pl e ad v ertisi n g
m e d iu m s t h a t f o c us o n t h e s e ll a b le, app ealin g elemen ts o f a fi l m ” (H e r ri ng t on , 80) .
T h e blo c k bu s te r fi l m m a r k et i ng st r at egy has f our b as i c tenet s: pai d adv er t i s i ng ,
p u b l ic it y , e x p lo it a t io n , a nd pr o m o tio n ( Jo wet t and Li nto n, 5 5 ). E x p l o itat i o n f all s u n der
2 8
p u b l ic it y in c on te m p o ra ry m a rk e t in g v er n acular. P aid ad v er t isi n g i ncl u des ex pen di t ur e to
s ec u r e s p a c e in p rin t, t e l e vis i o n , ra d io, and bi l l b oar d s t o pr o m o t e th e offi ci al p o s ters an d
t ra i le r s f o r t h e fi lm . P u blic it y c o ns i st s o f g et ti ng med i a co v erage due to the ne w s wo rt h y
n a t u r e o f u p c om in g fi lm s a n d ge n er ati ng wo r d-o f -m ou th ch atter. It i ncl u des t alk sho w
in t e rv ie w s , p r e s s j un k et s , a n d p ub lic ity s tunts.
T h e a v e n u es of p a id a d v e rt is in g hav e r em ain ed c on si st ent s i nc e t he adv ent o f
b lo c k b u s t er fi l m m a r k et i ng in t h e 1 9 70s . H o w e v er , film p ubli c i t y has un d er g o n e mass i v e
u p h ea v a l s an d r em a in s a d y n a m i c a s p ec t of t he s tr ateg ic pr o ce s s. T he e v o l vi ng d efin i t i o n o f
“ c e l eb r i t y ” in c on t e m p o r a ry s o c ie ty , co upled w ith t ech no lo gic al inn o vatio n s a nd t h e
in t r o d u c t io n o f fr a n c h is e fi l m m a k in g t o t h e Ho l l y w oo d l ex i c o n , has r es ulted i n d rast i c
c h a n g es in fi lm p u blic i ty t a c t ic s . So c i al m edi a and t he i nc r eas ed access t hat au di ences h av e to
t h e ir f a v o r it e a c t o rs h a v e c h a n ge d t h e way the p ubli c r el atio n s i nd ustry ap p r oach es film
p u b l ic it y .
F r a n c h is e fi lm m a k in g h a s c h anged th e way ac to rs in t er act an d w o r k wi t h each oth er.
I n t h e t w en tie t h c e n t ur y , a c t o rs w o uld us uall y wo rk wi t h a n e w cast f o r e v er y fi l m . Th e y
w o u l d , a t m o s t, w o r k w it h th e s a m e co up le o f ac t o r s on thr ee t o f our m o v ies i n t hei r car eer .
A p a rt f r o m r o m a n t ic pa i rin gs w h os e chemi s tr y tr ans l ated t o bo x offi ce s ucce s s, mo st actors
d i d n o t h a v e t h e c h a n c e to w or k w it h th e s am e gr o u p r ep eat ed ly. H o we v er, f ranc hi s e
fi l m m a k in g h a s t ra n s f o rm e d t h is m ode l an d allo w ed ac to rs to wor k wi t h the same g r o u p o v er
2 9
m u lt ip l e y ea r s a n d i n te r c o n n ec t e d p r o jects . T h e majo r f r anchi ses in the w or l d emp lo y t he
s a m e a c t o r s to pla y t h e ir i c o n i c c h a r acters acr o s s var i ous p lat f or m s and fi lms.
S o c i a l m e d ia h a s in c r e a se d t h e ex po sur e ne w pr o jects r e cei v e i n Ho l l y w o od . Due to
t h e ea s e o f a c c e s s a n d t h e d em o c ra t i za t i o n o f jour n ali sm, t her e i s n o w a p lethora o f
p u b l ic a t io n s t h a t ma k e t h e c ut f or m ajor pr ess j un k ets . T r adi tio n al p ublic at i ons h av e b een
f o r c ed to h a v e a s t r on g o n l i n e p r e s e nce t o keep up wi t h the com peti t i on . T h is t r an s f er enc e t o
o n li n e c o n te n t h a s r e s ult e d i n ma g a z i n es li k e V o gue , M ar ie C l ai r e , an d G l am ou r t o cr eate
v id e o c o n t en t w it h a c t or s o n pr es s j u nkets wh er ei n th e y t y pi cal ly play f un g ames and t alk
a b o u t t h e ir u p c om in g p r o j ec t . T h e se o n l i ne i n t er v i e w s hav e be co me an in tegral par t o f
m o d er n fi lm p u blic it y c a m p a i gn s.
S o c i a l m e d ia a n d o nli ne d i sc u ssi o n o f var i ous fi l m s and tele vi s i o n sho w s b y d ed ic ate d
a u d ie n c es h a s a lso l e d t o t h e p r e va le n ce of “s p o iler cul tur e. " B e f or e th e Int ernet , the p l ot an d
n a r r a t iv e o f fi lm s a n d t e le v is ion s h o w s lar gely r e m ain ed a m y st er y t o aud i ences b ef o r e t h e y
h a d t h e c h a n c e to se e it t h e m s e l v e s . A ny i nf o r mat i on abo ut th e plo t co uld on l y b e
d i s s e m in a t e d v i a o n e -o n- on e c on v e rs at i on s wi t h an i nd i vi dual’ s so cial cir cl e. Acto rs h ad to
g i v e a b r ie f o v e r vie w o f t h e ir up c om i ng fi l m in e v ery p r es s junket i nter v i e w an d tal k s h o w
a p p e a ra n c e to d ru m up in t e r e st in a u dien c es.
H o w e v e r, in t h e d igit a l a g e , a per so n c an t w eet thei r t ho u gh t s abo ut a ne w film i n
N e w Y o r k a n d r e a c h in d i vid ua ls in A ustr ali a in the b li nk o f an e y e. In f or m at i on h as n e v er
b ee n t h is ea s ily a c c e s sib le t o a la r ge gr o up o f peo p le. In or der t o mai nt ai n t h e in tr i gue and
3 0
a n t ic ip a t io n o f fi lm s in t h i s s o c ia l m edi a age o f ac c es s i bil i t y , fi lm p ublic ity has e v o lv ed and
