The film marketing is becoming increasingly important due to the fierce competition of film industry in China. With the drive of technology innovations, the creation of interaction among audiences has gradually become the spotlight of film marketing and many social media platforms are employed as marketing tools to encourage or foster audience engagement. Through the case study of Us and Them, the thesis studies how audience engagement is realized through film marketing strategies made by marketers, so as to identify the specific marketing strategies or techniques used for enhancing the audience engagement and promoting the film. As different marketing techniques will lead to different level of audience engagement, that are normally reflected by the preferences of audiences, their behaviors on social media and the way of involving into film contents, it is necessary to explore and understand the effectiveness and efficiency of these techniques, so that the film marketing can be improved while practical marketing progressing.

La médiatisation des pratiques et goûts cinéphiles sur Internet semble se développer dans un temps où l'idéologie du « Web 2.0 » place l'acte collaboratif en son centre. Quelle est la place actuelle des amateurs au sein de la filière cinématographique et audiovisuelle ? Comment s'opère la rencontre entre cinéphiles ordinaires et professionnels sur Internet ? Afin de répondre à ces questions, la recherche s'appuie sur l'analyse des pratiques, usages, représentations, stratégies et logiques d'action intervenant dans le recours aux blogs de cinéphiles ordinaires, tant du point de vue des blogueurs que de celui des professionnels. Elle propose ainsi d'envisager les blogs de cinéma au cœur d'un entrelacs d'enjeux à la fois sociaux, économiques et organisationnels. D'un côté, les cinéphiles créent des blogs dans un contexte où l'individualisation et la crise de représentation des ordres légitimes cinéphiles se font croissants. De l'autre, les professionnels voient en ces amateurs spécifiques une opportunité d'élargir leurs stratégies marketing et de se positionner dans de nouveaux marchés. Les uns et les autres, enfin, tissent des relations et organisent leurs échanges, dans la volonté de garder la main mise sur cette situation, en apparence, de « co-production collaborative ». Tous ces enjeux éclairent sur l'ajustement des sphères d'action entre cinéphiles blogueurs et professionnels. En effet, ils soulignent comment, dans un contexte en mutation, les amateurs sont un vivier composé de passionnés cinéphiles dans lequel les professionnels du segment distribution/diffusion de la filière, qu'ils soient traditionnels (éditeurs vidéo et opérateurs VOD) ou émergents tels les pureplayers spécialisés (AlloCiné, Vodkaster, Cinefriends, Cinetraffic), puisent pour étendre leurs activités promotionnelles commerciales. / The mediatization of the fan practices and tastes on the Internet seems to develop when the ideology of " Web 2.0" places the collaborative act in its center. What is the current place of the ordinary fanfilms within the film and broadcasting sector? How takes place the meeting between ordinary fansfilms and professional on the Internet? To answer these questions, the research leans on the analysis of the practices, the uses, the representations, the strategies and the logics of action occurring in the recourse to the ordinary fanfilms blogs, both from the point of view of the bloggers and of the professionals. The research suggests envisaging the blogs of cinema in the heart of an interlacing of at the same time social, economic and organizational stakes. On one side, the cinema enthusiasts create blogs in a context where the individualization and the crisis of representation of the filmgoing justifiable orders make increasing. Of other one, the professionals see in these specific amateurs an opportunity to widen their marketing strategies and to position in new markets. Both, finally, weave relations and organize their exchanges, in the will to keep the hand put on this situation, seemingly, of " collaborative coproduction ". All these stakes enlighten on the adjustment of the spheres of action between cinema enthusiasts bloggers and professionals. Indeed, they underline how, in a context in transformation, the amateurs are a fishpond consisted of film enthusiasts in which the professionals of the segment distribution / difusion of the sector, which they are traditional (video publishers and VOD operators) or emergent such specialized pureplayers (AlloCiné, Vodkaster, Cinefriends, Cinetraffic), draw to spread their commercial promotional activities.

The aim of this work is to analyze attitudes of Prague film viewers towards watching films at the cinema and at home and to find out on what factors do they base their decision to watch a particular film. The means to achieve this goal are research of existing literature related to this subject and my own research through a questionnaire survey on a sample population of Prague with a corresponding demographic composition. The most crucial conclusions from this investigation are related to the frequency of watching movies in the cinema and at home, attitudes towards the origin and localization of movies, attitudes towards various genres, factors influencing the choice of a film and comparing the results of various demographic groups (by gender, age and education) within these topics.

