Promotional Screen Industries

Abstract

"An interesting take on Hollywood studio-era history that challenges the narrow focus of existing scholarship and revises familiar perceptions of Warner Bros. The focus on acting and performance usefully opens up the relationship between theatre and cinema, and the impact of Broadway on film acting and studio working practices in the crucial period of the transition to synchronised sound. Highly recommended as a valuable contribution to the area of acting and performance studies."-Pam Cook, Professor Emerita in Film, University of Southampton, UK. Editor of The Cinema Book (Third Edition, 2007) and author of Nicole Kidman (2012) "This book is a fascinating account of the creative symbiosis between stage and screen at a crucial juncture in Hollywood's history. Shingler's fully historicized and contextual-ized account revises what Warner Bros stood for and achieved with its prestige pictures and stars. By interweaving the histories of early sound technologies, Broadway's acting traditions and the economic imperatives of studio filmmaking, this book highlights key performers and studio personnel long neglected in standard histories of Hollywood. With its refreshing focus on acting craft and method before 'the Method', this book produces a vital, new perspective on how films were made, played and received in 1923-39."-Sarah Street, Professor of Film and Foundation Chair of Drama, University of Bristol, UK This series encompasses the spectrum of contemporary scholarship on screen performance and embraces productive tensions within film and media studies and between cinema and cultural studies. It features historical research that sheds light on the aesthetic and material forces that shape the production and reception of screen performances in different times, venues, and locales. The series also presents research that expands our understanding of screen performance by examining various types and registers of performance, including those outside the domain of conveying character. The series strives to offer new insights into film/media practice and history by exploring the tools and methods of screen performance practitioners as well as the shifting modes and significances of screen performance in changing social-technological environments. More information about this series at

Advertising at the threshold: Paratextual promotion in the era of media convergence

“…Under convergence, advertising must now compete for its strategic role within a rebalanced promotional mix. All media channels can now be accessed via a smartphone screen, and advertising industry practices are adapting to accommodate the new media consumption patterns (Grainge and Johnson, 2015). Traditional TV 'spot' and print advertising remain relevant but we suggest that the fulcrum of creative advertising strategy is shifting from the brand, to the stories around and about the brand (Brown, 2016b).…”

The interaction of broadcasters, critics and audiences in shaping the cultural meaning and status of television programmes: The public discourse around the second series of Broadchurch

“…Often this is thought of as protecting and building on the television company's overall brand and associated channel and programme sub-brands (Ellis 2002: 165-69;Johnson 2012). To do this producers and broadcasters will, using their internal departments and sometimes external promotion and marketing organizations (Grainge and Johnson 2015), present a way of understanding and positioning their programme (as well as their channels) by creating what John Ellis (1982: 24-33) calls, in relation to the similar practise in film, a 'narrative image'. I will refer to this here, in relation to television publicity, as a 'publicity image'.…”

Implications of the selfie for marketing management practice in the era of celebrity

“…This topic is important partly because a focus on the selfie not only as text but as paratext, reflects a broader change of emphasis in marketing and communication (Grainge and Johnson, 2015) from explicit spot and feature advertising toward media 'content', including implicit, non-advertising promotion such as product placement, branded entertainment, sponsorship, and public relations (PR), reflecting the new dynamic of consumer culture in the convergent (Jenkins, 2008) media era. .…”