c h a n g ed t h e e x p ec t a t io n s p la c e d on act o r s i n in terv ie w s . Ac to rs ar e n o w r eq ui r ed to gi v e as
l it t le in f o rm a t io n a b ou t th e p lo t o f t h ei r up c o m in g fi lm as t h e y c an . B lo ckbust er fi lms e v e n
in c l u d e “ a v o id s p oi l in g t h e fi lm ” in th eir aud i ence mess agi ng t o dr iv e up b ox o ffi c e n u mbe r s
a n d m a in t a in t h e sp e c t a c l e o f th e fr a nchi s e.
T h e r ise o f fra n c h ise fi lm m a k in g , av o id anc e of s po il er s, th e s h if t t o o n lin e jo u rn ali sm,
a n d in c r e a s ed a c c es s a n d c o n n e c ti v ity between fan s an d ac t o r s has r es u lt ed i n an i nt er estin g
fi l m p u b li c i t y ph e no m e n on c a lled “ c o mm er c iali zed cam arad er ie” t hat i s pr e val en t i n al l
m o d er n fi lm m a r k e t in g e ff o rt s a n d p lay s a vi t al r o le i n ear n e d m edi a ne w s s tori es .
D efi n i t i o n a n d E x p la n a t ion
I h a v e d e fi n e d c o mm er c ia li ze d camar ader ie as a pub l i c r elat i on s t actic t hat l e v er ag es
t h e i n t er p er s on a l r e l a t io n sh ip s be tw ee n actor s to pr o mo te an d in cr eas e bran d aw ar eness
a b o u t t h e ir u p c om in g/ c ur r e nt p r oj e c t to get her vi a s ocial me di a and me d ia in t erv ie w s .
C o m m e r c ia liz e d c a m a ra d e r ie s h if t s th e f o cus o f n e ws med i a an d pr o m otio n eff ort s
f r o m th e m in u ti a e o f th e fi lm a n d t ele v i s i on sh o w ’s uniq ue plo t p o ints to the ex p er i en c es an d
r e la ti o n s h ip s o f t h e a c to r s in v o lv e d . T his p heno m en o n g i v es an in t enti o nal g l i mp se in to th e
p r i v a te li v e s o f c ele b rit ie s w it h th e e xp lic it pu rp o se o f in fl ue nci ng aud i ences to watch an d
s u p p o rt t h ei r la t es t p r o j ec t s .
T h i s c o n te m p o ra r y t a c tic p r o v i des co nt ent f o r f an s to o r gan ic al l y p r o mo t e n e w films
a n d t ele v i s io n s h o w s b y en g a gin g in o nl in e co nv er sati o n and cr eati ng speci fi c fan edi t s and
3 1
f a n a r t. T h e e m o tio n a l in v e s tm e n t t hat f ans hav e i n th eir f av o ri t e ar ti st s l ies at the cor e of
c o m m er c i a li ze d c a m a ra d e rie . T h e t a c t i c r eli es o n c on temp o r ary s o ci et al ch ang e fr om i n t e r est
in a n im o s i ty i n c ele br it y p op u la r c ultur e t o an ap pr e c i at i o n o f po s iti v e n ar rati v es and
r e la ti o n s h ip s .
T h e p op ula riz a t io n o f fr a n c h ise fi lm maki ng al lo w s actor s to s p end mult i ple y ears
w o rk i n g t o ge t h e r, t h e r e b y c r e a t in g a s o li d f o un datio n f or co mm er ci alized cam ar ad er i e to
fl o u r i s h . T h e m or e ti m e a c t o rs h a v e sp en t wor k in g o n pr oject s to get her , the bett er thei r
c h e m is t ry a n d p e r so n a l k n o w l e d ge of each o ther ’s li v es. Th is ch emi s tr y an d k n o w l edg e
p r o v id e s q ua li ty c o n t en t f o r c o m m e r ci al i zed c am ar ad er i e b y leadi ng to insi de jo k es an d ease
b et w e e n a ct o rs t h a t c a n be us e d in inter v i e ws and o n s ocial me di a.
D u e t o a s t e a d y d e c lin e in p rin t r eader sh i p , m ultip le o ut l ets hav e be en f or c ed t o
c r e a t e o n li n e c on te n t . T h e s e p u blic a ti ons u sual l y aid t h e c o m me r c iali zed c amarad er i e eff orts
b y h o s ti n g i n te r vi e w s a n d p r o v id in g th e pl atf o r m f o r actor s t o sh o wcase and hi gh l i gh t t hei r
in t e rp e r s o n a l r e la t ion s h ip s. T h e y o w n mul t i ple Y o uT ube i n t er v i e w series th at h av e b ecome a
s t a p le o f t h e fi l m m a r k e t in g p r oc e s s in r ecen t y ears .
C o m m e r c ia liz e d c a m a ra d e r ie is usu ally em plo y ed i n two mo des : i ntervi e ws an d soc ial
m e d ia . E a c h a v en u e r e q uir e s its o w n un iqu e no r ms and p aram eter s. Th e typ e o f i nf o rm at i on
p r o v id e d , a lon g w i t h t h e w a y i t is p r esen ted d i ff er s f or e v ery typ e o f p r om oti on al in ter v ie w .
T h e u s e o f c o m m e r c i a liz ed c a m a r a d e ri e f o r so cial m edi a i s tai lor ed t o e v er y a cto r’ s b rand k e y
a n d p r e - e s t a blis h e d p ub l i c i m a ge .
I n te r v i e w s
3 2
T h e le v e l o f c o mm er c ia li ze d camar ader ie emp l o yed i n i n t er v i e w s v ar ies on t h e
n u m b e r o f a c to rs p r e se n t . F or in d iv i dual i n t er v i e w s, the acto r s wo u l d u sual l y p r o vi d e a f e w
in s t a n c es o f fun h a p p e n in g s o n s e t o r d iv e deep i nt o w hat i t w as li ke to fi l m s pec ifi c s c ene s
w i th t h e ir co -s t a r s.
I f th e in t e rv ie w h os t s m u ltip l e a ctor s , th e im m edi at e chem i st r y and banter b et w e e n
t h e m p la y s a v ita l r o l e in em plo y i n g co mm er c iali zed c amar aderie. Th e act o r s u su al ly mak e
in s id e j o k es a n d fu nn y c o m m e n ts t o eac h o th er, wi t h t he i n t er v i e w ty pi cal ly di s s o lvi ng in to