This study explores the reasons for the rise in independent film's popularity, which have created a unique Hollywood phenomenon, the successful "mini-major" independent studio, dedicated to both art and commerce. Chapters cover the history of independent film, characteristics of both independent and mainstreamfilms with regards to financing, acquisition, distribution and marketing, trends within independent film in the late 1980s and 1990s, crucial distributors and landmark independent films, and key growth areas in the future for independent film.

This essay examines Lionsgate’s viral marketing campaign for The Hunger Games (Gary Ross, 2012) and the marketing teams’ use of new marketing techniques and the online fan base. The essay also asks the question to what extent the fans’ participation in Lionsgate’s marketing campaign can be called fan labor. The study is based on a film industrial perspective and academic literature that deals with film marketing, the film industry, fandom and digital labor. The material used for the analysis of The Hunger Games marketing campaign is collected from newspaper articles and news interviews with Lionsgate’s marketing personnel. The study shows that although Lionsgate used many new marketing strategies associated with viral marketing, it is problematic to depict these strategies as a wholesale movement from older marketing techniques. It points to the importance of a nuanced understanding of how producers and consumers operate in the digital age with a holistic view on film marketing practices. The study also shows that Lionsgate’s use of the online fan base correspond with many characteristics of fan labor on the internet. It is, however, problematic to establish that this necessarily means that the fans’ contributions to the marketing campaign were exploited or that it demands compensations. The essay argues that the popularity of viral marketing among film studios and their use of fans and fan created content for promotional purposes calls for further investigations.

本研究係探討台灣電影之推廣策略，始自日治時期，自戰後開始，以十年為一個研究單位，將台灣電影先行區分成六個階段，分別是：日治時期(1895〜1945年)、政權更替初期(1945〜1959年)、成長的六○年代(1960〜1969年)、沸騰的七○年代(1970〜1979年)、轉折的八○年代(1980〜1989年)與衰退的九○年代(1990年〜)。 本研究希冀從每一階段的分析觀察台灣電影推廣策略之演變，並了解台灣社經變遷與電影政策變革對台灣電影推廣策略之影響，另外，也會透過實際個案探討台灣電影使用的推廣策略。 日治時期，台灣無論經濟或社會層面，都必須依附日本核心，從電影片源與人才培養而論，台灣市場便要倚靠東京、上海與好萊塢，在電影的製作、發行、映演方面也都要依賴日本人參與、指導或投資。另外，日本也深諳電影做為「政治宣傳」工具之重要性，藉由電影的巡迴放映來教育台灣人民，使之方便納入日本殖民統治體系。 國民政府遷台後，政府對於電影拍攝緊緊把持，以確保電影中闡釋的文化或思維符合官方意識型態，遂傾全力支持六○年代健康寫實主義製造出來的電影烏托邦或七○年代愛國政宣電影激起的反共、仇日情緒，在這樣的情況下，電影推廣不斷地被泛政治化。八○年代之後的台灣，解除戒嚴，並開放黨禁與報禁，電影創作愈益自由，卻因政策失當和片商短視，使得體質已然不良的台灣電影更顯搖搖欲墜，推廣倍受阻礙。 台灣電影推廣策略的形式變遷，主要是從「人際傳播」開始，繼之「大眾媒體」強化，至今「公關活動」盛行。在內容方面，「人際傳播」階段有巡迴映演隊、踩街、廣告人、三輪車等等，但仍以「報紙宣傳」為電影宣傳主力，是為使用最早且最廣泛的廣告媒體；迨六○、七○年代電視普及之後，「大眾媒體」較以往更加強化，「電視宣傳」開始大量露出；九○年代，因台灣電影式微，預算緊縮，舉辦公關活動如座談會、首映會、影展變得頻繁，業者更傾向使用較低成本的「議題操作」使電影本身因話題性吸引消費者注意，藉此獲得大量曝光。

