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LIFE

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JESSE TARYN CLARK

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CONNECTOR DETECTED


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CONTENT ACCESSED


THE INTRO

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methodology brief theory & context avatar aaker

THE 1ERY

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focus on the fans fanclub questionnaire china & tourism

CASE STUDIES

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brands in collaboration evian turns super tesco & technology lord of collaboration

THE TRENDS IN TECH

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mobile moments wear & share geo-stalking

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THE BIG IDEA

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THE FILM

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what is avatar? social presence social conclusion future developments movie merchandise daytime palette night on pandora

THE TRENDS IN GRAPHICS & AD

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summer sentimental trend ss16 printeractive

THE VISUAL INSPO blue in her blood shikiri in design

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O U T C O M E S

#1 - THE APP

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waking bacon mock-app

#2 - THE WEARABLE DEVICE

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light the night device map glow of inspiration device designs

#3 - THE INTERACTIVE ADS

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claim to fame find your avatar

#4 - THE ROUTES TO CONSUMER

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social skills alien filter

THE CONCLUSION

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levers to change what does fox say closing credits

THE APPENDIX

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“ THE INTRO


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W E L C O M E TO THE

EXPERIENCE ECONOMY “As the will

goods and services become commoditised, consumer experiences that companies create matter most” (Pine, B. Gilmore, J. 1998).

As the previous quote from the authors of ‘The Experience Economy’ conveys, “consumers report that, as they age, their needs have been increasingly met but their wants escalate. Rather than through physical products, these wants are being filled by intangible experiences” (WPP, 2013). While the need for innovative consumer experiences grows, so does the need for innovative technology as “a great digital experience is no longer a nice-to-have; it’s a make-or-break point for your business as we more fully enter the digital age.” (High, P. 2014.) with mobile applications being coined as “the best way to keep your customers engaged with your product” (Viswanathan, P, 2014). In order to produce a memorable campaign, brands must encourage interaction as by doing so they can easily create an emotional connection between themselves and consumers. (Holland, D.2013). This report aims to produce an interactive, innovative and integrated promotional campaign for the upcoming release of Avatar 2 in collaboration with 20th Century Fox.


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METHODOLOGY *PRIMARY In order to obtain an expert opinion on Avatar as a brand I conducted two interviews with Gemma Boutchier – Head of International Promotions at 20th Century Fox – at different points to establish the brief and basic knowledge, then constructive feedback before producing my final outcomes. This allowed me to gain a true insight in to Fox’s preferences and desires as well as ensuring my plans remained inkeeping with their previous campaign portfolio. The Avatar fans were my main source of research, which was gathered in two ways; an initial focus group sourced through 20th Century Fox followed by a survey sent to anAvatar fan group. Having established an opportunity for a collaboration campaign with China through this research I then contacted the Chinese National Tourist Office to research feasibility and desirability of the project from their side. Information and insight on advertising trends and successful campaigns came from Elliott Webb – Art Editor at Empire Magazine – who also provided knowledge on graphic trend predictions and advice on campaign aesthetics.


*SECONDARY My secondary research came from trend prediction services such as WGSN alongside credible business and design websites. While vital theory was provided by past lectures, essential reading from Bergstrom, McCandless and Graves also assisted in underpinning the report as a whole.


“ THE BRIEF


“Generate ideas for an integrated promotional campaign for the upcoming release of Avatar 2. Endeavour to include the following: * An original idea unique to Avatar * Strong interaction with the fans * Use of as many platforms as possible i.e. social media, applications etc * Include a competition(s) for fans * Make it bold, dynamic and memorable, just like the film Base your ideas on fundamental elements from the first film, as we cannot currently provide you with much information on the sequel at present. Good luck, GB.�


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CONTEXT Concepts such as experiential retail, multi-sensory events and innovative experiences are aimed at consumers who seek growth. This type of consumer often looks for experiences that will broaden their knowledge while giving them an aesthetically pleasing experience. These factors combined help them to become self-actualised. This is represented in a visualisation of Maslow’s Hierarchy of Needs, shown left. (For full figure references see Appendix 3.)


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FORTUNÂŁ Due to the fact that there will have been a 7-year gap between the release of the first Avatar film and its sequel, an engaging and stimulating ad campaign will re-ignite the bond fans have previously experienced with the franchise. This relates to the Consumer Decision Journey - pictured right - in that it will encourage consumers to recall their enjoyment and increase the likelihood of them entering the loyalty loop for the sequels.


ENJOY, ADVOCATE, BOND


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AMBITIOUS EXPRESSIVE

FREE AS A

PERSON

AS AN ORGANISATION

EXPERIMENTAL

VISIONARY

FANCIFUL


LIMITLESS

REGENERATIVE

ENDURING

AS A

SYMBOL

DREAM-LIKE

IMMERSIVE

UTOPIAN

AS A

PRODUCT

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AAKER *All words generated by Avatar Fans during primary research focus group


“ THE 1ERY


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ON THE

FANS According to Michelle Hughes - researcher, communication consultant and lecturer on Fashion Communication – Tribal Marketing is “a strategy that attempts to create communities that are centered around a product or brand� (2012). Tribal marketing is relevant to film franchises such as Avatar as they gain a dedicated fanbase who share a common appreciation of the films. When conducting primary research the Avatar fans were my first point of call as it is essential to tailor the campaign to the desires of the target consumers. I conducted a focus group with nine fans having sent out an email requesting participation through 20th Century Fox. The participants varied in age - from 15 to 44 - occupation and gender with only a mutual love of Avatar between them. In order to establish the basis for a strong, brand specific campaign I asked the participants what made the film unique versus other franchises. The key points were then displayed on the faces of the individuals. (For full focus group transcript see Appendix 4.)


“The floating mountains, the luminous elements, it’s all so instantly recognisable to the film”


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QUESTIONNAIRE Having established the key elements that make Avatar unique I formed a questionnaire to narrow the list down further. Alongside this it came to my attention during the focus group that the fans were unaware as to where James Cameron’s inspiration for the scenery of Pandora came from. Therefore I added a question to the survey concerning this knowledge. The survey was sent to a group of 118 members of an online Avatar Fan Page in order to ensure responses were gained from a varied age range and from those with interest in the film.


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SURVEY Q#1

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DOWNLOAD*

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NO

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an Avatar specific mobile app?


100%


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SURVEY Q#2

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WOULD*

EXCLUSIVE CONTENT

COMPETITIONS

GAMING

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you like to see in the app?


SURVEY Q#3

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MAKES* Avatar unique against other film franchises?

THE ABILITY TO SEEK A


THE SCENERY ON PANDORA

THE AVATARS’ APPEARANCE

NEW LIFE THROUGH BECOMING AN AVATAR

THE CREATURES AND WILDLIFE ON PANDORA

THE 3D MOVIE EXPERIENCE


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SURVEY Q#4

D I D

Y O U ?

KNOW*


YES

*

that the Floating Mountains of Pandora are based on ‘Hallelujah Mountain’ in Zhangjiajie, China?


“A mountain peak in China’s Hunan province provided the inspiration for AcademyAward-winning director James Cameron for the visual setting of the world of Pandora in the global blockbuster film Avatar.”

(Mu, E. 2010)


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TOURISM Having uncovered the low awareness of where the inspiration for Pandora came from amongst fans, I decided to explore this further. As my primary research ranked the scenery on Pandora as the second most unique element of the franchise – receiving 26% of the total - it comes as a surprise that so few know of its origin. According to the Zhangjiajie Tourism Website, the mountain was renamed ‘Hallelujah Mountain’ – it’s name in Avatar - by the Tourism Authorities after the extreme success of the film. Despite this, recognition still remains low. A recent annual report from the World Travel & Tourism Council (WTTC) stated that travel and tourism growth in China was lower than expected for 2013 (2014). The Chinese National Tourist Board stated “China will continue to focus on expanding its tourism economy by making it more welcoming to international visitors (2014). The need for increased tourism combined with the potential of highlighting China’s role in Avatar indicates a potential opportunity for promotion through collaboration.


“ CASE STUDIES


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COLLABORATION Particularly popular in the fashion industry, brand collaborations have become a regular and common design and marketing strategy. Increasingly common with both consumers and brands, this approach to business, when executed correctly, can be hugely advantageous from a branding and marketing standpoint. (Scharf, C. 2013)


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SUPER With their original ‘Baby and Me’ campaign becoming 2013’s most watched advert on the social video brand – generating 135 millions views - Evian has joined forces with The Amazing Spider Man 2 (Fox, E. 2014) The video has experienced over 7 million views in its first week, demonstrating the potential power of film/brand collaboration.


