MEDIA EDUCATION

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STUDY GUIDE

BEHIND THE SCREENS:

HOLLYWOOD GOES HYPER-COMMERCIAL

Study Guide Written by JON CLERMONT, NICK SOVIECKE & MATT SOAR
Edited by MATT SOAR
CONTENTS

NOTE TO TEACHERS 3

PRODUCT PLACEMENT 4

MAKING MOVIES FOR MARKETERS 7

HIJACKING THE MOVIES 8

LIMITING STORIES 9

APPENDIX 10
Films produced by Columbia Pictures under Coca-Cola’s ownership 10
Selected Bibliography 12
Internet Resources 15

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NOTE TO TEACHERS

This study guide is designed to help you and your students engage and manage the information
presented in this video. Given that it can be difficult to teach visual content—and difficult for
students to recall detailed information from videos after viewing them—the intention here is to
give you a tool to help your students slow down and deepen their thinking about the specific
issues this video addresses. With this in mind, we’ve structured the guide so that you have the
option of focusing in depth on one section of the video at a time. We’ve also set it up to help you
stay close to the video’s main line of argument as it unfolds. The structure of the guide therefore
mirrors the structure of the video, moving through each of the video’s sections with a series of
discussion questions.

Discussion Questions provide a series of questions designed to help you review and clarify
material for your students; to encourage students to reflect critically on this material during class
discussions; and to prompt and guide their written reactions to the video before and after these
discussions. These questions can therefore be used in different ways: as guideposts for class
discussion, as a framework for smaller group discussion and presentations, or as self-standing,
in-class writing assignments (i.e. as prompts for “free-writing” or in-class reaction papers in
which students are asked to write spontaneously and informally while the video is fresh in their
mind).

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PRODUCT PLACEMENT:
Advertising Goes to the Movies

"As discussed, I guarantee that I will use Brown &Williamson tobacco products in no less than
five feature films. It is my understanding that Brown & Williamson will pay a feel of $500,000."

-- Sylvester Stallone (Letter to Associated Film Promotion, April 28, 1983)

"When a star uses a recognizable product, people in the audience will pat themselves on the back
and say, ‘look how smart I am—I’m using the same thing as the hero in the movies.’ If it’s
something they haven’t consumed recently, it brings it back to top of mind."

-- Gisela Dawson, President of Catalyst Group (quoted in ERMA brochure)

"Feature films saw the value of brand-name identification....The film viewer just didn't buy into
the reality of a Brand-X soap on top of the sink anymore."

-- Barbara Maultsby, VP of production UPP Entertainment Marketing (Quoted

in Codrington 1997)

"There is plenty of qualitative research on the efficacy of product placement and viewers'
recollections."

-- From the ERMA website

"Industry research has shown that audience recall of product placements is two and a half times
greater than those of TV commercials."

-- Quoted in Jacobson & Mazur, p. 69.

"Product placement is less intrusive than paid ads because the products are so realistically
used....It's subtler than commercials, and while the scenes may seem fleeting, TV syndication,
reruns, and home video give them a far longer viewing life. What's more, because they're part of
the show, they won't get zapped."

-- Patti Ganguzza, VP of entertainment marketing AIM Promotions.

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Notes to instructors: This topic might be best addressed by first having students find their own
examples of placement. See, for example, the appendix of movies made by Columbia during the
period of Coca-Cola’s ownership. Alternatively, it might be more productive (and provocative)
to have them review a few of their own favorite movies (especially those they remember from
their childhood). Fantasy and animated movies are unlikely to be useful sources, whereas live-
action comedies, thrillers and adventure movies have, historically, been more likely to carry
placements.

Recent examples that were too new to be discussed in the video include Mission to Mars (2000)
(particularly a scene involving an in-flight emergency in which Coke is the hero). Also see Cast
Away (2000): The "teaser" preview for this movie is positively saturated with FedEx props.
Listen out for Hanks mentioning the FedEx tagline – repeating the tactic used at the end of
Runaway Bride (1999) (see clip in Behind the Screens). Bowfinger (1999) has FedEx as the
emotional core at the beginning and the end of the movie (the latter is in Behind the Screens).
The Matrix (1999; not in the video) has a relatively subtle FedEx placement when Keanu Reeves
is in his office cubicle. Finally, the recent remake of Hamlet (2000), starring Ethan Hawke,
struggles under the weight of many, many placements. Watch for Sam Shepard as the ghost
walking through a very familiar soda machine, and a rendition of the "To be or not to be..."
speech in a Blockbuster video store.

