Issues in Interdisciplinarity 2019-20/Power in Film Production

Introduction This article discusses power within the interdisciplinary field of marketing, using research into individual film preferences as a case study. Marketing outlines and provides logical ground for the techniques that merchants use to sell their products. Specifically, social marketing is “the adaptation...of commercial marketing...as a means to induce behavioural change in a targeted audience on a temporary or permanent basis to achieve a social goal” [1] In the most extreme case, it can be argued that propaganda is a form of marketing of political ideas. Therefore, due to its natural dependency on power, marketing, as a discipline, can be better understood by analyzing the power dynamics within it through exploring people’s film preferences from different political, economic, and biological backgrounds. Disciplines Artist and the Studio Conflict: artistic concept vs profitability Artist also may create politically sensitive material - The Spook Who Sat By The Door (1973) Experimental films are hardly profitable Avant-Garde, Punk, Alternative cinema Synergy: High profits allow artist to continue idea through sequels, more confidence in artist so more freedom is given James Cameron's Titanic (1997) then Avatar (2008) Artist and the Consumer Conflict: Artist normally doesn't care about consumer Artist may create something too “deep” for the crowd to perceive - experimental films Punk films - aimed to enrage the audience / make the audience uncomfortable Synergy: Both want a good quality film The Studio and the Consumer Conflict: Over-marketing / marketing in the wrong direction Long Day's Journey Into Night (2018) by Bi Gan Synergy: Studio provides according to consumer trends and likes Synergy: studio are trying to provide what the consumers like Frozen 2 (2019) and other series movies Marvel, DC, etc. Conclusion Conclusion References References