l a u g h t er . T h is p r o v id e s a u d ie n c e s a f r o nt r o w seat to the ac t o r s ’ f r iend shi p. The y also
m e n t i o n c on v e rs a ti o n s th a t h a v e o c c urr ed between t he cas t , al o ng w i th t h e di ff er ent b on di ng
a c t iv it ie s t h e y u n d e rt o o k t o get h e r o n se t.
C o m m e r c ia liz e d c a m a ra d e r ie with c ast i nter v i e ws h as led to th e gam i fi cat i o n of
j o u rn a l is m . S om e of t h e m os t p o p ular co n t ent c r eat ed b y pub l i catio n s f or o nli ne
c o n s u m p t i o n in v o lv e s ga m es th a t c a sts play toget h er d ur in g i n t er v i e w s t hat a r e desi gn ed to
e m p h a s iz e a n d d i s pla y t h e ir k n o w le dge o f eac h o ther . Q ue s ti o ns f o r th es e gam e in ter v ie w s
t y p ic a l l y ra n g e a n y w h er e fr o m a n o v er v ie w of th ei r car eer – e.g. : “Wh at was th eir fi rst r ole?” –
t o t h e ir p e r so n a l p r e f e r e n c e s – e. g.: “ W h at i s t hei r go -to so ng?” T h es e inter v i e w q u est i ons
a l s o g iv e d e d ic a t e d fa n s th e c o n te n t r eq uir ed to make v i r al vi deo s and eng ag e in onli n e
c o n v er s a t i on .
S o c i a l M e d ia
C o m m e r c ia liz e d c a m a ra d e r ie is em pl o y ed on s o cial med i a vi a ph ot o du mp s and
b eh i n d - th e- s c en e s c o n t e nt t h a t a c to rs post of t he cas t o n In stagr am. W i th fi l m s an d
3 3
t ele v i s i o n s h o w s th a t a r e c r ea t e d f o r str eam i ng p l atf o rm s , th e beh i nd -t he-sc enes ph ot o s ar e
u s u a lly p o st e d o n t h e a c to r s’ offi c ia l In s tagr am ac c oun ts wi t h i n a day o r two o f t h e pr emi er e.
T h es e p h o t os t y p ic a lly f e a tu r e th e c a st i n t hei r co st um es o n set o r i n t h ei r tr a i ler s, al o ng with
g r o u p p h o t o s o f t h e m a t o ff- se t ga t h er i ngs. S o cial m ed i a co n t ent po st ed b y act o rs all o ws
t h e m to s e l l t h e fa n t a sy o f c a s t f rie n dsh ip s t o aud i ences that f o ll o w th em.
T h e a llur e o f c a s t f rie n d s h i ps i s f ur t h er s ustai ned b y act o r s r epo st i ng t hese
b eh i n d - th e- s c en e s p h o t os a n d v id e os an d c om me nti ng o n th em wi t h thei r o wn accou n t s.
T h e c o m m en t s gen er a ll y in c l u d e w it ty b ant er an d i nsi de jo k es, whi ch w o r ks t o s u b t ly
e m p h a s iz e t h e ir f rie n d s h i p in t h e ge n er al p ublic ’s mi nd . Th es e co mm en ts an d ph ot o s also
b ec o m e t h e su b je c t o f m u l t ip le e n t e rtai n ment ar t i cles and c elebr i t y w at ch ac c o u n t s, ther eb y
in c r e a s in g t h e ir r e a c h , a n d c r e a ti n g ear n ed m edi a abo ut th e speci fi c fi lms and t ele vi sio n
s h o w s .
T h e s o c ia l m e d ia a c c ou n t s o f th e s tudi o , netwo r k, o r th e pr o ject its elf , al so p o s t
c o n te n t o f t h e c a st o n s e t. A n ot h e r o wn ed av enu e o f co mm er ci alized cam araderi e th at i s
m a d e a v a i la ble o n lin e is t h e g a g r e el an d bl oo p er r eel s . Th es e t wo -to- t hr ee-mi nut e c li ps s ho w
a c t o r s b r ea k in g c h a r a c te r a nd ma k in g each o th er l augh o n set du ri ng and bet w een takes.
P r o d u c t io n c o m p a n ie s n o w a ls o h a v e ded i cat ed social m edi a t eams to c aptur e con t ent on set
t h a t h ig h li g h t s t h e go o d t im e th a t a c to r s hav e wi t h e ach o th er .
P h o to s a n d v id e o s p o s te d on so cial med i a b y t h e cast , cr e w , an d pr o d uctio n
c o m p a n i es u su a ll y g o v ira l in t h e p r o j e ct o r acto r s ’ fan do m s and help s pr ead aw ar en es s ab o u t
t h e p r o j ec t, w h il e s im ult a n e o u s l y in cr e asin g th eir cu l tur al r el e v ance. F ans al s o p os t
3 4
c o m p i la ti o n vi d e os on Y ou T ub e o f p ar t i c u lar actor s m aki n g e ach o th er l au gh o r hav i n g fu n
w i th e a c h o th er d ur in g in t e rv ie w s a n d o n th eir so cial m edi a.
T h e M a r v el C in e m a ti c U n iv e r se : A Case Stud y
T h e M a rv el C in e m a ti c U n iv e r s e mad e its debu t in 200 8 w i t h J o n F avr eau ’s Ir o n M an .
I n t h e f o u r te e n y ea r s s i nc e it s fi rs t fi lm, th e M ar v el Ci n emat i c U ni v er se has spawn ed 3 1 fi lm s
a n d 2 0 te l e v is io n s h o w s . T h e r e a r e 1 2 fi l m s and 1 5 t ele vi sio n sho ws cur r en tl y i n v ar i ou s
s t a g es o f p r o d u c ti o n a n d d e v e l o p m e nt f o r t he f ran chise. It i s t he hi g hest -gr ossi n g fi lm
f r a n c h is e o f a ll t im e w it h a to t a l w o r ldwid e g r o ss of $26.6 bi ll i o n (S t ati st a, 20 2 2) .
T a b le 1 : L i s t o f M a r v e l C i ne m a t ic U n i v er se films (r el eas ed ) an d b ox o ffi ce gr oss es ( C l ark e).
● I r o n M a n – d ir. J o n F a v r e a u; M ay 200 8; $5 8 5. 8 m illio n
● T h e In c r e d ible H u lk – d ir. L o u i s Leterr i er ; J une 20 08 ; $264.7 mi l li o n
