The Course Work I could easily reflect on is the Marketing Campaign for a Film we did this year. It consisted of a poster, a magazine cover and a trailer for a film that is ''to come out soon''.
The target audience I had in mind are 16-24 year olds, with a C2 D E economic status. Mainly aspire-rs and mainstreamers, people who'd want to experience what's popular ''now''.
The Media Message that our product conveys isn't much of a moral one as in most horror films, our genre is psychological thriller. The message is more of a suggestion to young people, to be more observant of women and experience the danger in their nature. I believe a similar message is brought by films like The Black Swan and The Roommate .
As a group, we had no initial ''Hypodermic Needle'' effect in mind for our final product. We don't exactly believe that our narrative could be influential to that point; however we do have some shots of the character threatening a guy with a knife and this could be seen as a graphic way of portraying the female as the villain .
We believe our audience isn't passive and has made a choice over why they'd like to see the actual film, therefore the ''Hypodermic Needle'' effect seems impossible.
The Audience could use our trailer as a taster of the product itself and reflect on the usual conventions of the genre. Escapism is one of the audience pleasures we could offer, the viewer could see the world trough the ''mentally ill character's eyes''. Our editing and the camera shots, movements used are quite disoriented and reverse to brief cuts of the character's face. We did this to enhance the feeling of not being in charge of what you are seeing, as we'd assume the character would feel this exact way.
Applying the Reception Theory by Steward Hall, we could see that, given the idea in our trailer about having revealed the ending some viewers may not even bother considering the actual film. While others may see it as a challenge and offer a preferred or negotiated reading - i.e. find that they have similar values with the producer and the director in terms of the final product.
Some may not so much like the idea of the feminine being so dominant throughout the footage, hence an oppositional reading may be placed - i.e. the person is not sharing any whatsoever values with any of the people behind it.
We have stuck to most of the key codes and conventions of psychological thrillers in terms of
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