On the Baseline - How I attracted my target audience.
As part of the advanced portfolio I produced a trailer for a film “On the Baseline” which was a hybrid genre combining key conventions of chick flicks and sports films (sports flick!). The film followed a tennis theme and revolved around the development of a relationship of a new women’s doubles partnership comprising of a champion and an “underdog”. The main target audience for the film was teenage girls with a secondary niche audience of tennis fans. . In my production I looked to exploit genre conventions by producing a teaser trailer that was not entirely formulaic but included enough familiar paradigms to capture the interest of my target audience.
Audience Research
Primary research, in the form of a questionnaire, was used to obtain the views of my target audience. Web 2.0 technology, in the form of the social networking site Facebook was used to post my questionnaire to my target audience, with the knowledge that most people would receive them and to increase my response rate. The feedback was very constructive and influenced key creative decisions such as the removal of the conventional “chick flick” use of a deep male voice over to narrate the trailer. This was edited and replaced with a voice over of the main character which created a more personal relationship with the audience. Also 30% of the audience indicated that the music that was used in the original trailer was not appealing. I responded to the feedback by creating the soundtrack myself in Garage band and through the insertion of sound effects which would add a comedy dimension to the trailer. Through Web 2.0 technology (You tube and Facebook) my audience became “interactive” engaged in the development of the trailer which reflects what Jenkins has termed the “Participatory culture” in which an active audience contributes to the creation and sharing of media content.
In depth qualitative audience research was also undertaken to inform the planning of my trailer. 3 focus groups were established: teenage girls, adults and sports fans. The purpose of the interview with each group was to try to establish the features of trailers that particular appealed to them. This feedback provided much of the basis of my creative decision making. The feedback from the adults revealed that they didn’t like trailers to give too much of the plot away and that they enjoyed humour in trailers. Teenage girls stated that they liked the music to establish the character for them (sound motifs). Sports fans said that they enjoyed references to famous sporting sayings to be used in the trailer to attract their attention. I incorporated their views by making the trailer time relatively short 1 minute 31 seconds. Humour was incorporated through the use of sound effects and iconic sporting references were incorporated to appeal to the sports fans.
On reflection, this primary research could have been supplemented with an analysis of existing data relating to the consumption habits of the target audience.
Choice of Genre and the Development of Intertextuality
According to Katie Wales, “genre is …. an intertextual concept” in that relationships with other similar texts is a way of creating meaning and appeal to the audience. John Corner notes that “genre is a principal factor in the directing of audience choice and of audience expectations.” In my production references to other real media texts and conventions evident in similar productions helps to establish familiarity for the audience and to help them understand the meanings and representations made. The trailers analysed consisted mainly sports related films that tackled similar issues involving the underdog coming through to triumph over adversity (ie Bend it like Beckham, Wimbledon, Dodgeball, Coach Carter, A League of their Own) and chick flicks (ie Mean Girls, Not another Teen Movie) focusing on the culture of typical teenage girls.
Recognisable themes
My trailer has a wide range of themes and polysemic meanings: comedy, girl rivalry, friendship, relationships, teamwork and ends up being constructed into a fairytale underdog win signifying “girl power” for the convenience of the audience to enjoy. The notion of conflict as a central theme to a film will be a familiar concept to my target audience as both chick flicks and sports films tend to involve an interpersonal conflict between the protagonist and another character and the conflict seems to revolve around some personal issue or goal eg winning a competition.
Structure of the Narrative
My trailer followed a simple linear form of restricted narrative. It follows a conventional narrative structure in that: in terms of plot development there is a logical relation between one event and another; a sense of closure at the end (although the audience is left with an enigma); the story is focused on the characters and a narrative style that attempts by the end of the trailer to be more or less objective. A desire to reach a goal (winning a tennis doubles championship) propels the story.
One of the key features of any text is the need to deliver certain gratifications or “pleasures” to the audience. Teenage girls are likely to have the “cultural capital” or genre knowledge needed to follow the familiar structure of a chick flick plot. So in terms of story structure in my trailer they are “pleasured” by knowing Todorovs pattern of equilibrium, disequilibrium, equilibrium unfold before them in a predictable and familiar way.
As the trailer progresses “Cognitive” satisfactions may be derived from problem solving, testing hypotheses, making inferences (eg about the motivations and goal of characters) and making predictions about events eg does the underdog have potential? Will she be good enough in time for the tournament? Will the girls ever get along? etc . Also the open ended nature of the ending of the trailer leaves the audience in suspense as they are left with what Barthes terms an “enigma” (will the girls triumph in the championship?) that can only be solved through going to see the full length feature film.
Creating a Sense of Personal Identity (through Stereotypical Characters)
Stereotypical characterisations from the chick flick genre where adapted and incorporated into the trailer in order to appeal to and engage the target audience. Blulmer and Katz (1974) in their uses and gratifications theory stated that audiences enjoy media texts when they help meet our need to define our sense of personal identity. Part of our sense of self is informed by making judgements about all sorts of people and when we see our own behaviours reflected in the texts. The target audience could challenge and reinforce their own values as they watch the trailer unfold. For example the inspiration for portraying the champion tennis player as the stereotypical chick flick “Queen Bee” came from the film “Mean Girls” and was designed to appeal to teenage girls. The representation of the champion as a stereotypical sports girl draws on Winships theory of notion portraying an ideal version of “fake consciousness” to teenage girls, what most aspire to be. Mulveys concept of male gaze would apply to her appearance eg long blond hair, slim physique, tennis clothing symbolising a confident, successful girl. In contrast, the underdog was dressed with Barthes theory of connotations and denotations as a guide. Her leopard spotted headband, bright purple top and brightly coloured make up are designed to create the impression of a “plastic” bimbo rather than a sports girl. Stereotypical iconography in the form of mis en scene (ie costume, props, facial expressions, body language) was used to form the stereotypes which enhances the realism of the trailer as audiences identify with them.
