Blacklock, Sophie - FASH30009 visual report (non-interactive)

CONCEPTS SOPHIE OUTCOMES BLACKLOCKFig. 1; Godzilla Print, Brian Reedy. ............................................................ 1

Fig. 2; Horror Movie Audience. SOP BLACK N085 SELF-DE PROJ FASH3 2 ............................................................

HIE KLOCK 6318 EVISED JECT 30009 PRESS PLAY TO SEE THE APPENDIX! ............................................................ 3

...........................................................C.O.N..T 01 CONTEXTS & IDEAS RECAP Insights ......................................... 06 Problem/Opportunity/Need ......................... 08 Big Idea ......................................... 10 Big Idea Visualisation ............................ 12 02 WHAT’S THE STORY? C OWhy Does This Matter To Me? ........................ 14 The Objective .................................... 16 03 CONCEPTS The 3 Concepts .................................... 18 The Chosen Concept ................................ 20 Reflection ........................................ 24 Concept Justification ............................. 26 Timeliness Testing ............................... 32 Language of Horror Landscape ....................... 36 Case Study ........................................ 38 Big Idea / Concept Competitor ....................... 42 04 IDENTITY Brand Wheel ....................................... 44 Visual Identity .................................. 46 E NI Am / I Am Not .................................... 48 04 .............................................................

T.E.N.T.S........................................................... 05 ROUTE TO CONSUMER Consumer ......................................... 52 RTC Overview ..................................... 60 Outcome 01 ........................................ 62 Comms Mix ........................................ 78 Comms Theory ...................................... 80 Cultural Calendar ................................. 82 N TIMC Timeline ...................................... 86 Outcome 02 ........................................ 90 Outcome 03 ........................................ 94 Print Campaign ................................. 100 06 CONCLUSIONS Overlook’s Future ................................ 102 Conclusion ...................................... 104 The Final Scene ................................. 106 07 REFERENCES Illustrations ................................... 108 References ...................................... 112 Bibliography .................................... 114 08 APPENDIX T SContents ........................................ 116 ............................................................ 05

KINSIGHT 01K....................................................C..O.N.T.E.X.T.S..&.I OUR SELECTIVE MEMORY IN RELATION TO NOSTALGIC KINSIGHT 03K FILM & TV HAS MEANT THAT ACCOUNTABILITY FOR THE ISSUES RAISED WITHIN IT IS RARELY ACCEPTED. THE POWER OF FICTIONAL NARRATIVE AND THE BONDS FORMED WITH THE CHARACTERS WILL ALWAYS OUTWEIGH THE NEGATIVE REALITY OF THEIR FLAWS. KINSIGHT 02K THE WEIGHT OF THE PROBLEMATIC ISSUES WITHIN THE NOSTALGIC CONTENT GEN-Z ARE CONSUMING IS REDUCED BY THE NATURE OF PHOTOGRAPHS AND SOCIAL MEDIA. KINSIGHT 04K GEN-Z’S ROLE WITHIN CANCEL CULTURE DEMONSTRATES THAT FANDOM AND ADMIRATION DOES NOT PLAY A PART IN THEIR CONTRADICTORY RELATIONSHIP WITH NOSTALGIC FILM & TV. 06 .............................................................

I.D.E.A.S..R.E.C.A.P..................................................... From re-evaluating my and having applied it contextual insights to the context of social following the ideas stage, media, it’s impact on my it is apparent they still consumer’s view of the hold up to where my self- past is the next key theme devised project is going I need to pull through. as I was able to identify Having defined my consumer key themes to pull forward group to sit within the and consider. The first Gen-Z cohort, their close being the importance of ties to social media and accepting accountability, how it presents this ensuring that my outcome nostalgia to them needs is direct in its calling to be considered in how out of the issues that have my outcome reaches them. fuelled my research so far. Secondly, the emotional Finally, relating bonds formed with narratives and characters is at the accountability to the core of my consumer’s desires/needs. This was current online shift from included in my original idea statement, having now cancel culture into context edited it for conciseness, these bonds are integral to culture, which allows for the use of nostalgia as an emotive tool in my outcome. an approach to calling out issues that meets forgiveness. This approach is crucial moving forward considering my consumer’s awareness of classic film/ TV being ‘of its time’, Relating back to but also the bonds they Terrence Mitchell’s have formed with the Rosy Retrospection narratives/characters, in theory (1994), which has order to not completely consistently drove forward disregard their existing my project throughout, knowledge and interest. ............................................................ 07

....................................................C..O.N.T.E.X.T.S..&.I PROB THE RISK OF (Chief Brody) - You’re gon OUTDATED ISSUES Fig. 3; Jaws, 1975. WITHIN NOSTALGIC CONTENT BEING EXCUSED THROUGH ACTIVE CONSUMPTION. OPPORT (Ferris Bueller) - Life moves pre and look around once in a wh Fig. 4; Ferris Bueller’s Day Off, 198 ESCAPISM, NE COMFORT, ENTERTAINMENT (Log Cabin Girl) - But J AND A SENSE OF (James Bond) - So ACCOMPLISHMENT Fig. 5; The Spy Who Loved Me, 1977. THROUGH KNOWLEDGE AND AWARENESS. 08 .............................................................

