As one of the most popular art forms in the world today, films are a medium that draw in audiences of millions around the globe, year in, year out. From big name blockbusters from Warner Brothers and Paramount to low key cult phenomenons, films have always found their audiences whatever the fashion, and producers are well aware of the potential viewers for their films - generally keeping their intended audience in mind while creating their works, as with any creative outlet. As filmmakers, producers want to see their creations reach as much of an audience as possible however and rarely limit their work to a few select groups, barring specific films such as documentaries and art-house cinema. Because of this films often represent a large amount of relatable scenarios for the audience to decode into their own ideologies, such as the almost inescapable inclusion of a romantic sub-plot, "everyman" characters (popular in romantic comedies) and familiar settings such as high school. The uses and gratifications theory is a model that can be applied to many of these modern "universal" films, encoding a large palette of representations that the audience can pick and choose from in relevance to them, found in all films by popular companies such as Disney or Dreamworks. More specific films target a narrower range of people but still contain many ideologies and images that will appeal to their intended audience, something that rings strongly true in the cases of my two texts Submarine and Let the Right One In.
Submarine is first and foremost, a hybrid genre film. The movie intertwines many elements from the comedy genre, romance, youth culture and British heritage to form an eclectic range of representations and ideologies, granting it a very large potential audience. The film was marketed at the basics as a traditional teenage romantic comedy, with a love plot, conflict and difficult situations in the additional subplot of Oliver's parents. But among the romanticism of Submarine, the marketing also highlighted the film's British heritage in rising writer Richard Ayoade, its themes of adolescence and coming of age and its artistic merits in the Alex Turner soundtrack, alternative retro design and prestigious Festival awards. Such a diverse range of elements in the marketing campaign alone is a strong indicator towards the variety of people that will be interested in seeing the film, throwing out a wide net of interest to many demo and psychographic groups. Most prominent of these is teenagers, viewers around the ages of 13-21 growing up in Britain and experiencing the very themes that Submarine represents. Youth films have been a huge force in cinema over the last 60 years and Submarine implements many of the traditional ideologies of the genre, such as the journey into adulthood and the experiences of learning relationships and self independence. The original book by Joe Dunthorne falls into much the same category as novels by popular young adult authors John Green and Stephen Chbosky, aiming to connect with the emotions and ideas of growing into an adult and encountering sex, family issues and mental exploration, themes which carry over to the film adaptation of Submarine and strengthen the appeal for a young audience.
The setting of the film - a British middle class town and school - supports the world being represented by the story, connecting a teenage viewer to Oliver's life via familiar elements, the same being with his experience of a first relationship. While the main demographic of this age group are true however, the finer details of the representations narrow the field in terms of audience psychographics and it would be fair to say that Submarine isn't intended to connect with all teenage viewers. Oliver's personality for example, is represented as awkward and cynical, but highly intellectual in relation to his peers, a character representation akin to the protagonist of Catcher in the Rye. The marketing campaign...
Please join StudyMode to read the full document