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TECHNOLOGY At the end of 2013 virtual solutions company Kishino joined with Tesco. Together they generated a shopping experience that allows customers to see online items in 3D using a scannable ‘marker’ such as a barcode. This collaboration “enabled Tesco to be the first retailer in the world to integrate augmented reality in a multi platform and multi channel retail environment” (Kishino, 2014). Months later their project became an Innovation award winner for their multi-channel AR campaign. This union makes Tesco appear more current, innovative and ahead of the competition while providing Kishino with publicity through working with a large brand.


We’re not trying to sell the movie. We’re trying to say the sense of awe and grandeur that you get with the movie is very much what you’ll get with the experience.”

(Anderson, G. 2013)


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COLLABORATION “100% Middle-earth, 100% Pure New Zealand” According to the Gregg Anderson - General Manager of Western long haul markets for Tourism New Zealand - “We’ve seen a 50% increase in arrivals to New Zealand since Lord of the Rings.” (2012). Even more recently, data for year ending February 2014 show holiday arrivals into New Zealand are up 10.6 per cent on last year (New Zealand Tourism, 2014). Though only one per cent of visitors said that the Lord of the Rings was their main or only reason for visiting, this one per cent related to approximately NZ$ 32.8m in revenue (International Visitor Survey, 2013). Anderson goes on to say that traveling to New Zealand to take in the sites appeals to the biggest trend in the tourism market today, intergenerational tourism: multiple generations within a family being able to enjoy the same trip (2012). This theory also applies to Avatar due to its evident appeal to multiple cohorts. The campaign’s success comes from a simple tag line, stunning imagery and consistent film references across the country for a cohesive experience. The New Zealand Custom Service currently stamps visitors’ passports with a “Welcome to Middle Earth stamp (Pinchefsky, 2014), while Air New Zealand present a Middle Earth-themed safety video.


“ THE

TRENDS*

*IN TECHNOLOGY


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MOMENTS The digital advertising ecosystem is rapidly evolving these days, as marketers continue to adapt to new platforms, new devices, and advertising formats.(Taube, A. 2014). As mobile ad spend is expected to nearly double again in 2014 to almost £2.26 billion (Muminova, A. 2013) there is an “increasing focus on mobile marketing strategy, with 60% of businesses now implementing strategies for integrating mobile in to their broader marketing campaigns” (Friedlein, A. 2014). According to Ewan Spence – Technology Writer for Forbes – “If you follow the principle that you need to be where users are, then you need to be building and distributing apps” (2014). The need for a mobile integrated strategy combines with the growing acceptance that apps are a necessity for the vast majority of brands to suggest that a mobile app could increase engagement with the campaign. In my primary research survey 100% of respondants selected exclusive content and competitions as desirable elements in an Avatar-based app. According to Go Mobile “Timesensitive discounts, on-going promotions, contests exclusive to mobile users and mobile-only content are all ideal means of strengthening the relationship with the brand” (2014).


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SHARE “A new device revolution is at hand: Just as mobile phones and tablets displaced the once-dominant PC, so wearable devices are poised to push smartphones aside.” (Wasik, B. 2014) As Richard Cope – Senior Trend Consultant at Mintel – points out, “you know that something is mainstreaming when it gets its own trade show, wearable technology is nothing new and nor are its fundamental purposes.” (2014) Though wearable technology is no longer a futuristic idea, its popularity is predicted to experience continued growth over the next few years (2014). Google Glass and the Samsung Smartwatch are currently the most documented products on the market but it’s healthmonitoring devices that are currently leading the sector (Wasik, B. 2014) generating revenues of up to $1bn and $3bn today. According to the Senior Executive at Accenture’s communications, media and technology group, these devices are “moving from niche applications and early adopters into much ore mainstream products” (Curran, J. 2014). The wearables market is expected to reach a by 2018. As the devices become favoured by then late majority they will become more a mainstream audience such as those who

value of $8bn first the early affordable for follow Avatar.


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STALKING “Aside from behavioural models, location gives you another layer of understanding,” – Tony Costa, Analyst at Forrester Research (2014). According to Go Mobile “Location-based advertising, Bluetooth Marketing and location-based services are the next big waves in mobile marketing” (2014). In the last year, we have seen an increasing number of brands utilising tracking and geo-fencing within their apps and marketing tactics (2014). Generating instant user-specific content appeals to the current consumers’ “mobile mind shift: the expectation that they can get what they want in their immediate context and moments of need” (Forrester, 2014). With the ability to engage local shoppers and generate revenue while making the consumer feel considered, geo-fencing is set to become a necessary element for all brand apps (2014).


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IDEA To create an engaging and integrated promotional campaign based around the idea of the ‘New Life’ you can discover through Avatar. The outcomes of the campaign also aim to increase awareness of China’s involvement in the film creation and subsequently improve their tourism figures. Having analysed trends across industries alongside the wants of the Avatar fans I aim to include an app, wearable device and interactive advertising experience.


“ THE

FILM *

* AND ITS CURRENT CREATIVE STATUS


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AVATAR? The Oxford English Dictionary defines ‘Avatar’ as the following; 1. a manifestation of a deity or released soul in bodily form on earth; an incarnate divine teacher. 2. an icon or figure representing a particular person in a computer game, Internet forum, etc. Perhaps the most common association with the word is the second definition as people have lived through online personas on various websites for years. An online avatar allows the user to have a separate life in an immersive experience, just as the lead character experiences in the film. However, Avatar as a brand has not produced any engaging elements or experiences for fans and consumers to use the word it has been named after to its full potential.


YOU’RE NOT AVATAR

DO YOU HAVE STILL NOT AVATAR

CHECK YOU OUT

“Apps are the best way to keep your customers engaged” (Viswanathan, P. 2014)

*LAUNCH AN APP = AVATARS PATH


48 YES WAS YOUR LAST TWEET OVER 2 & A HALF YEARS AGO?

A lack of consistent updates means a lack of followers

*IMPROVE TWITTER COMMUNICATION

NO

REALLY NOT AVATAR

NO

You must be lonely

DO YOU HAVE OVER 50 MILLION LIKES?

YES

An abundance of followers with minimal likes on posts indicates uninteresting content *MAKE POSTS MORE STIMULATING Liar

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PRESENCE

DO YOU RECEIVE A HIGH VOLUME OF RESPONSE ON POSTS? NO

YES

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CONCLUSION Having researched the current existence and success of Avatar across different social media platforms it’s clear there are improvements to be made and opportunities to be addressed. This combines with my previously mentioned questionnaire as the fans were asked if they had an active account on Facebook, Twitter or the App Store. The results – shown right – demonstrate the need for the brand to excel on these platforms as 100% had a Facebook and App Store account and 95% use Twitter. It’s impossible for them to ignore that “users are spending more time on their devices (an average of 2 hours and 42 minutes per day, up four minutes on the same period last year)” (Spence, E. 2014)


YES

YES NO

*

Do you have an active account on these platforms?


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DEVELOPMENTS “I think that part of the allure of Avatar is the escapism, the idea of being able to go to Pandora.” Jon Landau – Producer of Avatar (2014) As well as launching the sequel, James Cameron is also planning the opening of Avatar World at Disney’s Animal Kingdom in 2016. This will be the first immersive experience for the fans and could include a potential link to my outcomes in order to present a unified campaign.


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MERCHANDISE At present fans can purchase simple beaded bracelets such as the tribe wear in the film as well as a fairly basic video game. These products don’t take advantage of the creative potential the franchise has through its design, graphics and distinctive aesthetics (Webb, E. 2014). Providing something more futuristic, engaging and innovative for the consumers will make the franchise experience feel more integrated and enjoyable on different levels.


