+*-Paper 1B: Film Marketing Black Panther as mainstream film-*+:

Paper 1 B : Film Marketing BLACK PANTHER as mainstream film 

Genre - appealing choice - action, sci fi, superhero genre which is. notably a popular genre in the film industry.

Narrative - Generic storyline that fits in the mainstream film industry - The movies ending was sad (The antagonist kills himself) 

Stars - Chadwick Boseman, Michael B Jordan, Letitia Wright - They are well known, mainstream actors/ actresses - creates awareness and may increase the amount of money the film earns.

Audience - The audience might be a mainstream audience - African Americans made up the largest share of the audience. (37%), white people (35%), Hispanic (18), Asians (5%) Native American/ other (5%.) 

Franchise - It is a part of the Marvel Cinematic Universe - It is the 18th movie in the franchise.

Producers - Kevin Feige, David J. Grant.

Ownership - Global multinational corporation - Marvel/ Disney.

Budget - $200 million - large budget due to the companies involved in the ownership and production of the film.

Funding and planning - The movie was developed by Marvel Studios with received funding from Walt Disney Company - Came from one main corporation. The film was based on the comic by Stan Lee and was directed by Ryan Coogler and produced by two main producers.

Marketing Campaign - Large Scale campaign with a wide. reach -  Used multiple methods of advertising including posters, trailers etc. Across both social media and main media.

Distribution -Wide release internationally and across multiple different platforms - Distributed by Disney making it he 18th movie in the franchise.

 Profits and reception - The film made over 1.2 billion world wide - Academy award winning.

LINKS TO OTHER PRODUCTS  (e.g soundtrack,games, other films,,merchandise, sequels )

https://shop.marvel.com/black-panther/mn/1001603/

https://en.wikipedia.org/wiki/Black_Panther_(soundtrack)

https://avengers.marvelhq.com/games/black-panther

+*-Crime drama magazine cover research-*+

The masthead is made apparent in the product so the audience knows what genres the magazine covers.

The main central image is a picture of the protagonist of the crime drama the magazine is covering.

The name of the crime drama the magazine is focusing on is bold in the cover line of "Sherlock."

The colour palette uses gold and white in order to make the magazine and the drama appears high brow. 

The mise en scene of the main central image includes a dark coloured chair, dark blue background and dark clothing on the star vehicle in order to represent the dark nature of the crime drama genre. 

The cover has included a direct mode of address in order to connote the mystery of the genre - enigma codes.

The cover lines relate to similar themes and people as the star vehicle and the magazine that they are representing.

The masthead is a play on words - the magazine focuses on crime tv and movies - the name they chose are a convention of the crime tv and movie genre.

The serious face and clothing of the star vehicle are similar to the clothing the main character in the 'Sherlock' narrative would wear.

Offers behind the scenes and more information - conventional - makes the reader want to read the presented article.
The forms of media they cover are listed "BOOKS; TV; FILM" so the audience knows that they are accessing when reading the magazine.

Uses the gold stamp - "greatest tv detective of all time" makes people more interested in the magazine - matches the colour palette and ties the rest of the front cover together.

The star vehicle in the main central image is using body language as a tool - hand gesture to the brain - links to the "inside the mind of" - ties cover together.

The background is dark and empty so it evokes mystery - much like the drama - makes the audience want to read on.

The adjective "Ultimate" makes people think they are accessing the best magazine for the genre - promotes both the magazine and the dramas presented in it - promo for the shows. 

+*-PAPER 1 SECTON B FILM MARKETING : Black Panther : Historical and cultural contexts-*+

PAPER 1 SECTION B FILM MARKETING: Black Panther: Historical and cultural contexts

Harlem Renaissance 
The Harlem Renaissance was the development of the Harlem neighbourhood in New York City as a black cultural mecca in the early 20th century and the subsequent social and artistic explosion that resulted. Lasting roughly from the 1910s through the mid-1930s, the period is considered a golden age in African American culture, manifesting in literature, music, stage performance and art.
Great Migration 
The northern Manhattan neighbourhood of Harlem was meant to be an upper-class white neighbourhood in the 1880s, but rapid overdevelopment led to empty buildings and desperate landlords seeking to fill them.
In the early 1900s, a few middle-class black families from another neighbourhood known as Black Bohemia moved to Harlem, and other black families followed. Some white residents initially fought to keep African Americans out of the area, but failing that many whites eventually fled.
 
The Black Panthers:
The Black Panthers, also known as the Black Panther Party, was a political organisation founded in 1966 by Huey Newton and Bobby Seale to challenge police brutality against the African American community. Dressed in black berets and black leather jackets, the Black Panthers organised armed citizen patrols of Oakland and other U.S. cities. At its peak in 1968, the Black Panther Party had roughly 2,000 members. The organisation later declined as a result of internal tensions, deadly shootouts and FBI counterintelligence activities aimed at tweaking the organisation.
Afrofuturism:
The term Afrofuturism has its origins in African-American science fiction. Today it is generally used to refer to literature music and visual arts that explores the African-American experience and in the partial the role of slavery in that experience. 
Central to the concept of Afrofuturism is the science-fiction writers Octavia Butler and Samuel R. Delany and the Jazz musician Sun Ra, who created a mythical persona that merged science fiction with Egyptian mysticism. It is the otherness that is at the heart of Afrofuturism. 
Those inspired by Afrofuturism include the musician George Clinton, the artist Ellen Gallagher and the film director Wanuri Kahiu/
The term Afrofuturism has its origins in African-American science fiction. Today it is generally used to refer to literature music and visual art that explores the African-American experience and in particular the role of slavery in that experience.
Central to the concept of Afrofuturism is the science-fiction writers Octavia Butler and Samuel R. Delany and the Jazz musician Sun Ra, who created a mythical persona that merged science fiction with Egyptian mysticism. It is this otherness that is at the heart of Afrofuturism. 
Those inspired by Afrofuturism include the musician George Clinton, the artist Ellen Gallagher and the film director Wanuri Kahiu. 

+*-Black Panther-*+

 +*-Black Panther-*+:

1.

2. The cast is a predominately black cast which contrasts with the typical conventions of marvel and movies in general.

3. Black Panther was so successful because it paved the way for more black focused movies - proves to movie executives and directors that there is a market for the black superhero genre/ black lead movies. The movie is made by a trusted brand, has a popular storyline, contains popular actors, and is representative of the popular trends that surrounded the creators during the time of writing and production.