Discussion Questions

1. Do you agree with the decision made by some filmmakers to use placements in their
films? Why, or why not?

2. Why might someone find product placement to be either misleading or deceptive?

3. Does the use of placements distract the viewer from the actual content of the film? Find
an example that, in your opinion, supports this point - and one that doesn’t. Discuss with
a classmate the reasons for your choices – and see if she/he agrees.

4. Is there an acceptable and ethical way for advertisers and filmmakers to market products
to movie audiences? If so, what is it?

5. Should audiences be asked to choose between a thirty second commercial presented

before the movie and thirty seconds’ worth of placements built in to the movie itself?
Which would you choose? Or how about higher ticket prices? (See Nebenzahl 1993)

6. If you were a film director, and an advertiser offered you $75,000 to place a product
within your movie, would you accept? If so, on what conditions?

7. Were you aware of product placement as a practice before you watched this video? If so,
has your opinion of it now changed at all? Why or why not?

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8. What do we mean when we say a film is "realistic?" (Perhaps think of an example, and
think back to how you felt when you saw it.) Do you think placements can make a film
more "realistic?" How?

9. What added value might brand managers be hoping for when they place their product in
(a) a science fiction movie, (b) a contemporary comedy for families with young kids, (c)
a violent action thriller? Can you think of products that would look or sound odd in any
of these three genres? Why might this be so?

10. You’re at the movies with some friends, and you notice a placement that is so obvious
that it spoils the experience for you. Discuss what action you might take to register your
disapproval (a) at the theater, (b) at home, (c) at school.

11. Take a look at the appearance of FedEx in the Tom Hanks movie Cast Away (2000), or
the use of Coke during an in-flight emergency in Mission to Mars (1999). How might
these stories and scenes have been written to avoid such overt product references, while
avoiding the need to use a less "realistic" prop such as ‘brand X’?

12. Compare the appearance of recognizable brand names in Stanley Kubrik’s 2001: A Space
Odyssey (1968) and the sequel 2010 (1984) – which had nothing to do with Kubrik. Mark
Crispin Miller has suggested that, in the first movie, Kubrik was making a point about the
future pervasiveness of corporatization, whereas the sequel is simply a product placement
bonanza. For Miller, a strong indicator of the relative priorities of movies such as these is
whether they have happy endings – and the degree to which they present difficult or
disturbing questions for their audiences. Investigate and analyze Miller’s argument. (See
Marich 1984; Miller 1988)

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MAKING MOVIES FOR MARKETERS:
Cross Promotions, Merchandising & Tie-ins

"When filmmakers care most about the products they hawk, audiences will stop caring about the
films.... The more a movie resembles a plaything or a theme park ride, the more easily it is
cloned and copied until it loses any compelling spirit of its own.
-- Janet Maslin (New York Times, May 2 1999)

Note to instructors: In this section of the video, we use a comparison between Dreamworks’
Prince of Egypt (1998) and Viacom’s The Rugrats Movie (1998) to illustrate the advantageous
use of multiple media outlets within the same conglomerate to "pump and promote" a new
movie. Although the domestic box office for both films was eventually a little over $100 million,
Rugrats – which cost Viacom only $20-25 million to produce – became profitable in its first
weekend. (Prince of Egypt is reported to have cost as much as $85 million to make, made $14
million when it opened, and took months to break even.) While both films had separate ad
budgets of around $30 million, much of Rugrats’ promotions were free, since they came through
Viacom affiliates. The movie also received $70 million in additional ad support from Burger
King, Ford, Campbell’s soup, ad Kraft foods. These included tie-ins to existing products
(wagons; macaroni and cheese, etc.) and merchandise such as Burger King wrist watches (the
fast food company experienced record levels of traffic in its restaurants because of the watches).