美商八大電影公司每年票房收入約佔台灣電影市場總票房的七成以上，台灣外片發行商面臨這樣強大的挑戰，在許多方面都處於極大劣勢。然而，2006 年，幾部由台灣外片發行商所發行的影片，仍突破重圍，取得票房上的成功。這些個案展現了數種專屬於台灣電影市場的行銷模式，顯然具有值得借鏡之處。 本研究在深入瞭解台灣電影發行市場的歷史脈絡與現況之下，對2006 年在市場上獲得成功票房的四個個案進行資料蒐集與訪談。接著以整合行銷傳播的概念，分析其各行銷層面成功的元素，希望對於台灣外片發行商未來發行能夠有所幫助。個案選擇以影片上映規模為分類，挑選各類別中票房排行最具有代表性的四個案例，分別為：甲上娛樂所發行的《絕命終結站3》、山水娛樂的《巴黎我愛你》、海鵬電影的《愛瘋狂》以及聯影的《戴珍珠耳環的少女》。 藉由探討台灣外片發行商的成功行銷模式，本研究希望提供台灣電影發行業者未來行銷上的參考，使得電影的發聲權不再單由好萊塢所掌控，觀眾的觀影經驗才能夠更豐富而多元化。 關鍵字：電影行銷 整合行銷傳播 台灣外片發行商 / Every year, more than seventy percent of the annual box office profit in Taiwan is earned by Hollywood’s major cinema distributors. Facing such a strong competitor, Taiwan foreign film distributors certainly have a lot of disadvantages. However, in 2006, the box office for some movies by Taiwan foreign film distributors still achieved remarkable success. These successful cases demonstrate several kinds of marketing models suitable for Taiwan’s film market and is worthy of further research. After a fully investigation of the historical development for the Taiwan film market, this thesis aims to interview four Taiwan foreign film distributors whom achieved great box office success in 2006, collect relating data, and use the concept of integrated marketing communication to analyze elements of their success. The four cases are classified by their scale of release, while selecting the film that achieved the highest box office in each category. The four films chosen are as following: 《Final Destination3 》,《Paris, Je T'aime》, 《C.R.A.Z.Y》and 《Girl with a Pearl Earring》 Keywords: Film Marketing, Integrated Marketing Communication,Taiwan Foreign Film Distributor.

The diploma thesis Contemporary Czech film trailer and its role in the promotion of the film in the context of foreign production deals with the film trailer. The first part deals with the development of the film trailer abroad, particularly in the United States of America. It describes every single time period up to the present day and outlines the future trends in its development. The second part comprehensively analyzes all components of cinematic trailer. It describes the process of making movie trailers, classifies it in the film marketing communication mix and examines its role in the film promotion. It refers to manipulative function of trailer and deals with its control. Finally, describes the process of distribution trailer and shows the various distribution channels. All of these issues compare the situation in the U.S. and the Czech Republic. The final section focuses on the Czech film trailer. First, it maps its history from the beginning to the present. Then it puts these findings into the context of the Czech film history and the history of the Czech movie promotion. Further thesis will focus on the current situation in the Czech trailer. Analyzes it from the perspective of film critics and trailer makers and presents all factors influencing the form of trailers. In conclusion, the...

This study utilises a variety of research methods in order to investigate aspects often overlooked within Scottish film criticism, and indeed film studies more generally, namely: pre-production, production experiences, marketing and distribution, and reception. To date, Scottish film criticism has exhibited a preoccupation with questions of nation, national identity and national cinema, and overwhelmingly scholars have privileged almost exclusive analysis of the film text. Spurred by Jonathan Murray’s (2007, 2011, 2012) questioning of the continued relevance of the national framework, this thesis goes beyond the frame of the film text in order to consider new ways in which a national framework might be of relevance when analysing Scotland’s cinematic output. Concurrently, the chosen case study is also used as a means of critiquing existing literature on collective identity and national cinema. As the title of this thesis suggests, analysis centres on the Dogma-inspired Advance Party initiative and its resulting films, Red Road (Arnold, 2006) and Donkeys (McKinnon, 2010). Devised by Glasgow-based Sigma Films and Denmark’s Zentropa, the cross border collaborative dimension of the Advance Party framework initially appears to challenge the appropriateness of the national framework. As this thesis demonstrates however, such a simplistic conclusion is reductive and overlooks the complexities of the film industry. Throughout this thesis, questions as to the intended and eventual function of the Advance Party framework arise, and these are revisited by means of the thesis Conclusion.