● I r o n M a n 2 – d i r. J o n F a v r e a u; M ay 2 0 1 0 ; $6 23.9 m illio n
● T h o r – d i r. K e nn et h B r a n a gh ; M ay 20 11; $44 9 . 3 m i ll i o n
● C a p ta i n Am e r ic a : T h e F i rs t A v enger – d i r. J o e J oh n s ton ; J ul y 20 11; $ 37 0 .6 m i ll i on
● M a rv el’s T h e A v e n ge r s – d ir . Jo ss Whedo n ; M ay 2 0 12 ; $1. 5 bi l l i on
● I r o n M a n 3 – d ir . Sh a n e B la c k; M ay 2 0 13; $1.2 b ill i o n
● T h o r : T h e D a rk W or ld – d ir . Alan T ay l o r; N o v em be r 2 0 13 ; $6 44 . 8 m il li on
● C a p ta i n Am e r ic a : T h e W in te r S old i er – di r . A nt h o ny and Jo e R u sso; Apri l 20 1 4:
$ 7 1 4 .4 m il li o n
● G u a r d ia n s o f t h e G a la x y – d ir . James G u nn ; Aug u st 2 0 1 4; $ 77 3.4 m i ll i on
● A v en g er s : A ge o f U lt r on – d ir . Jo s s Whedo n ; M ay 2 0 15 : $1. 4 bi l l i on
● A n t - M a n – d ir . P e y t o n R e e d ; July 20 15 ; $519. 3 m i ll i o n
● C a p ta i n Am e r ic a : C iv il W a r – di r. An t ho n y and Jo e R u sso; M ay 2 0 16; $1.15 b i l li on
● D o c t or S tr a n ge r – d ir . Sc o t t D er ri c k s o n ; N o v emb e r 20 16 ; $6 7 7 . 8 mi l li on
● G u a r d ia n s o f t h e G a la x y V o l. 2 – d i r . J ames G unn ; M ay 2 0 17 ; $ 86 3.8 m i l li on
● S p id e r -M a n : H o m e c om in g – dir . J on W at t s; J uly 2 0 17; $8 80 . 2 m illio n
● T h o r : R a gn a r o k – d i r. T a i k a W ai t i ti; N o v emb e r 20 17 ; $ 854 mi l l i on
● B la c k P a n t h e r – d ir . R y a n C o o g ler ; F ebru ary 20 18 ; $1 .3 b ill i o n
● A v en g er s : I nfi n ity W a r – d i r. A ntho ny an d Jo e R us s o ; Ap r il 2 0 18; $2 . 05 b i l li on
● A n t - M a n a n d th e W a s p – d ir . P e yto n R eed; July 20 18 ; $6 22 .7 m illio n
● C a p ta i n M a r v e l – d i r. A n n a B o den an d R yan Flec k; M ar ch 20 19 ; $1 .128 b i ll i on
● A v en g er s : E n d ga m e – d ir . An t h o ny an d Jo e R us s o ; A pr i l 20 19; $2 . 8 billio n
3 5
● S p id e r -M a n : F a r F r o m H om e – di r . Jo n W at t s; J uly 20 19 ; $1.13 billio n
● B la c k W id o w – d ir . C a t e S h o rtlan d; July 2 02 1; $37 9 . 6 mi l li o n
● S h a n g- C h i a n d th e L ege n d o f the T en R ing s – d i r . Dest i n D an iel C r etto n ; Sep t ember
2 0 2 1 ; $4 3 2 .2 m i l lio n
● E t er n a ls – d ir . C h lo é Z h a o ; N o v emb e r 2021; $4 02. 06 millio n
● S p id e r -M a n : N o W a y H o me – di r . Jo n W at t s; Dec embe r 2021; $1. 9 billio n
● D o c t or S tr a n ge in t h e M ult iv er se o f M adn es s – di r . Sam R aim i ; M ay 202 2; $ 95 5 . 8
m il l ion
● T h o r : Lo v e a n d T h u n d e r – d ir . T ai k a W aiti t i ; J ul y 2022 ; $7 6 0. 9 m i ll i o n
● B la c k P a n t h e r: W a k a n d a F or e v er – d i r. R yan C oo g l er ; N o v em ber 2 02 2 ; $ 8 58 . 1 m i lli o n
● A n t - M a n a n d th e W a s p: Q ua ntu m ani a – di r . P e yto n R eed; F ebr uar y 202 3 ; $ 4 63 .3
m il l ion
N o t e : E n s e m ble fi lm s (t h r e e o r m o r e p r inc ip al c h ar acter s) hav e been bo lded.
T h e M a rv el C in e m a ti c U n iv e r s e has alw ays had a p o w erfu l mar ketin g s trategy based
o n t h e b l o ck bu s te r f o r mu la . T h e st u di o i nt eg r ated i t s shar ed un iv er se mo d el i n i ts m ar ketin g
e ff o r ts f o r t h e fi r st fi v e fi lms . T h e M a rv el Ci nemati c U ni v er se st ay ed inter c onn ec ted fr om
b o t h a m a r k e t in g a n d s t o ry lin e s t a n dpo in t f or the fi v e year s si nc e t he r elease of I r o n M an ,
b ef o r e c o m in g t og e th er i n th e fi rs t e ns emble fi l m (H e r r in gto n, 7 6 ) . Ho we v er , w hi l e the
o v e r a ll s tr a t egy r em a in ed t h e sa m e, t he par tic ular s o f M arv el’s p ubli c i t y m ach i ne e v o lv ed
w i th t h e s te a d y gr o w in g un iv e rs e a nd po pu lar ity o f the f r anchi se. Th is shi f t w as ai ded b y th e
in c r e a s ed a c c es s ib il i t y pr o v i d ed b y soc ial m e di a an d th e r ec ur rin g cyc l e of th e act o rs i n t h e
f r a n c h is e .
M a rv el u tili ze d t h e mi c r os c o pe o n actor s ’ pe r so nal li v es and mo ne t i zed the
e x p e ri en c e . T h e s tu d io tu rn ed t h e fr ie nds h i p s that ar e b oun d to o r i gi nat e th r ou g h y ears of
w o rk i n g t o ge t h e r in t o t h e n e w s . T h e per c eiv ed f r ien dl y r e l atio n shi ps o f th e ch ar acter s
o n - s c r een in t h e M a r v e l C i ne m a t ic U n iv ers e films wer e mi m ic ked b y th e c ast m emb ers an d
v ic e v er s a . T h e s tu d io po p u l a r iz e d t hi s c o m me r c iali zed c amar aderie be t w een i t s acto rs to
3 6
p r o m o t e i ts fi l m s. T a b le 1 s h o w s th a t fi lms w ith an ensemb le c ast had a hi g her b ox offi c e
g r o s s t h a n th e ir in d ivi d ua l c ou n t er p ar t s .
T h e c o mm er c ia li ze d c a m a ra d eri e in the M ar v el Ci nemati c U ni v er se i s b est seen i n th e
c a s t i n te r v i e w s . T h e c o n t e n t o f c a s t in ter v i e w s f o r th e fir st fi v e M ar v el C in em at i c U n iv ers e
