It is an increasingly familiar phenomenon. From clips online to "red band" trailers, it is possible for movie fans to see large chunks of their favorite film prior to its official release. If they make pilgrimage to the influential San Diego Comic-Con, they can see so many 10 or 20 minute show reels of upcoming deals from studio slate that they could probably stitch together a Frankenstein Monster of a movie, a harlequin bits and pieces.
All part of the marketing strategy of modern film, but perhaps process begins to belittle experiences sit in darkness and expect to be surprised by the latest blockbuster. Have we been so devastated by YouTube, we believe that nothing of viewing ' edited highlights ' out of context or dramatic heft?
PR folk music is, of course, in shops that make even the most mediocre product look enticing, so these previews cover all the coolest explosions in a blockbuster (or the best jokes in a comedy)-the so-called ' money shot '? The very existence of the ' red band ' trailers are designed to ensure that horror films (usually censored by their Runaway set-pieces) do not get left. Trouble is, when you get to see the actual film, you realize that there isn't an awful amount back in the spaces in between!
The second problem is overkill. Exclusivity is fine, except for the PRS is not everything, the accounting regulations on exclusivity. The same clip is fired across the Internet, and it is rare to find a film blog which are not automatically republished it. Fanboys-in constant fear of being left out of the pack-propagating the meme to the point where it becomes meaningless, just a different toxin polluting our capacity to enjoy the movie, when it comes to the last out.
There are a couple of directors who have learned to catering to Comic-Con crowd. Christopher Nolans use of enigmatic Easter egg hunts generate enormous buzz without actually giving something important away. Even when he finally gets to release enhanced recordings-mainly, the opening sequence from The Dark Knight-not the film's overall dilute the narrative effect. Not coincidentally, Nolans last film has been among the largest cinema visits hits in the recent past.
But marketing departments less adept at supplying information to the hungry blogosphere, back-handed attempt to hype is increasingly counter-productive. Maybe before too long, the answer might be to take the radical step of releasing nothing until the movie is released. For the modern audience, the thrill of seeing something genuinely new might be more valuable than even a sneak peek.
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