Satisfying the Need for Integration and Social Interaction
Dennis McQuail suggests that some audiences are motivated by the need for integration and social interaction. The trailer does provide an insight into the circumstances of other teenage girls with whom they can identify and perhaps use as substitutes for real life companionship. They may also gain reassurance from the sense of belonging that the underdog eventually achieves which they may be striving for in their live. Similarly, they may gain reassurance from the fact that the outcast at the start of the film finds friendship and success. Audiences consuming the trailer will fulfil needs identified by Maslow in his hierarchy of needs ie self esteem and the gaining of respect are evident in the outcome in that the underdog comes out on top.
Developing a Personal Relationship
Blulmer and Katz (1974) in the Uses and Gratifications model also identify the audiences need to establish personal relationships as a motivational force for selecting media texts. The formation of a virtual relationship between the audience and text is achieved through a variety of devices:
The Bend it Like Beckham trailer used a voice over to provide narration throughout rather than just to introduce the initial action whilst I replicated this I also subverted the traditional convention of chick flicks (which often use a deep male voice) by using the voice of the main character to narrate events from her point of view. This change from the male voice was made as a direct result of feedback received from my target audience. The use of the first person narration creates an immediate connection between the audience and the main character who outlined the setting, situation and dilemna of the film from her point of view. The mode of address positioned the audience in the role of the champions confidante.
Making moral and emotional judgements on the actions of characters may also offer a particular pleasure. The restricted narrative in the voice over initially positions the audience to passively accept the champions interpretation of events. As the trailer progresses their empathy switches as a result of the behaviour shown by the champion particularly the aggressive comment that her new partner is “useless.” In order to change the audiences allegiance and establish their support for the underdog a series of close ups were used throughout the trailer. For example, the audience was drawn in to the emotional struggle faced by the underdog when through a close up she tells the audience directly “I’ll never be good enough.”
Also a slow motion close up was also used when the girls were shaking hands at the end of a practice match in which the underdog won symbolised a surprising change in the character of the champion. In contrast, long shots were used in a fast motion action sequence to show both girls in the same frame when training. This gave the audience the privileged perspective of viewing the different abilities of the players but also allowed them to witness the coming together of the girls at the end of the sequence. The fast motion emphasized the race against time and the speed at which the underdog was improving. The montage of shots finishes with the 2 girls performing synchronized star jumps in perfect time together with the connotation that they have formed a partnership and are working positively together. The intensity of the sequence is increased for the audience through the accompanying non diegetic sound in the form a “Rocky” inspired soundtrack I composed on Garageband to add to the motivational and upbeat tone being set in the scene.
Diversion and the Entertainment Factor (through the Use of Humour)
Also, in order to gratify the audiences need for “diversion” (Blulmer and Katz) and to meet their expectations of comedy which is often embedded in click flicks, sound was used creatively to add humour. A scene from Dodgeball was the inspiration for the footage of the underdog struggling with a training routine and a “boiing” sound effect was inserted as she collapsed in a push up. My post production audience evaluation indicated that the target audience appreciated the inclusion of the sound effect.
Incorporating Sporting Iconography that appeals to the secondary niche audience
In terms of sports films, a common theme across the genre involves an underdog triumphing against the odds which is the key narrative theme of my trailer. Sports films also tended to contain references, iconography, technical language or sayings that held a special significance to fans of the sport.
The trigger to the main action of the trailer beginning was the use of the famous John McEnroe saying ‘You cannot be serious’ from lead character reflecting the views of the sports fans. Other sporting references are used to appeal directly to secondary target audience, for example the title “On the Baseline” will connotations that can be read by tennis fans as the character being on the defensive / has her back against the wall and the famous Wimbledon “Triumph and Disaster?” reference is used to trigger a narrative enigma. The trailer is also set entirely on a tennis court which adds to the verisimilitude.
Preferred Reading
On reflection, I can now also see how my role in this production was that of an auteur in that my own ideology, personality and outlook on life heavily influenced all aspects of the production (not just genre conventions or audience expectations). I have, as a producer, tried to encode the production and position the audience in order to induce a “preferred reading” (Stuart Hall) from my target audience. The “preferred reading” of the trailer is that with hard work and self belief girls can achieve their sporting dreams. It is designed to provide the audience of teenage girls with a feel good factor and sense of satisfaction from witnessing and being part of personal transformation of both underdog and champion.
In conclusion, in a short space of time the audience is taken on an emotional roller coaster ride moving them towards a range very emotive and ideological outcomes which combine: seriousness, feeling sorry for the underdog, laughing at how bad she is and then willing her to get better. All of which lead to a moral and obvious conclusion: we expect the underdog to come out on top in this genre of films. The need to gratify my main target audience and the knowledge that challenging too many conventional expectations for the genre could threaten the integrity of the text were central to my production decisions. However, I have tried to challenge dominant patriarchal ideology with the outcome of the narrative which provides the audience with a positive representation of women as serious professional sport people willing to work hard to achieve a goal in life. As a producer I tried to fulfil a challenging balance that would engage my audience in gratification, suspense and surprise in a 2 minute trailer that reflected the brand image of my production company “Sports Flick Films” and my own personal ideology.
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