Discussion Questions
1. Discuss the quote, above. Do you agree with Maslin’s point?
2. What sort of audiences are tie-ins and merchandising most geared towards? Why?
3. Can you think of any ideas for movie scripts that clearly don’t lend themselves to theme
park rides, video games, and toys – but which could be appealing to younger viewers?
4. Keep a journal, noting every time you hear or see a reference to an upcoming movie. For
example: posters or trailers at the theater, ads in newspapers and mentions on TV or on
the Web. Also try to be aware of more subtle references (friends talking about the new
movie, items of news that seem to relate to it in some way, people using a catch-phrase or
character’s voice from the movie, etc.). How long before the movie was actually released
did the references or mentions start? What percentage of these are clearly paid
promotions? Ask your friends or classmates when and how they first heard about the
movie in question. Try using a large sheet of paper to map out as many of these
references, mentions and sightings as possible, linking them together where appropriate.
Perhaps use one color for paid promotions (ads, trailers, tie-ins with breakfast cereal
manufacturers or fast food restaurants) and another color for informal mentions (friends
talking, younger siblings playing, chat rooms on the Web, overheard conversations).

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HIJACKING THE MOVIES:
Hollywood in an Age of Conglomerates

"To be honest with you, there doesn’t seem to be any correlation between quality and
attendance."

-- Edgar Bronfmann Jr. at a Business Week conference in January 1999 regarding his
shake-up of Universal Studios, owned by Seagram.

Discussion Questions

1. Define the term "Media Conglomerate." What effect do these formations (e.g. Time
Warner/America Online) have on the entertainment industry?

2. In what unique kinds of ways is a media conglomerate like Disney able to "hype" its
movies? Does Disney simply make better films than, say, Dreamworks?

3. Why did Time Magazine publish a cover story about tornadoes at the same time the
movie Twister was released? (Less obviously, what might the connection be between the
New York Times publishing a cover story about "Dinosaur DNA" being discovered just as
Jurassic Park was released, and printing a front page story about an asteroid that was
supposed to be heading for Earth around the time Deep Impact and Armageddon were
released?)

4. According to the video, how have recent trends in media ownership affected film
criticism? Do you agree with Professor Miller’s statement that, "It is impossible to be a
critic and a promoter at the same time?"

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LIMITING STORIES:
Making Movies in a Hypercommercial Age

"Profit, not culture, drives show business: no business means no show."

-- Eileen Meehan (1991, p.48)

"Foreignness ravishes the American palate, especially now, in the frantic summer-spectacle
season, when some of us long for a new tempo, a new way of seeing—a few deeply felt images
instead of thousands of flashing, meaningless ones."

-- David Denby (The New Yorker, June 2000)

Discussion Questions

1. What factors, other than "a good story, well told," do the big studios now look for in
movie scripts?

2. What elements - other than story - are necessary in making a box office hit?

3. Do you believe the statement that "Most new films are just old films with a twist?" Do
today’s Hollywood films indeed lack creativity? In his illuminating article on the politics
of screenwriting, plagiarism and copyright, Friend (1998) observes that the movie Die
Hard (1988) is merely a remake of Rambo (1987), with the action moved from Vietnam
to a high-rise office in Los Angeles. Further, he claims that Speed (1994) is simply Die
Hard "on a bus"; Air Force One (1997) is Die Hard "on a plane", Cliffhanger (1993) is
Die Hard "on a mountain", Under Siege (1992) is Die Hard "on a boat" and Speed 2
(1997) is Die Hard "on a bigger, slower boat." (p. 54) Either develop a critique of
Friend’s argument, or find you own examples based on another popular movie that, like
Rambo and Die Hard, was successful at the box office. (Of course, the author is not
necessarily arguing that the screenwriters on these movies consciously stole their ideas
from Rambo or Die Hard; rather, his examples illuminate the degree to which Hollywood
depends on formula.) Finally, remember to go back as well as forward in time when
looking for examples. To illustrate: you may well find movies made well before the
1980s that also involve the same basic premise.

