Traditional methods of promotion and marketing are still widely used, but television has become the centerpiece of every campaign, with the advertising blitz in the week or so before a film opens being the determining factor in the success or failure of the effort. Much marketing effort today goes into developing ancillary markets and product tie-ins of various sorts, all to help recoup expenses and, if a film is very successful, to cash in to an even greater degree. Capote also advertised on television, but not with the sort of budget that would be available for a major studio release. Marketing a film like Capote on television would have been very difficult a few years ago when the primary outlet used was to advertise on network television on Thursday night. This sort of pattern helped increase network income for high-rated shows like Seinfeld and ER because studios compet4ed to get their messages on that night for movies opening on Friday. A film like Capote could never afford to compete in that way.
However, network television has been losing audience, and while Thursday night advertising remains important, it has been complemented by other types of advertising on the Internet and on cable television. Indeed, cable television allows a film like Capote better to target its advertising to the audience believed to be most receptive. The advertising could be featured on cable stations like AMC (American Movie Classics) or the U.S.A. Network, with the ads appearing in shows that might have a similar audience. This audience is also more affected by good critical response, by certain awards, and by more literary appeals, given the nature of this movie and its main character. Print advertising also remains important for some films, and for this film, the pattern of advertising was considered unsual: "Since it opened, Capote ads have turned up in the oddest places, including The New York Review of Books and The New Yorker" (McNamara para. 6). This is a clear effort to reach the audience for the film directly, using both magazines for their more literate audience and asscoaiting with The New Yorker as the magazine where In Cold Blood excerpts were first published (and because former editor William Shawn is a character in the movie).
The targeted audience did respond when the movie was in art houses across the country in limited release, and a larger segment of the public responded once the film was in wide release and had received numerous awards.
Theatrical exhibition is still a vital part of the film business, but in many ways it has changed in terms of the importance accorded it. At one time, of course, theatrical exhibition was the only goal for producers, who reaped their profits entirely from box office revenues. This is no longer the case. In the 1950s and into the 1960s, producers discovered television and the fact that they could sell their old films to television and make money from an entirely new market. Theatrical distribution was still the primary source of revenue, with television seen as an ancillary market that could produce added revenues. Indeed, some producers found that they could use television to create their film by selling the television rights in order to raise the money to make the film in the first place. This method is still used with reference to cable outlets that may put money into theatrical production in order to have pictures for showing on cable at a later date. Cable indeed became the next major market after broadcast television beginning in the 1970s. Then came home video, which pushed ahead to become probably the primary ancillary market and, in time, the tail that wagged the dog.
This is because a lot of theatrical...
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