I.D.E.A.S..R.E.C.A.P..................................................... BLEM nna need a bigger boat. TUNITY etty fast. If you don’t stop LIES IN THE BONDS hile, you could miss it. FORMED WITH 86. THE CHARACTERS / NARRATIVES & THE DESIRE FOR NOSTALGIC REFERENCE. ED James, I Need You! o does England! ............................................................ 09

....................................................C..O.N.T.E.X.T.S..&.I. “TO ADDRESS THE G B IOUTDATED NATURE OF SENTIMENTAL FILM & TV I BY USING NOSTALGIA & SATIRICAL COMEDY AS DEMOTIVE TOOLS.” 10 ............................................................

I.D.E.A.S..R.E.C.A.P..................................................... G Having gained wider feedback/opinions on my idea and the relationship it has with my consumer, I felt it was necessary to refine my idea statement for its purpose and intended tone of voice to be more concisely communicated. Doing so has meant that the problem, opportunity and needs of my consumer are now all clearly met by the idea, leaving me in good stead to move forward with visual research and concept generation. EA ............................................................ 11

....................................................C..O.N.T.E.X.T.S..&.I VISUAL TRANSLATION Fig. 6; Vertigo poster, Saul Bass, 1958. Fig. 7; Pulp Fiction, 1994. (Mia Wallace) - I fucking love this song. THE BIG IDEA VISUAL LANGUAGE Film Posters - Film Quotes - Childhood Memorablilia - Film Reference from Brands - Hyper Realism - Collectables - Nostalgic Brand Identities - Analog Product Resurgence 12 ............................................................

.I.D.E.A.S..R.E.C.A.P..................................................... Do you like scary movies? Fig. 8; Bratz X Scream, Instagram, 2021. Fig. 12; Toiletpaper Magazine, 2011. Fig. 9; Gucci And Beyond Campaign, 2017. Fig. 10; Eye #1 (Flood), Alex Prager, 2012. Fig. 13; Vinyl Record Care Instructions. F.ig...1.1;.M.ov.ie.P.am.ph.le.t .Co.ll.ec.t.io.n,.M.in.-W.oo.ng..K., .19.54.................................. 13

.......................................................W..H.A.T.’.S.T.H WHY My love for cinema stems from my WHY childhood, having always been drawn to the past and experiencing this through classic film and TV. This interest is rooted in my Dad’s influence, an early memory of mine being an unfinished DOESPowerPoint presentation of his 100 favourite films, which is regularly DOES updated and discussed still today. This influence is further explored in the unpacking of my outcome on page 89. As I’ve grown up, I have noticed myself cringing at more and more scenes THISand yet still regularly revisiting these films and shows, despite them THIS compromising my ethical standpoints. This discomfort is what has driven my self-devised investigation. MATTER MATTER TO ME? TO ME? 14 ............................................................

H.E.S..T.O.R.Y.?.......................................................Fig. 14; Me at the Sci-Fi Diner, Florida, 2008. ............................................................ 15

.......................................................W..H.A.T.’.S.T.HHE OBJECTIV 16 ............................................................ THE OBJECTIVE

H.E.S..T.O.R.Y.?....................................................... KWHO AM I TELLING?K THE RETROSPECTATORS; IRONIC NOSTALGICS JUGGLING THE SCRUTINY OF CANCEL CULTURE AND THEIR AWARENESS OF SOCIAL PROGRESSIONS AGAINST THE CLASSIC FILM/TV THEY LOVE TO LOVE (AND HATE). FOR THEM TO ENGAGE WITH THE NOSTALGIC NARRATIVES THEY ARE DRAWN TO, WHILST TAKING ACCOUNTABILITY FOR THE CONTRADICTIONS OF THEIR INTEREST AGAINST TODAY’S SOCIETAL STANDARDS. KWHAT’S THE POINT?K KWHAT DO THEY GET OUT OF IT?K ENTERTAINMENT, ESCAPISM, ACCOMPLISHMENT THAT THEY CRAVE, WHILST ALSO DRAWING TO THE GREATER GOOD IN TERMS OF KEEPING THE ONGOING FASCINATION WITH THE PAST IN CHECK TO THE SOCIAL ISSUES THE FILMS/TV SHOWS RAISE. SOFTER-PLAYING INTO THE FUZZINESS OF NOSTALGIA AND OLD CINEMA. I WOULD LIKE TO INCLUDE ELEMENTS THAT SERVE NO OTHER PURPOSE THAN TO FEED MY CONSUMER’S LOVE FOR THE FILMS/TV, ALONGSIDE MY MORE CRITICAL STANDPOINT. K IS THERE AN ALTERNATIVE APPROACH?K ............................................................ 17