4. Do you agree with Professor Miller’s statement that You’ve Got Mail represents "the
death of a genre?" Explain.

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APPENDIX

Films produced by Columbia Pictures under Coca-Cola’s ownership (1989-

1992). (Compiled by Nate Buynicki)

1. Annie (1982)
2. Gandhi (1982)
3. Hanky Panky (1982)
4. Monty Python Live at the Super Bowl (1982)
5. Silent Rage (1982)
6. Tempest (1982)
7. Things Are Tough All Over (1982)
8. Tootsie (1982)
9. The Big Chill (1983)
10. Blue Thunder (1983)
11. Christine (1983)
12. Educating Rita (1983)
13. Krull (1983)
14. The Man Who Loved Women (1983)
15. Spacehunter (1983)
16. Spring Break (1983)
17. The Survivors (1983)
18. Against All Odds (1984)
19. Body Double (1984)
20. Ghostbusters (1984)
21. Hardbodies (1984)
22. The Karate Kid (1984)
23. Mickey and Maude (1984)
24. Moscow on the Hudson (1984)
25. The Razor’s Edge (1984)
26. Sheena (1984)
27. Soldier’s Story (1984)
28. Starman (1984)
29. Agnes of God (1985)
30. The Bride (1985)
31. Crimewave (1985)
32. D.A.R.Y.L. (1985)
33. Fast Forward (1985)
34. Fright Night (1985)
35. Jagged Edge (1985)
36. Just One of the Guys (1985)
37. Murphy’s Romance (1985)
38. The New Kids (1985)
39. Perfect (1985)
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40. Silvarado (1985)
41. The Slugger’s Wife (1985)
42. St. Elmo’s Fire (1985)
43. Sylvester (1985)
44. White Nights (1985)
45. Charing Cross Road (1986)
46. Armed and Dangerous (1986)
47. Big Trouble (1986)
48. Crossroads (1986)
49. Desert Bloom (1986)
50. A Fine Mess (1986)
51. Jo Jo Dancer, Your Life is Calling (1986)
52. The Karate Kid, Part 2 (1986)
53. Out of Bounds (1986)
54. Quicksilver (1986)
55. Saving Grace (1986)
56. Stand By Me (1986)
57. Violets Are Blue... (1986)
58. Where Are the Children? (1986)
59. The Big Town (1987)
60. Cudzozienka...aka The Stranger (1987)
61. Happy New Year (1987)
62. Heaven (1987)
63. Hope and Glory (1987)
64. Housekeeping (1987)
65. Ishtar (1987)
66. La Bamba (1987)
67. The Last Emperor (1987)
68. Leonard Part 6 (1987)
69. Roxanne (1987)
70. Someone to Watch Over Me (1987)
71. White Mischief (1987)
72. White Water Summer (1987)
73. The Adventures of Baron Munchausen (1988)
74. Little Nikata (1988)
75. The New Adventures of Pippi Longstocking (1988)
76. Pulse (1988)
77. Punchline (1988)
78. Rocket Gibraltar (1988)
79. School Daze (1988)
80. Stars and Bars (1988)
81. Things Change (1988)
82. A Time of Destiny (1988)
83. To Kill a Priest (1988)
84. Vibes (1988)
85. Vice Verca (1988)
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86. Zelly and Me (1988)
87. Casualties of War (1989)
88. Ghostbusters 2 (1989)
89. Immediate Family (1989)
90. The Karate Kid 3 (1989)
91. Miracle Mile (1989)
92. Old Gringo (1989)
93. Physical Evidence (1989)
94. Welcome Home (1989)
95. When Harry Met Sally... (1989)

