Search results

While there is no question that women on movie screens are frequently eroticised, with countless shots of heaving bosoms or curvaceous rear ends, action stars do occasionally get a reprieve. Pam Grier, the first female action star, was not so lucky. While Grier's Amazonian status should be celebrated, the dark side of her career should also be noted as a cautionary tale of just how much misogyny and racism lurks behind Hollywood doors and intertwined into American cinema history. This chapter examines how Grier's career forces us to rethink both femininity and racism, as well as action films themselves.

A picture is worth a thousand words; a motion picture is probably worth even more. The black experience in America is reflected both in movies with black themes and in white or general commercial films in which black actors and actresses perform. These films continue to reflect and influence white as well as black racial attitudes and self‐images. The various cinematic genres have vividly frozen in time the perceptions and stereotypes of each period. Studied over time, they compose a kaleidoscope of changing images and themes.

Cultural visibility is closely linked to physical and social mobility, and access to – or denial of – free movement through private and public spaces powerfully shapes individual and social identities. As Liam Kennedy has shown in the context of urban space, “the operations of power are everywhere evident in space: space is hierarchical – zoned, segregated, gated – and encodes both freedoms and restrictions – of mobility, of access, of vision” (2000, pp. 169–170). A consideration of how film articulates a relationship between space and identity might thus begin by breaking down the concept of space itself into three distinct yet interconnected areas of analysis: first, the notion of socially produced space, as shown in the work of Henri Lefebvre and others; second, the idea of audience space or the architectural space of the theater; and finally, the theory of film space or the space of the screen. Given this essay’s limited scope, the latter will be examined in more detail than the first two, but I would like to stress the underlying interconnectedness of the three. While, for example, formalist studies of film aesthetics may be just as valuable as in-depth studies of changing viewing habits, audience demographics, and exhibition technologies, film interpretation should strive to keep in view the variety of spatial formations and conditions that might come to bear on any particular visual text.

This paper seeks to explore a host of straight‐to‐DVD and direct‐download motion picture marketing, production, and distribution strategies deployed by Florida‐based Maverick Entertainment. The focus is Maverick's most prominent and successful sub‐genre “urban teen gangsta” films.

The somewhat wide‐ranging and eclectic approach taken in this paper draws from two emergent academic subdisciplines: consumer culture theory (CCT), largely on the business‐school side, and media industry studies (MIS), largely on the communications‐school side. The project thus attempts to bridge the interpretive poetics and eclecticism of CCT with the interpretive aesthetics and eclecticism of MIS and relies on a blend of filmic, marketing, PR, journalistic, trade publication, and academic evidence.

It is argued that “marketing mimicry” – where Maverick imitates specific successful urban‐teen themed cross‐over film marketing strategies of major and mini‐major Hollywood studio titles – was crucial to the start‐up's success.

Marketers outside the USA will find it somewhat difficult to glean generalizable lessons based on the strategies and principles evaluated here. Future research should be conducted in the area of direct‐download of urban teen filmed content, particularly vis‐à‐vis Maverick's new direct‐download partners such as Hulu, YouTube, Amazon VOD, Facebook Store, and Gigaplex. Future research should also look into the extent to which the somewhat pervasive notion of a “global teen audience” is valid for this sub‐genre of films.

Marketers are advised to thin‐slice the appeals of their teen‐themed product‐lines to maximize the appeal to given sub‐segments. Marketers may beneifit by developing ethical non‐harmful iterations of marketing‐mimicry in their market space.

Scholars who analyze teen‐themed marketing strategies often tend to construct some version of the “global teenager”. The current paper focuses largely on African American and Latino American teens.

This is the first paper to analyse how a small firm successfully markets to the urban American teen film audience. It is also the first academic paper to explore the concept of marketing‐mimicry.