4 X bead bracelets

basic PC game


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PALETTE


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“ THE

TRENDS*


* IN GRAPHICS AND ADVERTISING


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TREND SS15 According to Ellen Kirkhope – Graphic Trend Forecaster for WGSN - “Long school summer vacations are the inspiration for free-spirited, tranquil landscape-focused photography on which to write sweet, adventurous messages” (WGSN, 2014) +itives Soft, appealing aesthetic Positive, embrace life attitude Encourages exploration -atives Cliché messages Images are often randomly sourced and of no particular relation to the quote Reminiscent of generic tumblr posts


G R A P H I C X

ESCAPISM “Think thought-provoking photography that evokes a sense of time and place. Be inspired by film subtitles, alluring photography of landscapes and candid life. Use playful contrasts and split-image compositions with simple typographic narratives that enhance unconventional wordplay” (Keating, S. 2014) The Summer Sentimental trend is predicted to develop in to something more real, experimental and graphically diverse. Elliott Webb – Art Editor at Empire Magazine – supports this by saying ‘the clichés of previous similar trends are knocked down for something more personal and less generic. It aims to show landscape scenes in a different light, from another angle.” (2014)


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ADVERTISING PRINTERACTIVE “One way to enhance engagement without “inconveniencing” the consumer is participatory advertising - ads that ask consumers to participate in a simple way, such as touching their TV screens, searching for a word or simply plugging in their earphones. These ads are simple, yet still clever and engaging, offering the benefits of interactive advertising without requiring a high level of commitment from a busy consumer. (Trendhunter, 2014) As previously mentioned, “consumers report that, as they age, their needs have been increasingly met but their wants escalate. Rather than through physical products, these wants are being filled by intangible experiences and engaging campaigns” according to WPP , world leader in advertising and marketing services (2013). The trend for interactive print advertising, billboards and other elements is driven by this need for experience. It has been demonstrated by simple applications such as headphone jacks in magazines to allow sound with an advert and by more complex virtual reality such as Pepsi Max’s ‘Unbelievable Bus Shelter’. This bus stop - launched in March 2014 – allows participants to become part of a virtual reality scene in London amoungst spaceships, tigers and other imposed and unexpected elements.


“ THE

INSPO *


*KEY VISUAL INSPIRATION


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BLOOD Stylist Kim Howells provides visual inspiration through her exploratory use of the colour blue. The ‘self-confessed lover of blue’ includes varying hues naturally amidst scenes where it usually appears out of place. As blue is instantly linked with Avatar, Howells offers a classy approach to saturated colour.


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DESIGN As described on her design website, French Architect and Designer Emmanuelle Moureaux created the concept of ‘Shikiri’, which literally means ‘dividing (creating) colours with spaces’ (2014). The designer is famed for using colour as threedimensional objects or layers in order to create an innovative space, rather than using it as a decorative extra on existing surfaces. This direct and unique method is demonstrated in her architecture, products, interiors and other areas. She provides visual inspiration in this project through questioning how colour can be used in new, creative ways.


“ THE OUTCOMES

*


*#1 - THE APP


THE AVATAR APP


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BACON Oscar Mayer have released an app that works in conjunction with additional technology to create an engaging and multisensory experience for their consumers. The idea consists of two elements: the first is an iPhone app that can be downloaded for free and the second part is a small device that plugs into the headphone jack of your iPhone (Kooser, A. 2014). The device emits the scent of bacon alongside sizzling sounds when triggered by the alarm set on the app. Oscar Mayer experienced an increase in Facebook likes on their brand page of over 10,000 people with Twitter seeing similar results (Oscar Mayer, 2014). The exclusivity of the device – the app is available to all while the device must be applied for and won- combined with the unique appeal has increased brand awareness in an engaging and memorable way through combining a device with an app.


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APP I have produced a prototype app storyboard based upon the desires of the fans alongside the visual criteria supplied by 20th Century Fox. The Avatar graphics provided by the company are sourced from the first film, as images from the sequel are currently private. The app has been designed to be understandable for all ages of users and visually on-brand. The first side of mock-ups represent the experience of a user who possesses the accompanying wearable device whereas the second demonstrates the consumer journey without it.


“ THE OUTCOMES

*


* #2 - THE WEARABLE DEVICE


THE WEARABLE DEVICE


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NIGHT In April 2013 at Milan Fashion Week, Heineken unveiled the ‘World’s fist interactive bottle’. This – according to the Heineken Ignite Blog – has stemmed from the brand’s “ambition to develop an idea that would create a memorable Heineken experience unlocking the power and possibilities of mobile innovation and technology” (2013). The bottle is equipped with LEDs and motion sensors enabling it to light up with different effects when sipped from or knocked against another bottle. It is also possible to remotely activate it with a light source such as in a club. The redesigned ‘Ignite 2.0’ bottle is expected on shelves at some point in 2014, with new features such as sensitivity to sound, allowing it to light up in time to music as it is synchronised with the rhythm (Melanson, D. 2013). This new sensory technology demonstrates the future possibilities in product design and ideas as to how the objects can react to its surroundings and user in order to create a personalised experience for each consumer.


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INDEPENDENT

The so-called “iWatch” is practically an official product in Apple’s future. The Financial Times has reported that Apple has been headhunting designers at luxury watch companies. (Lory, A. 2014) Between this future device and those existing, there is a clear gap for a wrist-worn device that is specific to a more immersive or gaming experience. GENERAL USE

INTERACTIVE


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#1

I developed three potential wearable designs to accompany this interactive campaign. Each aims to meet the following characteristics - unintimidating, distinctive, recognisable to the brand, simple and suitable for a varied range of consumers.


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#2

The designs aimed to demonstrate the different possibilities with varying width, shape and textures to provide options for 20th Century Fox to choose from.


W E A R A B L E X

#3

All designs have the capacity to light up to reflect the bioluminscent nature of the plants and creatures on Avatar, This glowing stage is shown on the top left.


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JURY Having generated three design options for the wearable device I then asked for the opinion of 20 fans and 20 of the 20th Century Fox Promotions Team. Each had one vote for their preferred design, with the results shown left. This process enabled me to select the design that is preferred by both the client and the consumers. The band will commercially be referred to as a ‘Heylu Band’ as ‘heylu’ translates as ‘connection’ in the Avatar language Na’vi.


“ THE OUTCOMES

*


* #3 - THE INTERACTIVE ADS


THE INTERACTIVE ADS


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FAME Andy Warhol famously once said that “In the future, everyone will be world-famous for 15 minutes.” (1968) This ever-present obsession with fame – however brief – is a potential marketing tool for brands. American Eagle has utilised this consumer behaviour to their advantage, luring consumers in to their store with the promise of their photo appearing on a billboard over Times Square (Wong, V. 2009). These strategies then encourage consumers to share their experience on social media accounts, generating promotion through word of mouth.


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*

STAGE 1 - promotional billboard in an inactive, standard state. In order to create a visually cohesive and integrated campaign the billboards would become bioluminescent in appearance at night. This design co-ordinates with the wearable device and the graphics within the app. Inspiration comes from the previously mentioned architect and designer Emmanuelle Moureaux in my use of colour to create an innovative visual space, adding extra dimension to the screen.


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STAGE 2 When a user of the promotional app or wearable device is in a certain proximity to an interactive billboard it will detect them and present their profile photo onscreen in the form of an Avatar. There are currently no platforms provided by Fox or Avatar that allow the user to see their face as an Avatar. This experience would be new and unique for fans while providing them with a chance to share their photo on social media. The photo would be available to share on the accompanying app as the campaign features are all linked. The interactive proximity could be deactivated if the user desired.


SELECT YOUR SCENE


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STAGE 3 A selection of scenes will be presented to the user to choose from in the next step of the experience. These scene options will be changed and added to as new footage is released. This will encourage users to take part more than once, as there is new content to be discovered each time.


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STAGE 4 Once the participant selects their chosen scene they are then transported in to the world of Avatar. The character - whose face will be replaced with their profile photo will be shown acting in a teaser trailer on screen. If the user is wearing the accompanying device it will become bioluminescent throughout the experience and fade again once it is complete. Alongside the lighting effect the device will also send out vibrations at times of impact during the scene. These elements will not only show the consumer an exclusive clip but also fully immerse them in a multi-sensory Avatar experience.


SEEK NEW LIFE. FIND YOUR


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STAGE 5 The billboard would then return to its original state while presenting the key integrated campaign tagline.


“ THE OUTCOMES

*


* #4 - THE ROUTES TO CONSUMER


THE ROUTES TO CONSUMER


Avatar

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30th June

How many of you have seen our interactive billboards around? Download the app and track one down to find your Avatar... #avatar2 #seeknewlife

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26th June

Have you bought your haylu band yet? The device will let you play the Avatar app game which gives you a chance of winning a trip to the real Hallelujah Mountains in China! Click the link below to purchase #avatar2 #seeknewlife http://avatar.com/hayluband-purchase

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SKILLS As previously analysed – see page 47 - the Avatar brand does not currently use its social media platforms to their highest potential. Through posting old content such as images from the first film and nothing that engages the fans directly such as competitions, the pages see little response despite their millions of followers. The Facebook mock-up shown opposite demonstrates the potential posts that could accompany this campaign. Posting about the interactive billboards can generate conversation between the brand and consumer as well as between fans while increasing awareness of the campaign. The boards will then become something that is sought out by fans as something to experience. The page can also be used to promote the competitions provided by the app, the app itself and the purchase of the wearable device.