Selected Bibliography

Acuff, Dan. "The Psychology Behind Licensing Successes." KidScreen. June 1999: 52. A brief
study of why children find licensed characters like Big Bird and Barbie so appealing.
Anderson and Strate, ed. Critical Studies in Media Commercialism. New York: Oxford
University Press, 2000.
Blum, Stanford. "Merchandising." The Movie Business Book. Ed. Squire, Jason. New York:
Simon & Schuster, 1983. 379-384. An insider’s account of business and financial workings
within the film industry.
Codrington, Andrea. "Reeling & Dealing: A close-up look at the fine art of the product
placement deal." I.D. Magazine. May 1997, pp.70-73.
Fierman, Daniel. "Where Hollywood Gets Its Guns." Entertainment Weekly. 4 June 1999: 49.
Friend, Tad. "Copy Cats." The New Yorker. 14 September, 1998: 51. "What if Shakespeare sued
the producers of ‘West Side Story’ for copyright infringement? He’d probably lose." Is it any
coincidence that many Hollywood films tend to resemble their predecessors? This article is an
examination of ownership and copyright, specifically dealing with the stories that eventually
become movies.
Fuller, L. K. "We Can’t Duck the Issue: Imbedded advertising in the motion pictures. In Frith, K.
T. (Ed.) Undressing the ad: Reading culture in advertising. New York: Peter Lang, 1997, 109-
130.
Gluckson. "‘Casting’ Products in Films." Boxoffice. December, 1985, p. 34-36.
Gold. "Cool Summer for Film Merchandising." Variety. 13 June, 1985, p. 7, 22.
Gray, Ed. "How To Watch A Movie." US Airways Attache!. March, 1999, p. 58.
Handy, Bruce. "101 Movie Tie-Ins: With merchandising money rivaling box-office intake,
Hollywood is saying, Attention Shoppers!" Time December 2, 1996
Hass, Nancy. "It’s Synergy, Baby. Groovy! Yeah! New York Times. May 2, 1999. "The Selling
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of Austin Powers, from the board game to the Madonna single, will all take place within Time
Warner." An article describing synergy and its relationship to the film marketplace.
Herzog, Charlotte. "’Powder Puff’ Promotion: The Fashion Show-in-the-Film." Fabrications:
Costume and The Female Body. Ed. Gaines, Jane and Herzog, Charlotte. New York: Routledge,
1990. 134-159. From the earliest days of cinema, fashion has made its way into commercial
films. Outlines the intimate relationship that the fashion industry has with Hollywood. Costumes
are just as carefully orchestrated as any other placement.
Jacobson, M. and Mazur A. "Product Placement." Marketing Madness: A Survival Guide for a
Consumer Society. Denver: Westview Press, 1995. P. 67-72. A complete and highly critical
review of product placement. This article explains the process, discusses costs, and lists
examples of placements in feature films.
Jacobson, Michael F. Ph.D. "Before The Federal Trade Commission: In the matter of Unfair and
Deceptive Acts in the Placement of Product Advertisements in Motion Pictures." Washington
DC: Center for the Study of Commercialism, 1991.
Kaplan, David A. "The Selling of Star Wars." Newsweek. May 17, 1999. A cover story on Star
Wars: The Phantom Menace. Describes the film as both hype and cultural phenomenon. This
issue also features an unfavorable review of "Phantom Menace" by David Ansen.
Kirchdoerffer, Ed. "Keeping Up With Today’s Kids." KidScreen. January 1999: 41. On the
popularity of licensed characters with children.
Lees, David and Berkowitz, Stan. The Movie Business. New York: Vintage, 1981.
Lester, Paul Martin. Visual Communication: Images with Messages. Belmont, CA: Wadsworth
Publishing, 1995. P. 317-321.
Linck. "Brand Names Go Hollywood: Props That Sell." Boxoffice. April, 1982. p.32-33.
Litman, Barry R. "Motion Picture Entertainment." The Structure of American Industry (9th
Edition). Ed. Adams, Walter and Brock, James W. Upper Saddle River, NJ: Prentice Hall, 1995.
Marich. "TV Commercials in the Next Century? 2010 offers peak." Ad Age. 3 December, 1984.
P. 4, 98.
Marshall, Norm and Ayers, Dean. "Norm Marshall and Dean Ayers In Rebuttal: Product
Placement Worth More Than Its Weight." Brandweek. 9 February 1998: 16-17. Two industry
insiders weigh the pros and cons of product placement in movies.
McAllister, Matthew P. The Commercialization of American Culture: New Advertising Control
and Democracy. Thousand Oaks, CA: SAGE Publications, 1996.