fi l m s f o l lo w ed th e t ra d i t ion a l t o p ic s . T he pr ess j u nket i n t er v i e w f or Ir on M an w ith R ob er t
D o w n e y J r . a n d C h uc k t h e M o vi e G uy f o cus ed o n t h e fi lm an d D o wn e y J r. ’ s c ast i n g as th e
t it u l a r I r o n M a n ( “ R o be r t D o w n e y J r In t er v i e w f or Ir on M an” ). Do wn e y Jr . discu s ses t h e
p r o c es s o f m a k in g t h e fi lm w it h J on F a v r eau and the i s s u es th at t h e y had w i t h th e sc r i p t in
t h is in t er v ie w . T h e se e a rly in t e rv ie w s lai d th e f o und at i on f o r in c r easin g awar eness ab ou t th e
t h e n - n e w ly c r e a t e d M a rv e l St u d io s . H o we v er, as the f ran chise st ar ted gettin g m or e i n t ri c at e,
t h e f o c u s o f t h es e in t er v ie w s s h ift e d f r o m th e pr o ce s s o f m ak in g th e film t o t he ex p er i en ce o f
m a k i n g i t . T h is s h ift is a p pa r en t in fi lm s af ter Th e A v en ger s.
T h e A v en g er s m a r k e d th e e n d of M arv el ’ s Ph as e One an d t he culm i nati on o f i ts fir st
in d i v i d u a l fi lm s. H e r ri ng to n s ta t e s a b o ut t h i s film:
B y 2 0 12 , M a rv e l a nd D is n e y had fi v e majo r blo ckbu s ters f ocu s ed o n c haracter s f r o m
T h e A v en g er s a lr e a d y r e lea s e d – Ir o n M an , T he In cr e d ib le H u l k , Ir on M an 2 , T h or ,
a n d C a p ta i n Am e r ic a : T h e F i rs t A v en ger – e s s en tially usi ng the p r e vi o u s su cces ses of
t h e fi l m s to se ll T h e A v e n ge rs a s th e mus t -see e v ent fi l m o f t h e year . Despi t e h avi ng
e n o r m o u s e x p o su r e fr o m t h e p r e v io u s films, th e s tudi o s st i l l heavi l y m ark et ed Th e
A v en g er s , u s in g th e s h e e r s c o p e of t h e pr o ject as a m ajo r sell i ng p o int. ( 7 7)
T h e fi lm a l s o m a r k e d t h e fi r st t i m e th at t he m ajo r ac to rs o f th e f r anchi se – R o b ert
D o w n e y J r . , C h ris H e m sw or t h , Sc a r lett J oh an s s o n , M ar k R uff al o , J e r em y R en ner, and Ch ris
E v a n s – s h a r e d t h e s c r e e n t og e th er . Th e A v en ger s f o cused on c r eat i ng a r e l atio nshi p b et w e e n
it s s i x m a i n c h a ra c t e rs . T h i s c h a r a c t er r el atio n shi p was r e flec t ed in cast i nt er v i e ws b y the six
a c t o r s ( “ T h e A v en g er s I n t er v ie w s ” ) .
3 7
T h e c o mm er c ia li ze d c a m a ra d eri e bec ame e vi d ent i n th e c ast i nter v i e ws f or A v en gers:
A g e o f U l t r o n , t h e se c o nd en s e m ble fi lm i n th e fr an ch i s e. T h is fi lm r eu ni t ed t h e ori gi nal six
A v en g er s o n a nd o ff -s c r e en . T h e pr ess ju nket i n t er v i e w s w i t h C h ris H emswo rth and Ch ris
E v a n s a r e es p e c ia lly n o t e w o rt h y . H em swo r t h an d E van s wer e als o p ai r ed t o gether duri n g the
2 0 1 2 p r e s s j un k e t . H o w e v er , t h ei r c h em i st r y and fr i end s h ip ar e on di spl ay in the 20 15
in t e rv ie w s . T h e y c a n be s ee n e n th us iastic al l y l aug h i ng an d jo ki n g wi t h eac h other w hi l e
a n s w e ri n g i n a n e q ue s ti o n s a bo ut H em swo r t h ’ s then- r e cent P e o pl e ’s “Sex i est M an Al i v e”
h o n o r ( “ C h r is E v a n s J ok e s Ab ou t C h ri s H emsw or th's 'Sex i es t M an Ali v e' Ti tl e E x tend ed”) .
T h e a c t o r s a ls o h a v e a m o c k fi gh t a b ou t th e po pu l ar it y o f th eir r espect i v e char act er s i n
a n o th er i n t er v ie w (“ C h ri s H e m s w o r th & C hr is E v ans C h at T h e A v en ger s: A ge Of U l tr o n” ) .
T h e 2 0 1 5 A v en g er s : A ge o f U ltr o n pr ess j un k et mar k s th e adv ent of c o mm er c iali zed
c a m a r a d er ie a n d h ig h ligh t s its p o sit i on as the mo s t im po rtan t fi l m p ubl ic ity tac t i c of t h e
t w e n t y - fi r s t c e n tu ry .
T h e m a in c a s t a ls o m a d e a n a p pe ar ance o n J imm y K im mel L i v e! to pr om o te Ag e of
U l t r o n . T h is i n te r vi e w a lso se r v e s a s a n ote w o r t hy ex amp l e of M ar v el ’ s co mmer c i al i zed
c a m a r a d er ie . T h e s ix a c t o r s p la y a M ar v el - them ed v ers io n o f “ F am ily F eud ” w hi l e p ortr a yin g
a s en s e o f e a s e a r o un d e a c h o t h e r a n d a c l o se fr iend shi p. The y can b e s een br eaki ng do wn
l a u g h in g b et w e e n e v e ry q ue s t ion a n d r il i ng eac h oth er up l i ke a c l o se-kn it gr o u p of f ri en ds.
R a z en b er g st a t es t h a t w a t c h in g t h e c har acter s an d act o r s i n t er act o n-scr een in fi lms and
in t e rv ie w s f e e ls lik e a “ r e un io n o f o l d fr ien ds ” ( “M ar v el M arket i ng M achin e”).
T h i s r e un ion o f o ld fri en d s a nd t he i nt r o d u cti o n o f n e w o n es hap p ened w ith each
n e w fi l m in th e f ra n c h i se . T h e G u a r di a ns of t h e G al ax y films i nt r o d u ce d audi en c es to a n e w
3 8
g r o u p t o r o o t f o r , a n d t h e S p id e r -M a n fi lms g av e th em a g r oup o f t een ager s to r elat e to . Th e