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FILTER As previously mentioned, the app provides a feature that allows the user to instantly share their Avatar character after they’ve experienced the interactive billboards. This feature will promote the brand, film and campaign quickly and easily through word of mouth alongside the hashtags #seeknewlife and #avatar2.


avatarfan90

avatarfan90

avatarfan90 just found my Avatar alter-ego at the new promo billboards.. amazing! #seeknewlife #avatar2


“ THE

*

CONCLUSION


*AND THE FUTURE


THE COMBINATION


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make it understandable

make it a habit

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make it rewarding

make it desirable

Mr Pradeep - Vice President of Consumer and Marketing Insight - was part of a team that had a clear mission: to develop a best practice toolkit for behaviour change and engaging consumers (2013). Unilever developed the ‘Five Levers of Change’: a set of principles brought together in a new approach, which, if applied correctly to their marketing, will increase the likelihood of having an impact on the consumer (Unilever, 2012).


Making it understandable : *Making the link between the app, device and campaign clear *Ensuring the purpose of each is well explained *Keeping the language and design simple, clean and uncomplicated

Making it easy : *Designing a wearable device that isn’t intimidating to all ages of users *A campaign activated by a wearable device requires minimal effort for the user *Quick and easy to create a log in on the app with minimal details required to access content * Link allowing users to easily share their Avatar alter-ego on Instagram

Making it a habit : * Designing the wearable device/ app to become active once the user has reached a certain energy level encourages repeat use whenever that energy level is obtained


136

Making it rewarding :

Making it desirable :

* Including a top prize of a trip to China in conjunction with the promotion campaign encourages users to play the game * Hiding exclusive content within the app and promotional boards encourages engagement while giving back to the fans

* Producing a device that is appealing and distinctive in design * Selling the device at an affordable and acceptable price * Delivering exclusive content that cannot be found anywhere else


138

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DOES

FOX SAY? In order to ensure I’d fulfilled the wants and needs of 20th Century Fox I returned to Miss Boutchier for final feedback. “Referring back to the requirements I gave you at the start it’s fair to say you’ve included what has been asked of you. I asked for something unique to the franchise which is definitely the case, the visuals in particular are instantly recognisable as the Avatar brand. I can definitely see the fans tracking down the billboards and looking to purchase the wearable device to be recognised as part of the Avatar fanbase. Overall it’s an exciting, engaging and innovative campaign that leaves us scope for the future sequels. Well done.”


139

C L O S I N G X

CREDITS At the beginning of the project I received this brief: “Generate ideas for an integrated promotional campaign for the upcoming release of Avatar 2. Endeavour to include the following: * An original idea unique to Avatar * Strong interaction with the fans * Use of as many platforms as possible i.e. social media, applications etc * Include a competition(s) for fans * Make it bold, dynamic and memorable, just like the film� Through conducting primary research with the fans themselves using both a focus group and further questionnaire I have been able to generate a campaign that is unique to Avatar. The campaign itself is based around interaction and involvement with fans across several platforms that interlink cohesively. The app, wearable device and billboards merge to create an immersive experience that is currently unavailable for fans and provides them with a unique opportunity. The competition included within the app fulfils Fox’s brief while encouraging fans to visit China, the place that inspired the landscape of their much-loved planet.


This campaign aims to re-ignite the fans’ passion for the film while encouraging new consumers to become involved in the build-up to the release. The ideas also provide opportunities for possible promotions for the third and fourth sequels in the following years. These could include new footage, additional wearable devices and new games to unlock. Though the storylines in the sequels may differ, the aesthetics of the wearable itself allow it to be used against future promotions while remaining recognisable as part of the Avatar franchise. This on-going interactive campaign encourages engagement, immersing the consumers in the experience of seeking new life and finding their Avatar.


“ THE APPENDIX

*


*DOCUMENT


APPENDIX 1

THE REFS


144

Bernoff, J. (2014). Mobile Moments Transform Customer Experience. Available: http:// www.forrester.com/Mobile+Moments+Transform+Customer+Experience/fulltext/-/E-RES 113101?isTurnHighlighting=false&highlightTerm=julie%20ask. Last accessed 28th March 2014. Bradshaw, T. (2014). Wearables Emerge as Top Trends. Available: http://www.ft.com/cms/ s/0/50264574-7485-11e3-9125-00144feabdc0.html#axzz2zF1FQNbQ. Last accessed 12th April 2014. Chinese National Tourist Office . (2013). Inspiration for Avatar. Available: http://www. zhangjiajietourism.us/about-avatar.html. Last accessed 26th March 2014. Chinese National Tourist Office . (2014). China Working to Expand Tourism. Available: http://www.cnto.org/china-working-to-expand-tourism/. Last accessed 28th March 2014. Cope, R. (2014). Wearable Technology Show. Available: http://www.mintel.com/author/ rcope. Last accessed 12th April 2014. Fox, E. (2014). Dancing baby Spiderman: Evian launches sequel to Baby and Me advert. Available: http://www.express.co.uk/news/weird/468411/Dancing-baby-Spiderman-Evianlaunches-sequel-to-Baby-and-Me-advert. Last accessed 3rd April 2014. Friedlein, A. (2014). Six trends in advertising you need to know for 2014. Available: http:// www.marketingweek.co.uk/opinion/ashley-friedlein/six-trends-in-advertising-you-needto-know-for-2014/4009135.article. Last accessed 3rd April 2014. Gilmore J. Pine, B.. (1998). Welcome to the Experience Economy.Harvard Business Review. 1 (3), 96-105. Holland, D. (2013). The Evolution of Retail. Available: http://www.fjordnet.com/ conversations/the-evolution-of-retail/. Last accessed 10th March 2014. Hughes, M. 2012. March 15th. Communication Strategies. [PowerPoint Presentation]. Presented at a FASH10041 lecture at Nottingham Trent University. Keating, S. (2014). Photo Escapism. Available: http://www.wgsn.com.ezproxy.ntu.ac.uk/ content/report/Design_Direction/Print_and_Graphics/SS_15/photo_escapism.html. Last accessed 4th April 2014. Kirkhope, E. (2014). Print Downloads. Available: http://www.wgsn.com.ezproxy.ntu.ac.uk/ content/report/Design_Direction/Kidswear/Spring_summer_2015/Print_collections/ summer_sentiments.html. Last accessed 3rd April 2014.


Kishino. (2014). Kishino delivers proven and scalable Augmented Reality and Product Recognition solutions. Available: http://www.kishinoaugmentedreality.com/. Last accessed 23rd Feb 2014. Lory, A. (2014). Apple Keeps Full-Press on Wearables by Courting Swiss Watchmakers. Available: http://www.padgadget.com/2014/03/28/apple-keeps-full-press-on-wearables-bycourting-swiss-watchmakers/. Last accessed 12th April 2014. Melanson, D. (2013). Heineken Ignite concept imagines a future of interactive, LED-laden beer bottles. Available: http://www.engadget.com/2013/04/10/heineken-ignite-conceptimagines-a-future-of-interactive-led-la/. Last accessed 4th Jan 2014. Moureaux, E. (2014). Profile. Available: http://www.emmanuelle.jp/. Last accessed 11th April 2014. Mu, E. (2010). Avatar’s Hallelujah Mountain in Real Life. Available: http://www.danwei.org/ tourism/hallelujah_mountain_in_real_li.php. Last accessed 25th March 2014. Muminova, O. (2013). Top 10 Trends for 2014. Available: http://www.theguardian.com/ advertising/digital-media-trends-2014-trends. Last accessed 1st April 2014. New Zealand Tourism. (2014). Marketing New Zealand through films and the Hobbit trilogy. Available: Marketing New Zealand through films and the Hobbit trilogy. Last accessed 4th April 2014. Pinchefsky, C. (2012). The Impact (Economic and Otherwise) of Lord of the Rings/The Hobbit on New Zealand. Available: http://www.forbes.com/sites/ carolpinchefsky/2012/12/14/the-impact-economic-and-otherwise-of-lord-of-the-ringsthehobbit-on-new-zealand/. Last accessed 4th April 2014. Scharf, C. (2013). 4 Advantages of Successful Brand Collaborations.Available: http://www. trendreports.com/article/brand-collaborations. Last accessed 31st March. Taube, A. (2014). The 8 Digital Trends that Will Change the Future of Advertising. Available: http://www.businessinsider.com/digital-trends-to-watch-for-in-advertising-20143?op=1. Last accessed 1st April 2014. Trendhunter. (2014). Participatory Advertising. Available: http://www.trendhunter.com/ protrends/participatory-advertising. Last accessed 1st April 2014. Unilever. (2013). Unilever’s Five Levers for Change. Unilever Sustainable Living Plan. p.820. Viswanathan, P. (2014). Do You Need to Develop a Mobile App for Your Business?. Available: http://mobiledevices.about.com/od/appbranding/a/Do-You-Need-To-DevelopA-Mobile-App-For-Your-Business.htm. Last accessed 26th March 2014. Wasik, B. (2014). Why Wearable Technology Will be as Big as the Smartphone. Available: http://www.wired.com/2013/12/wearable-computers/. Last accessed 12th April 2014.


