Game of Thrones is unlike many others series in that it is on-air only for a few weeks each year, meaning that the show’s producers face a very particular dilemma: Keep fan passion and interest going for the rest of the year when other shows and content are competing for the fans’ attention. Since its premiere, Game of Thrones has always resorted to unusual forms of advertisement. For example, in 2011, food trucks serving delicacies described in the novels headed to Los Angeles and to New York and influencers received scents and scrolls reflecting the world of Westeros, while in 2013, a dragon took
The first notable case or example from SXSW that I would like to share with you in more detail is from the session “The Link Between Social Media and the Box Office“, presented by David Herrin, Head of Research at the United Talent Agency. Herrin and his team have developed a tool called “Preact” which allows them to monitor social media conversations surrounding an upcoming movie, up to 365 days in advance. Tracking Dimensions Preact doesn’t measure views but what UTA calls “engagement”, i.e. the volume of posts regarding the movie. The resulting hits are classified into positive and negative
As some of you may have gathered from my Twitter feed, I was back at SXSW this year. Just like last year, my time at SXSW has been incredibly inspirational and educational, and there are a few key entertainment trends that I would like to share with you. On top of that, there will be summaries of two panels that I found demonstrated the current entertainment trends according to SXSW best. Let’s jump right in. There are three key entertainment trends that I was able to identify at SXSW: Continued efforts to create immersive experiences
This is the fifth part of my SXSW 2014 re-caps. You can find a complete list of all re-caps here. Today’s re-cap is about my favorite panel from SXSW 2014, entitled How Jane Austen Conquered Social Storytelling. The two panelists, Bernie Su and Jay Bushman, explained how they made their three web series The Lizzie Bennet Diaries, Welcome to Sanditon, and Emma Approved true transmedia stories spread across different social media platforms. Not only have all three stories become immensely successful, but they actually ended up creating revenue through monetization. The Lizzie Bennet Diaries Background The LBD originally ran from April 2012 to March 2013 as a
This is part 5 of my SXSW 2014 re-cap. You can find all other re-caps here. Issues of privacy in the age of the internet had their own sub-track at SXSW Interactive. There were skype-in calls with Julian Assange and Edward Snowden amongst other panels, and while I was only able to attend the call with Julian Assange, it was very interesting, however. Assange’s points regarding the current, overall state of the (political) internet: The governments’ often extreme response to the Wikileaks and NSA revelations (e.g. forced smashing of hard drives at The Guardian by UK authorities, persecution of whistleblowers) shows
Welcome to the fourth part of my SXSW14 re-cap, which will focus on the 5 Lessons Learned from Movie Studios on How to Market Your Movie panel. To go to any of my other SXSW14 re-caps, please click here. Panelists: JP Richards, Vice President Digital Marketing, Universal Pictures Ethan Applen, Executive Director, Warner Bros./MediaCamp Maria Pacheco, Senior Director, Marketing, DreamWorks Animation Bettina Sherick, Senior Vice President, Digital Strategic Marketing, 20th Century Fox International Moderator: Kevin Winston, CEO & Founder, Digital LA Introduction & General The way movies are marketed socially depends on various factors, e.g.
Here comes part 3 of my SXSW14 re-caps: New Narratives: Building an Interactive Storyworld. For an overview of all SXSW14 re-caps, please click here. Panelists: Aina Abiodun, Founder, Storycode Karim Ahmad, Sr Digital Content Strategist, ITVS Mike Knowlton, Partner, Murmur Ted Hope, CEO, Fandor / Double Hope Films At the moment, most advertising remains very classic and in-your-face. However, the times of such advertising are over and it now needs greater sophistication. Your audience expects branded content rather than pure product placement, for example. Everything else – blatant „buy this!“, „buy that!“ is white noise. This is
This is my re-cap of the How to Monetize the 2nd Screen Evolution panel from SXSW 2014. Check out the overview of all my SXSW 2014 re-caps here. Presenters: Gregory Consiglio, President & COO, Viggle Inc. Jesse Redniss, CSO, Mass Relevance Inc. The most favorite second screen apps remain Twitter and Facebook. Show- and network-specific ones still struggle. Twitter and FB remain so popular because they allow social consumption – fans of a show want to share their thoughts and reactions with others, especially if they don’t have friends or family in the same physical space who share their
I just got back from my very first SXSW conference in Austin, Texas, and it was simply amazing and invigorating. SXSW vibrated with great minds, great talents, great projects, and great conversations. This conference is where the good stuff happens, and where people do and think cutting-edge. If you’re interested in social and/or digital media, this is the conference you should attend. It’s not cheap, but it is absolutely worth its money! That being said, there is one tiny critique I have regarding this year’s SXSW. It was my first time attending this conference, of course, and
Today I spent the day at the FMX Conference in Stuttgart where I’d been asked to introduce the keynote talk “Envisioning the Literary World of Cornelia Funke.” As you may know, Cornelia Funke is an international best-selling author who has penned Wild Chicks, The Thief Lord, the Inkwell series, and Dragon Rider, for example. In the past, Cornelia’s works have often been adapted to film, theater and computer games. However, after her works had been adapted, Cornelia often felt that they no longer matched the image and vision of the story as she saw it inside her head.