a u d ie n c e’s lo v e a nd fa sc i n a ti o n of t h e o r ig i n al A v en ger s beco me s a p art o f th e f ran c h i se
t h r o u g h T o m H olla n d ’s S p i d er -M a n. H o l land is s een faw ni ng o v er Ir on M an, and b y
e x t en s i o n D o w n e y J r. , in t h e fi lm s a n d i n hi s i nt er v i e ws. H e t ells t he s to ry of hi s fi rst m eetin g
w i th D o w n e y J r. in h i s in t e rv ie w o n Late Nig ht w i th Set h M e yer s ( “T om Ho l l an d M ist o ok a
S t u n t D o u b l e f o r R o b er t D o w ne y J r.”) . H o lland ’s adm ir at io n f or D o w ne y Jr . b ecam e anothe r
a s p ec t o f M a r v e l’s c o m m e r c i a liz ed c am ar ader ie.
M a rv el w e n t a l l o u t w i t h t h e co mm er ci alized cam arader ie f o r t he pr ess in ter v ie w s f o r
t h e m o s t r e c e n t A v en ger s fi lm s , In fi n ity W ar and E nd g ame. T he i n t er v i e w s f o r I n fin i t y W ar
b r o u g h t to ge th e r p ri nc i p a l c a s t me mbe r s fr om al m ost all p r io r M arv el C i nem atic Un i v erse
fi l m s ( w it h t h e ex c ep t io n o f E d w a r d N o r t o n f r o m T h e Incr e di ble H ulk , who had b een
r e p la c ed b y M a r k R u ff a lo a s t h e H ulk). Cast m embe r s f r om di ff er ent so lo fi lms w er e
p a r tn e r e d t o ge t h e r t o d i sc u s s t h e ir e xp er ien c es w o r ki n g o n a fi l m o f th is mag ni t u d e. M ar v e l
e v en r e lea s e d a “ F a mi ly ” f e a tu r e tt e t hat in clud ed sc en es fr om t he fi l m and acto rs tal k in g
a b o u t t h e ir j ou rn e y w o rk in g t o ge th e r in the M ar v el Ci nemati c U ni v er se ( T h i lk, “ A v eng ers :
I n fi n i t y W a r” ) .
T h e In fi ni t y W a r p r e s s j un k et i n t er v i e ws t o o k t he lesson s lear nt f r o m the Ag e of
U l t r o n p r e s s c y c le a n d m a gn ifi e d t h em . C ast me m ber s r e cr eated t he mag i c o f t h e 20 15 pr ess
c y c l e b y p la y i n g a g a m e o f “ F a m ily F eu d” ho sted b y th e di r ec to rs An tho ny an d J oe R u s so
( “ A v en g er s : In fi ni t y W a r M a r v e l F a m i l y F eud”) . M ar v el r eleased a “ c l as s p ho to ” f eatu ri ng al l
t h e m a jo r a c t o r s a n d d ir ec t o rs a s so c iated w i t h th e M ar v el Ci n emat i c U ni v er se t o t h an k
a u d ie n c es f o r t h e ir c o n t in ue d s up p o rt ( T h i lk, “ A v eng ers : In fi ni t y W ar ”).
3 9
T h i s p r e s s t ou r a ls o le d t o t h e mo s t mem o rab le den t i n M ar v el ’ s f o r mi dab le pri v acy
a n d n o - s p o ile rs p o l ic y w h e n H o ll a n d accid ental ly r e v eal ed th at Sp i der - M an g oes to s p ace in
I n fi n i t y W a r d ur in g a n i n te r vi e w on J im my K i m mel L iv e! ( “Cast o f A v en ger s: In fin i t y W ar
R e v e a l s L ea s t T r us t w o rt h y A v e n ge r ” ) . H o we v er , M ar v el qui c k l y mo n et i zed H ol land ’s affi ni t y
t o l ea k i m p or t a nt d e t a ils b y le t tin g h is “s p o il” t he n ame o f th e s eco nd Spi d er-M an film
( M u lk er in ) . T h e s tu d io c o n t in ue d b an ki n g o n H o l land ’s m i st ake b y par tner i ng hi m wi t h
B en e d i c t C um b er ba t c h , w h o p la y s D o c tor St r ange, f or the In fin i t y W ar p r es s ju n ket . I t
b ec a m e a r un ni n g j o k e th a t C u mb e rb a tch was t h er e t o su pe r v i s e H olland and mak e s ur e t h at
h e d o es n o t giv e a n y t h i ng a w a y .
T h e E n d g a me in t e rv ie w c y c le f e at u r e d t he o r igi nal s i x A v eng ers , an d M ar v el
h i g h l ig h te d t h e ir c los e r e l a t io n sh ip in e v ery i nt er v i e w. The c as t di sc u ssed w o rki ng wi t h eac h
o th er i n a s m a ll s e t tin g a g a in a n d r e min i sc ed abo ut t hei r fi r st fi l m t o gether . D o wn e y Jr .,
H e m s w o r t h , J o h a n s s o n , R en ne r , a n d E v ans e v en g o t a matchi ng t at to o t o sym b ol i ze t h ei r
b o n d a s o n e o f t h e o ri gin a l si x A v e n g er s (“In fi ni t y W ar : A v eng ers c ast get m at ch in g tatt oo s )."
M a rv el h a s us e d s o c ia l m ed ia n etw o r ks l i ke T witter to so li d if y th e co m mer ci alized
c a m a r a d er ie m a rk e t in g s t ra t e gy . M o st of th e cast i s act i v e o n T witter and In s tagram and
r e g u la r ly i n t er a c t w i t h e a c h o t h er . T he cas t has al s o d e v elop ed a r el atio n shi p wi t h f ans of th e
f r a n c h is e o n t h es e p l a t f o r ms . M a r v e l has tried to c r eate a “ s y nc hr on ici t y of s h ar ed
e x p e ri en c e ” w i th t h e a c t o rs ’ s o c ia l m e dia i nt er acti on s (K ar d ar as, 9 3 ). Th e po pu l ar i t y o f th e
fi l m f ra n c h i se h a s a l s o g e ne r a te d a v id f ans th at beco me br an d am bassado rs f o r the fi l m s.
F a n s c r e a t e m e m e s a b o u t t h e fi lms t hat ar e then sh ar ed b y act o r s, inc r eas i ng t h e awar eness
a b o u t t h e f ra n c h i s e p r od uc t s .
4 0