146

Webb, E. (2014). Personal Interview. Conducted 4th April 2014. Wong, V. (2009). American Eagle Outfitters offers 15 secs of fame in Times Square. Available: http://www.businessweek.com/innovate/next/archives/2009/11/american_eagle. html. Last accessed 15th April 2014. WPP. (2013). Experiential Retail has Become the Watchword for the Retail Industry. Available: http://www.wpp.com/~/media/sharedwpp/newsletter/thestore/documents/ thestore_newsletter_002_gtpwtw_short2.pdf. Last accessed 14th March 2013.


APPENDIX 2

THE BIBLIO


148

Ask, J. (2014). Facebook Paper: What Brands Can Learn About The Need For Multiple, Simple Apps. Available: http://www.forbes.com/sites/forrester/2014/01/31/facebook-paperwhat-brands-can-learn-about-the-need-for-multiple-simple-apps/. Last accessed 25th March 2014. Bergström, Bo. (2008). Essentials of Visual Communication. London: Laurence King. Bernoff, J. (2014). Mobile Moments Transform Customer Experience. Available: http:// www.forrester.com/Mobile+Moments+Transform+Customer+Experience/fulltext/-/E-RES 113101?isTurnHighlighting=false&highlightTerm=julie%20ask. Last accessed 28th March 2014. Bradshaw, T. (2014). Wearables Emerge as Top Trends. Available: http://www.ft.com/cms/ s/0/50264574-7485-11e3-9125-00144feabdc0.html#axzz2zF1FQNbQ. Last accessed 12th April 2014. Brousell, L. (2014). 5 Things You Need to Know About Geofencing. Available: http://www. cio.com/article/738540/5_Things_You_Need_to_Know_About_Geofencing. Last accessed 12th April 2014. Burmeister, J. (2013). 8 Do’s and Don’ts for More Effective Ad Campaigns. Available: http:// thefinancialbrand.com/31471/8-tips-for-more-effective-advertising-campaigns/. Last accessed 25th March 2014. Chinese National Tourist Office . (2013). Inspiration for Avatar. Available: http://www. zhangjiajietourism.us/about-avatar.html. Last accessed 26th March 2014. Chinese National Tourist Office . (2014). China Working to Expand Tourism. Available: http://www.cnto.org/china-working-to-expand-tourism/. Last accessed 28th March 2014. Coleman, C. (2014) (1). Digital Collage. Available: http://www.wgsn.com.ezproxy.ntu.ac.uk/ content/report/Design_Direction/Print_and_Graphics/AW_14_15/Mens/digital_collage_ mens.html. Last accessed 4th April 2014. Coleman, C. (2014) (2). Letterspace. Available: http://www.wgsn.com.ezproxy.ntu.ac.uk/ content/report/Design_Direction/Print_and_Graphics/AW_14_15/Mens/letterspace_mens. html. Last accessed 4th April 2014. Cope, R. (2014). Wearable Technology Show. Available: http://www.mintel.com/author/ rcope. Last accessed 12th April 2014. Dolasia, M. (2010). The Inspiration Behind Avatar’s ‘Floating Mountains’. Available: http:// www.dogonews.com/2010/2/1/the-inspiration-behind-avatar-s-floating-mountains. Last accessed 24th March 2014.


Evian. (2014). The Amazing Baby and Me. Available: https://www.youtube.com/watch?v=py V57QlGUGI&feature=youtu.be. Last accessed 25th March 2014. Fox, E. (2014). Dancing baby Spiderman: Evian launches sequel to Baby and Me advert. Available: http://www.express.co.uk/news/weird/468411/Dancing-baby-Spiderman-Evianlaunches-sequel-to-Baby-and-Me-advert. Last accessed 3rd April 2014. Friedlein, A. (2014). Six trends in advertising you need to know for 2014. Available: http:// www.marketingweek.co.uk/opinion/ashley-friedlein/six-trends-in-advertising-you-needto-know-for-2014/4009135.article. Last accessed 3rd April 2014. Gill, M. 2013, March 15th. Social Media and the 5Cs. [PowerPoint Presentation]. Presented at a FASH20032 lecture at Nottingham Trent University. Gill, M. 2013. May 2nd. Innovative Campaigns. [PowerPoint Presentation]. Presented at a FASH20032 lecture at Nottingham Trent University. Gilmore J. Pine, B.. (1998). Welcome to the Experience Economy.Harvard Business Review. 1 (3), 96-105. Graves, P. 2010. Consumer.ology. London: Nicholas Brealey Publishing. Holland, D. (2013). The Evolution of Retail. Available: http://www.fjordnet.com/ conversations/the-evolution-of-retail/. Last accessed 10th March 2014. Hopkins, J. Turner, J. (2012). Go Mobile. Hoboken: Wiley. Hughes, M. 2012, Feb 23rd. Understanding Consumer Behaviour. [PowerPoint Presentation]. Presented at a FASH10041 lecture at Nottingham Trent University. Hughes, M. 2012. March 15th. Communication Strategies. [PowerPoint Presentation]. Presented at a FASH10041 lecture at Nottingham Trent University. Hughes, M. 2012, Oct 5th. Innovative Research Methods. . [PowerPoint Presentation]. Presented at a FASH20031 lecture at Nottingham Trent University. Hussain, A. 2013. 8 Big Marketing Campaign Mistakes to Stop Making NOW. Available: http://blog.hubspot.com/blog/tabid/6307/bid/34207/8-Big-Marketing-Campaign-Mistakesto-Stop-Making-NOW.aspx. Last accessed 24th March 2014. Jobling, A. (2014). Digital marketing in China: key strategies. Available: http://www. wgsn.com.ezproxy.ntu.ac.uk/content/report/Business_Strategy/Thought_Leadership/ Conference_Reports/2014/April/digital-marketing-in-china--key-strategies.html. Last accessed 8th April 2014.


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John-Steiner, V (2006). Collaboration Collaboration. Oxford: Oxford University Press. Keating, S. (2014). Photo Escapism. Available: http://www.wgsn.com.ezproxy.ntu.ac.uk/ content/report/Design_Direction/Print_and_Graphics/SS_15/photo_escapism.html. Last accessed 4th April 2014. Khanom, R. (2014). Targeted advertising using body scan technology.Available: http:// academic.mintel.com/display/693197/. Last accessed 3rd April 2014. Kirkhope, E. (2014). Print Downloads. Available: http://www.wgsn.com.ezproxy.ntu.ac.uk/ content/report/Design_Direction/Kidswear/Spring_summer_2015/Print_collections/ summer_sentiments.html. Last accessed 3rd April 2014. Kishino. (2014). Kishino delivers proven and scalable Augmented Reality and Product Recognition solutions. Available: http://www.kishinoaugmentedreality.com/. Last accessed 23rd Feb 2014. Lavrakas, P, Mane, S & Laszlio, J. 2010. ‘Does Anyone Really Know If Online Ad Campaigns Are Working?’. Journal of Advertising Research, 50. 4, pp. 354-373. Business Source Complete, EBSCOhost. Last viewed 27th March 2014. Lewington, S. 2012, April 24th. History of Collaboration. [PowerPoint Presentation]. Presented at a FASH10041 lecture at Nottingham Trent University. Lory, A. (2014). Apple Keeps Full-Press on Wearables by Courting Swiss Watchmakers. Available: http://www.padgadget.com/2014/03/28/apple-keeps-full-press-on-wearables-bycourting-swiss-watchmakers/. Last accessed 12th April 2014. Malhotra, S. (2014). Researchers develop battery for wearable devices that could last 10 years. Available: http://www.thinkdigit.com/General/Researchers-develop-battery-forwearable-devices-that_20704.html. Last accessed 17th April 2014. McCandless, D. (2012). Information is Beautiful. London: Collins. 1. Melanson, D. (2013). Heineken Ignite concept imagines a future of interactive, LED-laden beer bottles. Available: http://www.engadget.com/2013/04/10/heineken-ignite-conceptimagines-a-future-of-interactive-led-la/. Last accessed 4th Jan 2014. Moureaux, E. (2014). Profile. Available: http://www.emmanuelle.jp/. Last accessed 11th April 2014. Mu, E. (2010). Avatar’s Hallelujah Mountain in Real Life. Available: http://www.danwei.org/ tourism/hallelujah_mountain_in_real_li.php. Last accessed 25th March 2014.


