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Informationen zum Autor A former market research analyst in the film industry, Justin Wyatt is an associate professor of communication studies, journalism, and film/media at the University of Rhode Island. He holds a Ph.D. in film and television studies from UCLA. Klappentext Steven Spielberg once said, "I like ideas, especially movie ideas, that you can hold in your hand. If a person can tell me the idea in twenty-five words or less, it's going to make a pretty good movie." Spielberg's comment embodies the essence of the high concept film, which can be condensed into one simple sentence that inspires marketing campaigns, lures audiences, and separates success from failure at the box office.This pioneering study explores the development and dominance of the high concept movie within commercial Hollywood filmmaking since the late 1970s. Justin Wyatt describes how box office success, always important in Hollywood, became paramount in the era in which major film studios passed into the hands of media conglomerates concerned more with the economics of filmmaking than aesthetics. In particular, he shows how high concept films became fully integrated with their marketing, so that a single phrase ("Just when you thought it was safe to go back in the water...") could sell the movie to studio executives and provide copy for massive advertising campaigns; a single image or a theme song could instantly remind potential audience members of the movie, and tie-in merchandise could generate millions of dollars in additional income. Zusammenfassung Steven Spielberg once said, "I like ideas, especially movies ideas, that you can hold in your hand. If a person can tell me the idea in twenty-five words or less, it's going to make a pretty good movie." This study explores the development and dominance of the high concept movie within commercial Hollywood film-making since the late 1970s. Inhaltsverzeichnis Acknowledgments1. A Critical Redefinition: The Concept of High Concept The Entertainment Industries on High ConceptThe Critics on High ConceptEconomics, Aesthetics, and High Concept as "Post" Classical CinemaMicro- and Macro-Analysis: Style, Marketing, and Differentiation of Product"The Look, the Hook, and the Book"2. Construction of the Image and the High Concept Style Advertising as an Influence on Style"You've Got the Look": Perfect Images in High Concept Stars and StyleMusic as an Element of StyleExcess in High Concept: The Promotional Music VideoThe High Concept Image: Character Types and GenreStyle, Classical Hollywood, and the Art Cinema3. High Concept and Changes in the Market for Entertainment The Marketplace and Traditional DefinitionsConglomeration and Film Content: The Roadshow, The Youth Picture, The BlockbusterUncertainty in the Marketplace: The Development of the Contemporary Industry StructureDifferentiation of ProductHigh Concept as Product Differentiation4. Marketing the Image: High Concept and the Development of Marketing Changing Distribution PatternsAwareness Marketing: High Concept in PrintMaintenance Marketing: Selling through Music and ProductMerchandising and Ancillary Tie-ins5. High Concept and Market Research: Movie Making by the Numbers The Growth of Market ResearchThe Model of Market Research within the Film IndustryCase Study: Determining Boxoffice RevenueTheorizing the Positive Influences on Boxoffice GrossSpecification of the ModelEstimation of the Model and ResultsManipulation, Control, and High ConceptFactors Influencing the Decline of Market Research6. Conclusion: High Concept and the Course of American Film History The Transformation of the AuteurTelevision and the Ideological Agenda of High ConceptThe Alternatives to High ConceptNotesIndex...
