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Inglourious Basterds

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As part of the social media film review we have been looking at new benchmarks for successful marketing campaigns by films exploiting the social media space to engage and disseminate information to potential cinema-goers. Dark Knight threw down the gauntlet to potential adopters of viral marketing strategies and the success of the multi-pronged Cloverfield campaign saw a creative and intelligent teaser campaign that involved moviegoers beyond the conversations at the water cooler. However, neither of these used the social phenomenon Twitter as effectively as Quentin Taratino’s Inglourious Basterds.

Recently we have seen correlations drawn between Twitter activity and box office performances. “Twitter sinks Bruno” articles, for example. However, according to Steven Zeitchik at Risky Biz Blog, Inglorious Basterds is the first film that can directly thank Twitter for its opening weekend box office success. A bold statement, indeed, given the proven audience-pulling power of both Pitt and Tarantino.

So, how can we/anyone make the claim that IB has, in fact, tamed the mob that runs the Twitter trending topics thus benefiting hugely from the “Twitter factor”?
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Cricket to us was more than play, it was a worship in the summer sun….

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Jonathan Agnew is a well-respected commentator on BBC radio’s cricket coverage. Will Buckley is a slightly less well-respected senior sports writer for the otherwise excellent UK Sunday newspaper, The Observer. During the recent topsy-turvy, edge-of-your- seat England v Australia Ashes series, over a lunch break at The Oval, Agnew interviewed diminutive English popstrel Lily Allen, herself a surprisingly loyal, and it transpired amusing, devotee of Test cricket and never anything less than an engaging interviewee. The interview was light-hearted, informal and, judging by the days of faux-panic and jocular ribbing between Agnew and his co-commentators in the build up, an unabashed tongue-in-cheek affair. How, his colleagues enquired, amused, would the bumbling Aggers cope when faced with the paparazzi-fodder and darling of the red-tops. They got the joke. Buckley didn’t. After the interview, writing in his column he accused Agnew of unashamed fawning and positioning “himself firmly on the pervy side of things”, a cross “between benevolent uncle and desperate middle-aged man panting on the edge of the dance floor.” Sticks and stones and all that. But…

Agnew, like Allen, and unlike Buckley, is a rapacious Twitterer. He has 22,000 followers. She has nearly 1.3 million. In the ethereal world of social media they are, like a couple of virtual New Jersey hoods, very well connected “tweeple”. In the lead up to the offending interview Agnew tweeted about his nerves, the excitement, the questions he should ask, what he should wear. Allen, too, tweeted how excited she was. It was all very cheerful and sociable. Until Buckley waded in. Agnew expressed his surprise at the tone of the column on Twitter and thanked his followers for expressing their shock, and 140-character support, too. The Observer website was swamped with astonishment. Allen chipped in and voiced surprise. 

LILY ALLEN

 

 

 

 

 

And then more people piped up. And more. And more. And still more. A “snide, nasty, small-minded and utterly hyperbolic hatchet job, dripping in meanness” they cried! The hordes gathered at the gates and, fired by his role as slighted quarry, Agnew demanded an apology.

Apology

Today, so vociferous has the support for Agnew become, that this atonement now seems imminent. The whole torrid affair has tipped into the mainstream press and Buckley is boxed in, his reputation in tatters. Or twatters.

So, what have we learnt from this tragic tale? Well, it’s not only brands that need to tread carefully, to act responsibly, to listen to the proles. If you want to throw stones at national treasures, be sure to keep in mind that it’s not only they who you damn. You take on legions of pumped-up, digitally-savvy devotees, too, each with a voice. And against such a tsunami of opinion, even august strongholds such as The Observer are dust.
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Is Social Media Just a Fad

Or is it the biggest shift since the Industrial Revolution:

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Cloverfield

The $50 million dollar question, what do all these random websites have in common?

•    The homepage of a Japanese soft drink company
•    YouTube videos of a destroyed oil rig
•    MySpace profiles of half a dozen young New Yorkers
•    A Los Angeles bakery
•    A tribute site dedicated to a teenage murder victim

They’re all elements of a complex viral marketing campaign for the budget monster movie that generated $50 million on its US release, Cloverfield, the second installment of this month’s Profero movie marketing analysis. The campaign shot the movie into the marketing stratosphere and, like The Dark Knight, continued to raise the benchmark in audience manipulation and engagement. Read on for a summary of the campaign and its route to success at the box office.

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