T h e m os t sk illful us e o f c om me r c i al i zed c am ar ad er i e b y M arv el, I be lie v e, i s the
T w it t er ex c h a n ge be tw e en R o b er t D o wne y Jr . and t h e o ffi c i al M ar v el Stud i os ac c o u nt. Th e
o r ig i n a l r e l e a se d a t e f o r A v en ger s : I n fi n i t y W ar was s u pp osed to be 4
t h
M ay 2 0 18. H o we v er ,
D o w n e y J r . r ep l ie d t o a t w e et b y t h e M arv el S t udi o s acco unt on 1
s t
M ar ch 2 0 18 aski ng , “ A ny
c h a n c e I c o uld se e it e a r l i er ?” (@ R ob ertD o w ne yJ r ). T he t w i tt er th r ead c on ti n u ed wi t h t h e
M a r v el S t u d i o s a c c o u nt r e sp o n d i ng i n t he affi rm ati v e an d su gges ti ng 27
t h
Ap r i l . D o w ne y Jr .
t h e n a s k s if t h e en tir e w o rld c a n w a t c h i t o n 27
t h
A p ril, an d th e M arv el Studi os accou n t
r e s p o n d s p os it iv ely , t h e r e b y a nn o u nci ng th e ne w e arl ier r eleas e d at e t h r o u gh a fr i end ly
c o n v er s a t i on . T h e T w it t e r ex c h a n ge was f ollo w ed b y m ulti p l e fan s i n r eal t i m e, add i n g to the
s h a r e d ex p er ie n c e t h a t Ka r d a ra s m e nti o ns.
4 1
C h a p t e r F i v e : C o n c l u s i o n
C o m m e r c ia liz e d c a m a ra d e r ie l e v er ages th e i nter pe r so nal p lat o nic r el atio nshi ps
b et w e e n a ct o rs in or d er t o s u c c e ss fu lly pr o m o t e th eir u pco mi ng films an d tel e v isi on s h o ws
t o g et h e r . T h is c on t e m p o r a ry p u blic r elati o ns tact i c i s h ig hly i nt er wo v en i n t h e fabri c of
m o d er n fi lm a n d t e l e vi s ion p u blic it y . A majo ri t y of c u rr ent pub l i catio n s r el y on t h e
c o m m er c i a li ze d c a m a ra d e rie ga m e i n t e r v i e ws w ith po pu l ar c ast s to g ai n vi e wers h i p and
m a in t a in t h e ir r e le v a n c e i n p o p ula r cu l tur e .
C o m m e r c ia liz e d c a m a ra d e r ie o nly ex i s ts bec ause o f the i nt er sec t i o n of f ranc hi s e
fi l m m a k in g, e a s e o f a c c es s to a c to r s v ia so cial m edi a, wi d es pr ead in ter co nn ec t ed g l ob al
f a n d o m s , a n d t h e c ur r e n t s oc i et a l p r ef er e nce f o r p osi t i vi t y o v er celebri t y f eu ds . T h is t ac t i c
a l lo w s c e l eb ri t ie s t o e x ud e r e la t a ble h uman n es s wh i ls t pr o m o t i n g fi lms and t ele vi sio n sho ws
in a s p o il e r- fr e e m a n n e r .
T h i s p h en o m en o n w a s st a rt e d wi t h th e M ar v el C in em at i c U ni v er se, spec ifi c ally
d u ri n g th e p r e s s t o u r f o r t h e 2 0 15 fi l m A v en ger s: Age o f U lt r on . T h e fr an ch i s e h as per f ec t e d
u s i n g c o m m e r c ia liz ed c a ma r a d e ri e t o run s ucce s sf ul c amp aig ns o n a g l o bal s c al e. Th e
c h e m is t ry a n d f rie n d s h i p b et w e e n t he act o r s o f t h e M CU is mi rr or ed bo t h o n- and
o ff - s c r ee n , t h er eb y s a t ia t in g fa n s a n d cr eat i n g e arn ed m ed i a co n t ent.
C o m m e r c ia liz e d c a m a ra d e r ie yi elds po s iti v e m e as ur abl e r es u lt s w hen u s ed
a u th en t ic a lly . It c a n l e a d t o a n in c r e ase i n b r and c o n v er satio n o n li n e or gani call y i n b oth
n e w s m e d ia o ut let s a n d a u d ie n c e d is c our se.
4 2
R ef er enc es
A n n e H e l en P e te r se n (2 0 1 1 ) T o w a r d s an i n dustr ial hi s to ry of ce l eb r ity g ossi p: T h e
N a tio n a l E nq u ir er , P e o ple M a gazin e and ‘p e rs on ali t y jour n ali sm’ i n th e 1970s ,
C ele b rit y S tu d ie s , 2 :2 , 13 1 -1 4 9 , D OI : 1 0. 1 08 0/193 9 2 397 .20 1 0.511133
B a li o . ( 2 0 1 3 ). H o lly w oo d in t h e ne w mi ll en ni um . B FI b oo k p ubli s h ed b y P algrav e
M a c m illa n .
B B C . ( 2 0 1 8 , M a y 9 ) . In fi n it y W a r: A v e ng ers c ast get m at ch in g tatt o os . BB C N e w s.
R etr ie v e d D e c e mb e r 2 , 2 0 2 2 , fr om htt p :/ / www .bbc . c om /ne w s /ne w s be at -4 4 0 5 3 5 2 8.
B o d r o g h k o z y , A. , & M c C r a c k e n , A. ( 20 18 ). A H i s to ry o f F an do m i n B r oad cas ti ng . I n A
C o m p a n i o n to th e H i st or y o f Am er ican B r o adcast i n g (pp . 41 3– 442). e ss ay , John
W il e y & S o ns , In c . R e t rie v e d D e c em be r 2 , 2 0 22, fr o m
h t t p s:/ / o n lin eli br a ry - w ile y -c o m. li bp r o x y 2 . u sc.ed u/doi / p d f/ 1 0. 1 002 /9 781118 64 615 1. c h1 9.
B o s e, S . D . (2 0 2 2 , M a y 1 0 ) . E x p l o ri ng the leg end ary f eu d between Jo an C rawf o r d an d
B et t e D a v is . F a r Ou t M a g a zi ne. R et r ie v ed D ecem ber 2 , 2 02 2 , f r o m
h t t p s:/ / fa r o u tm a ga z in e. c o .u k / l egend ary- f eud-j oan -cr awf o r d-b et te-davi s / .
B o x O ffi c e M o jo . (J un e 2 , 2 02 2 ). B o x offi c e r e v en ue o f t he m o st su ccessfu l mo vi es of al l
t im e in t h e U n i te d S t a te s a n d C an ada as o f J un e 2 022 ( in mi l li o n U . S. d o l lars)
[ G r a p h ] . I n S ta t is t a . R et r ie v e d D ec em be r 0 2, 2022 , f r om
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4 8