Muminova, O. (2013). Top 10 Trends for 2014. Available: http://www.theguardian.com/ advertising/digital-media-trends-2014-trends. Last accessed 1st April 2014. New Zealand Tourism. (2014). Marketing New Zealand through films and the Hobbit trilogy. Available: Marketing New Zealand through films and the Hobbit trilogy. Last accessed 4th April 2014. Pepsi Max. (2014). Unbelievable Bus Shelter. Available: https://www.youtube.com/watch?v= Go9rf9GmYpM&feature=youtu.be. Last accessed 3rd April 2014. Pinchefsky, C. (2012). The Impact (Economic and Otherwise) of Lord of the Rings/The Hobbit on New Zealand. Available: http://www.forbes.com/sites/ carolpinchefsky/2012/12/14/the-impact-economic-and-otherwise-of-lord-of-the-ringsthehobbit-on-new-zealand/. Last accessed 4th April 2014. Quadra, E. (2014). THE ALL-NEW RANGE ROVER SPORT - SENSORY OVERDRIVE. Available: http://cargocollective.com/eduardoquadra. Last accessed 18th April. Scharf, C. (2013). 4 Advantages of Successful Brand Collaborations.Available: http://www. trendreports.com/article/brand-collaborations. Last accessed 31st March. Spence, E. (2014). The Mobile Browser Is Dead, Long Live The App.Available: http://www. forbes.com/sites/ewanspence/2014/04/02/the-mobile-browser-is-dead-long-live-the-app/. Last accessed 26th March 2014. Taube, A. (2014). The 8 Digital Trends that Will Change the Future of Advertising. Available: http://www.businessinsider.com/digital-trends-to-watch-for-in-advertising-20143?op=1. Last accessed 1st April 2014. The Cool Hunter. (2014). 100 Colours Exhibition. Available: http://www.thecoolhunter. co.uk/events. Last accessed 7th April 2014. Tikos, B. (2014). Events. Available: http://www.thecoolhunter.co.uk/events. Last accessed 7th April 2014. Trendhunter. (2014) (1). Participatory Advertising. Available: http://www.trendhunter.com/ protrends/participatory-advertising. Last accessed 1st April 2014. Trendhunter. (2014) (2). Print Trend Report. Available: http://www.trendhunter.com/pro/ category/print-ads. Last accessed 1st April 2014. Unilever. (2013). Unilever’s Five Levers for Change. Unilever Sustainable Living Plan. p.820.


152

Unknown. (2010). Avatar Merchandise. Available: http://www.jamescamerononline.com/ AvatarMerch.htm. Last accessed 11th April 2014. Viswanathan, P. (2014). Do You Need to Develop a Mobile App for Your Business?. Available: http://mobiledevices.about.com/od/appbranding/a/Do-You-Need-To-DevelopA-Mobile-App-For-Your-Business.htm. Last accessed 26th March 2014. Wang, L. (2014). Bits & Bytes. Available: http://www.businessoffashion.com/2014/04/ bits-bytes-nike-exits-wearables-hardware-ebay-rising-secretsales-raises-4-5m.html. Last accessed 14th April 2014. Wasik, B. (2014). Why Wearable Technology Will be as Big as the Smartphone. Available: http://www.wired.com/2013/12/wearable-computers/. Last accessed 12th April 2014. Webb, E. (2014). Personal Interview. Conducted 4th April 2014. Wong, V. (2009). American Eagle Outfitters offers 15 secs of fame in Times Square. Available: http://www.businessweek.com/innovate/next/archives/2009/11/american_eagle. html. Last accessed 15th April 2014. WPP. (2013). Experiential Retail has Become the Watchword for the Retail Industry. Available: http://www.wpp.com/~/media/sharedwpp/newsletter/thestore/documents/ thestore_newsletter_002_gtpwtw_short2.pdf. Last accessed 14th March 2013.


APPENDIX 3

THE IMAGES


F1 - Zhangjiajie National Park, China. 2014. - Sourced from http://www.zhangjiajietourism. us/

F8 - Focus group original photographs, own images. 2014.

F2 - Gemma Boutchier - Head of International Promotions at 20th Century Fox. 2014. Sourced from LinkedIn.com

F9 - Additional focus group research photographs, own images. 2014.

F3 - Elliott Webb - Art Editor at Empire Magazine, 2014. Sourced from LinkedIn.com

F10 - Questionnaire result infographic. Background image sourced from 20th Centry Fox. 2010.

F4 - The Avatar Fans, personal photography. 2014.

F11 - Questionnaire result infographic. Background image sourced from 20th Centry Fox. 2010.

F5 - Maslow’s Hierarchy of Needs Diagram created by myself using Photoshop, 2014.

F12 - Questionnaire result infographic. Background image sourced from http://www. zhangjiajietourism.us/. 2014.

F6 - Consumer Decision Journey Diagram created by myself using Photoshop. Background image sourced from 20th Century Fox. 2010.

F13 - Hallelujah Mountain, China. 2014. - Sourced from http://www.zhangjiajietourism. us/

F7 - Avatar AAKER model created on Photoshop. Imagery sourced from 20th Century Fox, 2010.

F14 - Evian & Spiderman ‘The Amazing Baby and Me 2’, 2014. Sourced from youtube.com


F15 - Kishino and Tesco Augmented Reality, 2014. Sourced from: http://www. kishinoaugmentedreality.com/.

F22 - Avatar World Designs, 2014. Sourced from: https:// disneyworld.disney.go.com/ destinations/animal-kingdom.

F16 - Lake Hawea, New Zealand, 2014. Sourced from: http://www. newzealand.com/.

F23 - Avatar Merchandise Infographic, 2014. Background image sourced from 20th Century Fox, 2010.

F17 - Wearable technology collage, 2014. Images ourced from: http://www.forbes.com.

F24 - Avatar Daytime Palette, 2014. Images sourced from 20th Century Fox, 2010.

F18- Geo-fencing collage, 2014. Images sourced from http://www. cio.com.

F25 - Avatar Night Palette, 2014. Images sourced from: 20th Century Fox, 2010.

F19 - Screenshot of the Avatar Twitter Page, 2014. Sourced from: https://twitter.com/officialavatar.

F26 - Summer Sentimental trend collage, 2014. Images sourced from WGSN, 2014.

F20 - Screenshot of the Avatar Facebook Page, 2014. Sourced from: https://www.facebook.com/ AvatarMovie.

F27 - Graphic Trend SS16 collage, 2014. Images sourced from WGSN, 2014.

F21 - Questionnaire result infographic. Background image sourced from 20th Centry Fox. 2010.

F28 - Printerative trend collage, 2014. Images sourced from youtube.com


F29 - Kim Howells Advertising Work collage, 2014. Images sourced from: http://kimhowells. com/.

F36 - Wearable Devices Perceptual Map, 2014. Images sourced from: http://www. wearable-technologies.com/.

F30 - Kim Howells Editorial Work collage, 2014. Images sourced from: http://kimhowells. com/.

F37 - Wearable Device Inspiration collage, 2014. Images sourced from http://biolum.eemb. ucsb.edu/.

F31 - Emmanuelle Moureaux Architecture collage, 2013. Images sourced from: http:// www.emmanuelle.jp/.

F38 - 40 - Wearable Device Designs created using 3D design, 2014.

F32 - Emmanuelle Moureaux Design collage, 2013. Images sourced from: http://www. emmanuelle.jp/.