Meehan, Eileen. " 'Holy Commodity Fetish, Batman!' The Political Economy of a Commercial
Intertext." The Many Lives of Batman: Critical Approach to a Superhero and His Media. Ed.
Pearson, Roberta and Uricchio, William. New York: Routledge, 1991. 47-65.
Miller, Mark Crispin. "End of Story." Boxed In: The Culture of TV. Ed. Miller, Mark Crispin.
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Evanston, Illinois: Northwestern University Press, 1988. 186-246. Numerous examples of
product placement are discussed with respect to their effect on scenes and plotlines.
Miller, Mark Crispin. "The Media Nation: Publishing." The Nation. 17 March, 1997.
Comprehensive table of networks of ownership.
Miller, Mark Crispin. "The Media Nation: TV." The Nation. 8 June, 1998. Comprehensive table
of networks of ownership.
Nebenzahl, Israel D. & Secunda, E. "Consumers' attitudes toward product placement in movies."
International Journal of Advertising 12(1) (Wntr 1993), pp. 1-12. Marketing research based on
interviews with lines outside movie theaters. Found that movie-goers didn’t mind placement –
based on higher ticket prices as the only alternative.
Office of National Drug Control Policy & U.S. Department of Health and Human Services.
Substance Use In Popular Movies & Music. April 1999.
Ohmann, Richard et al. (Eds.) Making and Selling Culture. Hanover, New Hampshire:
University Press of New England [for] Wesleyan University, 1996. Includes a critical interview
with Strauss Zelnick, the then current president and CEO of Twentieth Century Fox.
Pechmann, Cornelia and Shih, Chuan-Fong. "Smoking Scenes in Movies and Antismoking
Advertisements Before Movies: Effects on Youth." Journal of Marketing 63(3) (July 1999).
Rotkin. "Product Visibility in Motion Pictures." Marketing Communications. July, 1982. P. 4-5.
Schatz, Thomas. "The Return of The Hollywood Studio System." Conglomerates and the Media.
Ed. Barnouw, Erik et al. New York: The New Press, 1997. 73-105. How Hollywood studios are
geared to produce not simply films but "franchises," blockbuster scaled hits, which can be
systematically reproduced in a range of media forms.
Stanley, T.L. "More Hype to Come: Even with a rash of summer movie tie-ins, Tinseltown
marketers say the end is nowhere in sight." Brandweek. April 3, 1995. P 26-27, 30,31, 34.
Turcotte, Samuel. "Gimme a Bud!." The Feature Film Product Placement Industry. The
University of Texas at Austin, 1995. http://www.utexas.edu/coc/adv/research/papers/Turcotte/
A business thesis analyzing the practice of product placement in Hollywood. Includes extensive
interviews with practitioners. The writer believes placement to be beneficial to audiences, as
well as to marketers.
Vaczek, David. "Pay to Play." Promo Magazine. June, 1999. P 106. About licensing and
promotion of products via film and TV. Also has a sidebar about movie studios developing "new
merchandise-minded creatures."
Wasko, Janet. Hollywood in the Information Age: Beyond The Silver Screen. Austin Texas:
University of Texas Press, 1995.
Williamson, J. Consuming Passions: Film Criticism: 1980-1990. London: Marion Boyars, 1993.
Wolf, Jamie. "The Blockbuster Script Factory." New York Times Magazine. 23 August 1998: 32.
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Internet Resources

Brandweek: http://www.brandweek.com/
Web site for ad industry trade journal of same name. Marketing, product placement etc. in film TV
industry frequently discussed.
Entertainment Resources and Marketing Association: http://www.erma.org/
Trade association of product placement professionals consisting of placement agencies, film
studios, and production companies.
Film.Com: http://www.film.com/
Reviews, news, interviews, festivals.
Internet Movie Database: http://www.imdb.com/
A comprehensive resource for film and television including history, biographies, box office, and
talent information.
Hollywood Reporter: http://www.hollywoodreporter.com/
Film and TV industry news, box office, business, etc.
Motion Picture Association of America: http://www.mpaa.org/
The Motion Picture Association of America (MPAA) and its international counterpart, the Motion
Picture Association (MPA) serve as the voice and advocate of the American motion picture, home
video and television industries.

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