Abstract (if available)

Abstract The idea of “celebrity” has always been a mainstay of society. The emperors and aristocrats of the past have been replaced with movie stars and musicians in modern times. These celebrities have commandeered the popular culture conversation, with the general public holding a deep interest in their public and private lives. The last century has seen a shift in public interest from celebrity feuds to celebrity friendships. The invention of social media platforms has made celebrities more accessible to their fans and strengthened the influence of fandoms. The rise of franchise filmmaking and the popularization of social media, coupled with fan investment in celebrity friendships, has given birth to a new film publicity tactic – commercialized camaraderie. Commercialized camaraderie leverages celebrity friendships to promote and create positive earned media and fan conversations about upcoming films. This paper will trace the societal circumstances that have made commercialized camaraderie possible and highlight the success the tactic has enjoyed in a case study of the Marvel Cinematic Universe.

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Asset Metadata

Creator Sawant, Devyani (author)

Core Title Commercialized camaraderie: leveraging friendships to sustain fame

School Annenberg School for Communication

Degree Master of Arts

Degree Program Public Relations and Advertising

Degree Conferral Date 2023-05

Publication Date 03/29/2023

Defense Date 03/29/2023

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag celebrity,Entertainment,Film,film marketing,film publicity,Marvel Cinematic Universe,OAI-PMH Harvest,Public Relations

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Floto, Jennifer (committee chair), Lynch, Brenda (committee member), Murphy, Mary (committee member)

Creator Email devyani.sawant@gmail.com,dsawant@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC112850437

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Legacy Identifier etd-SawantDevy-11536

Document Type Thesis

Format theses (aat)

Rights Sawant, Devyani

Internet Media Type application/pdf

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Source 20230330-usctheses-batch-1013 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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