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Hunger game Case studies Lecture 11...

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The Hunger Games: Catching Fire MARK 4900 TR 9:30

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How did the marketing campaign for Hunger Games: Catching Fire mark a departure from a traditional marketing campaign for a movie? What was innovative about the marketing approach adopted by Lionsgate? Lionsgate used   the brand storytelling method to create lasting personal and unique  consumer experiences by   using   a  variety   of   platforms.   It   evoked   powerful   emotions   using brand content to   connect   with the   audience.   The campaign drew the participation of passionate fans and blurred the borders between reality and fiction.  Liongate’s marketing approach used   a mix of social media   and platforms such as YouTube, Tumblr,   Facebook,   Twitter,   and   Instagram,   while   a  traditional   marketing   campaign mostly focuses   on   ad placement   on   TV,   radio,   magazines,   billboards,   partnerships, a  dedicated  website, YouTube   teasers,   in-person   PR,   online   PR, and cross-marketing partnerships. The Hunger G   plan   was innovative because it used transmedia  ames: C  atching F  ire  marketing storytelling: a  combination   of new and traditional media storytelling to increase audience engagement across   platforms.   Finding   passionate   fans   who are willing to share the narrative of the story   was essential   to   achieve   ‘viral   marketing’   by   ‘spreadability’ which is the   most  significant part of transmedia storytelling. A good transmedia storytelling campaign should be persistent, pervasive, participatory, and personalized. Critically evaluate the campaign based on these elements. The Hunger Games: Catching Fire campaign captured all elements of a good transmedia  storytelling campaign. First,   the marketing plan involved “persistent story development in real time.” The Catching Fire team was careful to amplify online content offline to keep consumers interested over   the   duration   of   the   campaign.   This   meant   TV   appearances   and   magazine   pieces  correlated with   online   releases   of   content,   such   as   the   scheduled   releases   of   the   Capitol Portraits. 

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Fan challenges also demonstrate the campaign’s success in creating a participatory environment. Fans of the series participated in a #CapitolStyle challenge, as well as   a  Ultimate Fan Challenge, each of which required fans to create and share content. These challenges increased involvement   with the series and encouraged discussion   both on- and offline, which  therefore increased excitement   for   the   upcoming   movie.  Fan challenges compounded on   organic user-generated content that was shared both between fans   on   their   personal   social   media   and   on   the Capitol   Couture   site under   “Citizen Activity.” The   campaign   focused   on   fan   participation,   which   made   it   naturally   a  personalized campaign as   well.   Fans   took   existing   ideas   from   the   Hunger   Games   world and   made   it   their   own,  expanding on   existing involvement in the story. Finally, the   Catching Fire campaign   was   pervasive in   that   it   took   place   across   all  platforms at   all   times.   Tumblr,   Facebook,   Instagram,   Twitter,   and   YouTube   were   all   frequently showcased content from the Hunger Games marketing team and fans.   These approaches combined with traditional media (billboards, TV,   print, etc.) meant that fans could find an advertisement for the film just   about   anywhere.  Why Lionsgate focused on engaging existing fans rather than attracting new customers to   Do you agree with the decision to not focus on other segments like   older  the movie? customers or male customers? Because the   Hunger   Games novels   were already popular among young adults under 25, Lionsgate decided to take advantage of its existing fan base. Having a core fan base is a vital element to   transmedia   storytelling.   These diehard fans were more likely to   participate in Hunger Games related campaigns across multiple platforms. Moreover, they provided an indirect 

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gateway to   newcomers   by sharing   their   user-generated   content.Thus,   Lionsgate   was   able   to achieve the best of both worlds with this tactic. It seemed   reasonable   that   Lionsgate   targeted   men   and   women   under   25. Not   only were  they the   majority   of   the   fanbase,   this   millennial   group was   also   the   most   active   on   social   media, which was the focal point of the film’s marketing campaign. Although the company targeted the  appropriate age   cohort,   it,   unfortunately,   failed   to   appeal   to   the   male   segment.   The   campaign’s  strong emphasis on   fashion and beauty evidently catered more to the female fan base, while males made   up   of   almost   half   of   the   target   audience.  Carefully review all the creative and media tactics used in the campaign. What did Lionsgate do well and what could have been done better? Tumblr allowed fans to engage deeply with the culture of the capital by showcasing the strange world of   fashion   in   the   city.   It   blurred   lines   between   fact   and   fiction   with   promo   content from the   Lionsgate   team,   as   well   as   external   content   from   real-life   fashion   writers.   They   also  featured the CoverGirl product partnership and user-generated content. Similarly, Instagram’s elaborate pictures from Capitol Couture were focused more in fashion and design then the overall story.  However, fans   were   getting   mixed   signals   about   how they should   feel about   the  Capitol. Instagram and Tumblr glorified it for it sense   in   fashion,   while   it stood   for   “violence,  corruption, and oppression.” Lionsgate failed at   properly   using   their   platforms to show   the gap between the   privileged   Capitol and poor citizens of the rest of Panem.  Facebook was more interactive as it featured more “calls to   action”   asking   to be   liked and shared.   It   was   an   outlet   for   fans   who   were   emotionally   invested   to   give   feedback   to questions that were asked.   On   Youtube, fans   were   asked   to   post   a  video   to   air   in   CapitolTV.   Although

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both of these channels were wildly successful in engaging fans, only the truly devoted fans were  likely to participate.  Overall, they were successful in allowing fans to be part of the narrative.  Twitter, on the other hand,  was the least effective medium as it was mostly served to relay PSA  from the capitol and post ideological messages to Panem’s citizens. It’s role wasn’t as critical to the campaign, but it did serve as media to promote the content on other channels.    Differing   platforms raised debate about what stance they wanted the audience to take. Although the   campaign’s   impact   was   influential,   they   seemed   to   be   so   focused   on the   details   that  they strayed   from   the   main   message   of   the   series.   Partnerships   weren’t   making   sense,   they   didn’t  add or   connect well with the   storyline.   For   example, Subway’s limited edition sandwiches  seemed ironic   to   advertise   for   a  film   that   emphasized   hunger   and   starvation.   Giving   the  impression that   their   goal   was   solely   to   bring   as   much   attention   as   possible,   not   considering   how this would   tie   into   the   differing   plots   in past and upcoming movies. ...