F41 - American Eagle ‘Leave Your Mark’ Times Square Billboard, 2010. Image sourced from: http:// www.ae.com/timessquare/index. html.

F33 - Wake Up and Smell the Bacon App, 2014. Images sourced from: http://www. wakeupandsmellthebacon.com/.

F42 - 46 - ‘Seek New Life’ Interactive Billboard Campaign Mock-ups, 2014. Designed by myself using Photoshop. Background image sourced from Shutterstock. Avatar images sourced from 20th Century Fox.

F34 - Avatar App Design Mockups, 2014. Designed by myself using Photoshop.

F47 - Avatar Facebook Page Mock-up, 2014. Background template sourced from Facebook. com.

F35 - Heineken Ignite Case Study Collage, 2014. Images sourced from: http://heinekenignite. tumblr.com/.

F48 - Instagram Fan Post Mockup, 2014. Background image sourced from Instagram.


APPENDIX 4

THE FOCUS GROUP


158

W

H

A

T

THEY

SAID NUMBER OF PARTICIPANTS : 9 NAMES OF PARTICIPANTS:

* * * * * * * * *

Louis Allison, 21 Tristan Barber, 24 Helen O’Connor, 38 Steve Gray, 40 Priyanka Mohindra, 17 Mark Lidding, 44 Sam Warren, 15 Aimee Hughes, 19 Gabrielle Broadbent, 29

ME: Okay so, I’d like to know what in your opinion makes the Avatar film so unique against other fantasy film franchises like Harry Potter, Lord of the Rings etc? GB: I think it’s the scenery on Pandora. Whenever I watch it I can’t help but look at all the tiny details everywhere… it’s astounding. The floating mountains, the luminous elements, it’s all so instantly recognisable to the film. AH: Yeah I agree, and I guess part of that is the vegetation like the bioluminescent plants that really bring the scene to life at night and add that extra magic and memorability. That and the animals are what stand out to me. TB: Its got to be the futuristic weaponry and machinery that’s in the hands of the humans for me, probably a typically manly thing to say but it’s brutal! The fight scene is epic and it’s that machinery that sticks out in my mind the most. Though I guess that could apply to other films. LA: That’s pretty common in a lot of films… I think its uniqueness comes from Jake’s split life and his chance to be someone else completely in his Avatar body. Gaining back the use of his legs shows the chance of infinite possibility and a new lease of life for him… it’s inspirational and I can’t think of another film with that.


ML: I’ve got to agree with Louis, I would’ve said the same thing. I love that he gets to be free and explore and run again, something he never thought he’d do again. GB: That’s a good one actually, thinking about it I guess that is something we haven’t seen properly in other franchises. SW: I think you’re all completely missing the most unique element, the Avatars themselves! If you think Avatar you think blue, the detail on their faces, the cords connecting them to their environment, just their whole design! SG: Exactly! And the 3D experience that brings the Avatars to life in such an awe-inspiring way… it started a massive trend of 3D films but is the only one to be fully filmed in 3D, so innovative and engaging... can’t wait to see what’s coming next. HO’C: 3D is pretty common and can be applied to any film, it doesn’t make it stand out. I think it’s a combination of the planet’s appearance and the new life element like Louia said. PM: Hmmm I loved the connection between the Avatars. They had such a strong family bond even when faced with the greatest threats. I mean I know that’s prominent in a lot of films but they portrayed it so well by physically connecting everything together with their cords, such a good idea. ME: Thank you, it’s interesting to hear the different opinions coming across. With the scenery coming up a few times can I just ask if any of you knew where the inspiration for the Floating Mountains came from? I’ve been reading about filming locations during my research. ML: Somewhere in New Zealand wasn’t it? Like in the mountains? AH: No I read about this too, it was in China. SG: Really? I didn’t think of China as having mountains... ME: Yes you’re right it’s the Zhangjiajie National Park in China, they renamed the mountain Hallelujah Mountain like in Avatar after it was released!


160 LA: I’m surprised that wasn’t publicised more, I’ve never heard about that. ME: Can I just ask how many of you knew that? -

AH raised hand alone-

ME: You call yourselves fans! GB: I feel quite bad now, just shows it wasn’t talked about much though if none of the rest of us had heard about it! ME: Okay so next question, would you download an Avatar-based app that links with the promotional campaign? - All responded with nods SW: Definitely, I’ll download anything to do with the film, and I know there’s not an app at the moment so yes! AH: Me too, I’m surprised there hasn’t been an official app yet for such a technology-based film. ME: And what would you look for in this app, content-wise? ML: Exclusive content like first looks at trailers, film-stills or clips, something only those with the app get to see. PM: I agree, lots of exclusive stuff to get our hands on, things to download or sneak-peaks like ML said. GB: Maybe some competitions? The chance to win some prizes or movie tickets to the sequel or something along those lines? I’d definitely enter if they were all included in the app. TB: I think it could go further than just content and competitions, something really cool tech-wise as it was such an innovator with the 3D approach… something that’ll make people want to tell their friends about the app and the upcoming movie.


APPENDIX 5

THE CONSENT


162


164


166


168


170


APPENDIX 6

THE SURVEY


172

51-60

60+

<16

41-50 16-20

31-40

*

AGE

21-30

* proportions of total 50 participants


173

NEW LIFE

THE CREATURES AND WILDLIFE

*

WHAT

SCENERY

THE AVATARS

*

makes Avatar unique against other film franchises?


Were you aware that the Floating Mountains of Pandora were based on â&#x20AC;&#x2DC;Hallelujah Mountainâ&#x20AC;&#x2122; in Zhangjiajie, China?

NO


YES

NO

*

WOULD

*

you download an Avatar app?


176

EXCLUSIVE CONTENT

*

WHAT

GAMING

COMPETITIONS

*

would you like to see in the app?


APPENDIX 7

THE TOURIST BOARD


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C O N T A C T X

ATTEMPT In order to ensure my collaboration idea was feasible I emailed several different offices within the Chinese Tourist Board to ask their opinion, however I received no responses. Hello, Iâ&#x20AC;&#x2122;m a third year university student writing my dissertation. My project aims to produce a hypothetical promotional campaign for the upcoming release of Avatar 2. As the floating mountains in the first Avatar film were inspired by Zhangjiajie, I am thinking of suggesting that Avatar collaborate with China in this campaign. It will boost tourism in China while promoting the film. I have to make sure my project is realistic, so Iâ&#x20AC;&#x2122;m emailing for my research to enquire if this is something the Chinese Tourism Board would consider? Look forward to hearing from you, Jesse Clark Nottingham Trent University Student


APPENDIX 8

THE DECLARATION


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School of Art & Design Declaration Form 2013/14 Module: Negotiated Project Stage 2 Module Leader: Matt Gill Ref. no: FASH30002 I confirm that this work has gained ethical approval and that I have faithfully observed the terms of the approval in the conduct of this project. This submission is the result of my own work. All help and advice other than that received from tutors has been acknowledged and primary and secondary sources of information have been properly attributed. Should this statement prove to be untrue I recognise the right and duty of the board of examiners to recommend what action should be taken in line with the Universityâ&#x20AC;&#x2122;s regulations on assessment contained in its handbook.

signed .................................................................................................. date ......................................................................................................


APPENDIX 9

THE TUTORIALS


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Independent Implementation Project

Tutorial Record Sheet 2013/14 Module: Negotiated Project Stage 2 Ref. no: FASH30002 Date: 20/02/14 Name : Jesse Clark

Tutorial / Seminar Record Sheet Work to bring / prepare for session: First session on new project – just be prepared to talk through ideas and starting points to receive feedback (having handed in proposal form previously)

Learning issues to discuss in session: - Each person explained their current project proposal and received feedback from both peers and Sarah - Discussed the content of powerpoint proposals to be presented next week - Discussed any issues such as pixilation that arose in Stage 1 projects to minimize this reoccurring in Stage 2

Feedback from session: - Clarity on module schedule and deadlines - Clarity on what is to be achieved in the report - Peer and Tutor feedback both approved my initial idea –particularly working with the brand – and all suggested I make sure the event is something new and innovative as many brands are offering experiences - Look up Bombas and Parr for taste elements

Tasks for next session: - Prepare powerpoint proposal presentation to be given to tutor group and Sarah next week - Look up website/examples that were recommended by tutor group and Sarah

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)


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Independent Implementation Project

Tutorial Record Sheet 2013/14 Module: Negotiated Project Stage 2 Ref. no: FASH30002 Date: 27/02/14 Name : Jesse Clark

Tutorial / Seminar Record Sheet Work to bring / prepare for session: Bring PowerPoint presentation of project proposal to present to the group

Learning issues to discuss in session: - Make sure to look back at previous years’ lectures and in particular Trend Forecasting and Tipping Point lectures - Establish who your idea is aimed at i.e. Early adopters, majority etc. - Clarity/relevance of ideas to be discussed with feedback after each persons’ presentation

Feedback from session: - Make sure to define and be specific when talking about why your idea is necessary – back up with facts and figures etc. i.e. (for mine) – need for experiences, use of new technologies, keeping up in the competitive film industry - Look at curve of innovation and the stickiness factor - Do a map of experiential branding and experience trends - Look in to virtual gaming technology such as Oculus Rift - Look up Blanch and Shock (equivalent to Bompus and Parr) - Look up Sydney Experience Tower - Look at future of Google Glass – what’s to come next?

Tasks for next session: - Prepare and bring chapter plans - Intro, research objectives, methodology etc.

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)


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Independent Implementation Project

Tutorial Record Sheet 2013/14 Module: Negotiated Project Stage 2 Ref. no: FASH30002 Date: 04/03/14 Name : Jesse Clark

Tutorial / Seminar Record Sheet Work to bring / prepare for session: - Bring project chapter plans - Come prepared with any questions we have over essay content (ask about specifics of methodology contents/ positioning)

Learning issues to discuss in session: - The correct order of elements in the report such as references, illustrations, biblio etc - What every report must contain i.e. introduction, aims/objectives, methodology - Discuss the purpose of tutorial record sheets

Feedback from session: - Form the introduction as a ‘funnel’ : begin with the broad context then narrow it down. Make sure to underpin the context with examples and quotes à end with the specific report aim - Make sure to EVALUATE techniques used and discussed in the methodology – include less successful elements and what you did instead - The conclusion should bring the report full circle - Having reviewed this I feel I need to refine my chapter plans more and re-order after conducting more research to make the best sense - Workshop on 5/3 was helpful in explaining the difference between aim/objective and identifying sections such as; research insight, strategy, Big Idea and routes to consumer. Tasks for next session: - Refine chapter plans -1.   – Identify key insights emerging from your research – have you identified a problem / need? 2.    – Think about how are you progressing with your Primary research – what contacts have you made – successes / problems? 3.    - What is your Big Idea? Are you able to succinctly articulate it? How is it linking with your creative idea and your creative outcomes? Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)


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Independent Implementation Project

Tutorial Record Sheet 2013/14 Module: Negotiated Project Stage 2 Ref. no: FASH30002 Date: 13/03/14 Name : Jesse Clark

Tutorial / Seminar Record Sheet Work to bring / prepare for session: – I – Identify key insights emerging from your research – have you identified a problem / need? 2.    – Think about how are you progressing with your Primary research – what contacts have you made – successes / problems? 3.    - What is your Big Idea? Are you able to succinctly articulate it? How is it linking with your creative idea and your creative outcomes?

Learning issues to discuss in session: - Discussions of current standings – ask where more innovative primary research could be undertaken - discuss full structure of report as mentioned by Chris in previous week’s lecture

Feedback from session: - Detailed ‘triangle’ diagram of aims and objectives à the big idea à the big creative idea à creative outcomes/ route to consumer - Make sure to include visual references where necessary such as colour theory, cultural calendar etc - Go to exhibitions and experience sensory events in person for more insightful/personal research

Tasks for next session: - Think of booking events/exhibitions and prepare ideas for more innovative primary research - Think about interim presentation and begin to prepare content – including ‘what you still have left to do’ as a slide

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)


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Independent Implementation Project

Tutorial Record Sheet 2013/14 Module: Negotiated Project Stage 2 Ref. no: FASH30002 Date: 17/03/14 Name : Jesse Clark

Tutorial / Seminar Record Sheet

FEEDBACK FROM PROJECT STAGE 1 WITH MICHELLE HUGHES - Overall banding combined with Live project - Low 1st Learning issues to discuss in session: - Feedback from first module - Areas of strength - Areas to improve on

Feedback from session: - ‘Strong, well laid out document with excellent infographics and trend-led information - Good number of sources - Creative and appropriate primary research, clear writing style - Need to see some more contextual references such as artists, photographers or designers (for design inspiration) - Could’ve mentioned Brian Wong’s moments/surprises elements My thoughts going forward: - The areas of improvement such as need for more contextual references was something I became aware I needed to add more of during the semester 2 feedback lectures and will aim to include more in stage 2 - Hope to keep up the writing style with my stage 2 and add more creative primary research such as demonstrated in stage 1 Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)


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Independent Implementation Project

Tutorial Record Sheet 2013/14 Module: Negotiated Project Stage 2 Ref. no: FASH30002 Date: 26/03/14 Name : Jesse Clark

Tutorial / Seminar Record Sheet

* INTERIM PRESENTATION * Learning issues to discuss in session: - Where we are currently at in our project - What insights we have gained - Where we’re heading creatively i.e. what outcomes? - Any questions we may have or uncertainties At this point I personally felt a little off track with my project and felt unsure about what my creative outcomes would be/what my aims were. The route I had chosen was becoming too technology based and less about the idea/ concept itself, I’m not a tech programmer! Feedback from session: - Really interesting & exciting brief to be able to work with - As I thought my outcomes were unclear and not explained very well (due to lack of knowing what they were really going to be!) - Also as thought it was too focused on technology and not course-specific - I have been encouraged to rethink my direction – what is the big creative idea here? - Make sure to do something that is fully integrated as a campaign with different elements My thoughts going forward: - Over Easter I’m going to meet with my Fox contact again to discuss their specific wants and needs to re-focus my idea - Would like to set up a focus group with fans to gain their perspective on what they’d look for in a promo campaign - Need to decrease my focus on the technology before I get too caught up in things I can’t make/understand in terms of future developments Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)


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Independent Implementation Project

Tutorial Record Sheet 2013/14 Module: Negotiated Project Stage 2 Ref. no: FASH30002 Date: 17/04/14 Name : Jesse Clark

Tutorial / Seminar Record Sheet

* AFTER EASTER SESSION * Learning issues to discuss in session: - What we have done over Easter - Any questions we have - Our current standing My project completely changed over Easter. Having spoken to Fox they now wanted an integrated and interactive campaign rather than an event, meaning the brief itself had changed. I also decided to approach it from a slightly different angle. Having conducted a focus group with Avatar fans I established what made the Avatar franchise unique to them versus other franchises and established ‘new life’ that the main character gains as an Avatar and the scenery were the most important. The scenery itself has been inspired by a certain area of China, which was unknown to the fans, therefore a possible collaboration with China could be a potential idea. Feedback from session: - A better approach that isn’t too caught up with complicated technology - Ensure that Avatar is the focus and not China – though they can collaborate make sure that it’s primarily about the film - Think how else the consumer can be fully engaged – a wearable device? Could reflect the connectivity the avatars have with their environment

My thoughts going forward: - Very much like the idea of including a wearable device to reflect their connection to the environment and each other – look in to trends in wearable design - Potential idea of interactive campaign billboards that are activated by the wearable device - An app providing a game with the chance of winning a trip to China? I feel a lot more comfortable about where the project is heading now as it is more idea focused rather than based on technology. I also feel it would please Avatar fans more seeing as the ideas have essentially come from their input Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)


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Independent Implementation Project

Tutorial Record Sheet 2013/14 Module: Negotiated Project Stage 2 Ref. no: FASH30002 Date: 01/05/14 Name : Jesse Clark

Tutorial / Seminar Record Sheet

(Tutorial from the previous week was cancelled) Learning issues to discuss in session: - Where we’re up to - How we can use the report itself as a creative document when it comes to presentation and extras - How to conclude it

Feedback from session: - There are three main areas of creativity; the outcome designs, the report presentation and the language/annotation à try to utilise all three to the best of your ability - The conclusion will differ for everyone – for mine try and include possibilities of future promotion as there will be the sequels over the next few years – remind the reader what you hope to achieve - FOCUS ON THE IDEA -

My thoughts going forward: - I hadn’t previously considered the potential creativity to be used within the report itself – may print off wearable device designs on to acetate for reader to wear to ‘unlock’ the content of the report’ – could also be printed off for degree show visitors - Could easily adapt the concept for sequels with new games, content and additional devices - May include fold-outs for the storyboard of the app etc to add some extra dimension to the report Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)


CONNECTION LOST


X


New Life