Fig. 15; Toiletpaper, Michela Natella, 2017........................................................... CONC R E A L I T Y BE K B I T E S REW 18 ............................................................

Fig. 17; Shelley Duvall in The Shining, 1980.CEPTS .......................................................... Fig. 16; @offtrackoutlet, 2020. KIND, I CAN’T IND. WATCH! ............................................................ 19

.......................................................... CONC From observing the similarity between the fear of horror movie villains and the discomfort that comes from outdated film/TV we want to love regardless, my chosen concept stems from the horror genre’s relationship with current societal/social issues. Using the resurgence of the genre’s relevance to my consumer, alongside the juxtaposition of comedic relief and intense fear to challenge the outdated nature of classic film/TV in a new way. Visually inspired by the enigma of op-art, 1960s horror sub-genres, and the tactile nature of the punk-zine movement. 20 ............................................................

CEPTS .......................................................... Fig. 19; The Mummy’s Ghost, 1944. Fig. 18; Rosemary’s Baby, 1968. ............................................................ 21

.......................................................... CONC Fig. 20; I Can’t Watch! Concept board, 2022. 22 .............................................................

CEPTS .......................................................... ............................................................ 23

Fig. 22; Graphicteam, 1967........................................................... CONC Fig. 24; Dazed and Confused, 1993.Fig. 21; Jawbreaker, 1999. Fig. 23; Why Murder Mystery Game by Alfred Hitchcock, 1961. Fig. 25; Alex Prager, 2008. 24 .............................................................

CEPTS .......................................................... EXPER IENCE I feel I was able to get theory to film and film posters a lot out of the visual and comparing TV show reboot research stage of the concepts visuals against that of the process due to my genuine original. Categorising my interest in the topic and visuals by different themes, being inherently drawn to for example by colour, allowed the visuals surrounding it. me to see clear links between Having initially carried out different and unexpected areas. very broad visual research Initially looking at previous surrounding my idea statement, examples of nostalgic/film I had a lot to work with in reference from brands and terms of moving forward into evaluating their success in concept generation. Afew doing so, not only stressed areas I explored include; to me the importance of tone various art movements, brand of voice, but also in taking collections, general film a different, fresh approach in iconography, applying colour how I reference the familiar. REFLECTION Looking back over my three concepts, I feel that individually they all hold up well in being both visually impactful, and meeting my idea statement. Completing a SWOT analysis for each one (seen in appendix), I was able to directly compare them objectively in their potential in terms of what suits my consumer best, and has the most contextual support as to what it is I am trying to achieve. ACTION Having reflected on, and analysed the strengths of each concept individually I found one to stand out in how it is supported on multiple levels. I want to delve deeper into the surrounding themes of this concept to ensure it is the best choice to communicate my idea. Alongside contextual research, I would like to test it on my consumer through primary research, aswell as further backing up its relevance through timeliness testing. ............................................................ 25

.......................................................... CONC THE CHOSEN CONCEPT WHY THIS ONE? Fig. 26; Play Workshop Collage. I have chosen t as out of the th I CAN’T WATCH! the most suppo relevance to m Fig. 27; Susan Strasberg in Taste of Fear 1961. big idea, consum I am trying t The name itse direct refere primary resear contexts sta my consumers various classic as being “hard The concept st the work I prod play workshops, exploring the irony of pairi moments from c with humorous c taglines. From on these outco clearly been the reactions within classic specifically. I comedic link b discomfort and relates to bo villains and narratives w 26 .............................................................

CEPTS .......................................................... this concept strong, and by using iconic movement, which can pair hree it felt villains/reactions to poke well with the grainy, faded orted in its fun at the ‘horror’ of badly look of my play workshop my research, aged nostalgic film/TV, I outcomes that have been mer and what could meet the aims of my applied to this concept. to achieve. idea statement and engage Fitting with the horror elf being a with my consumer well. b-movie aesthetic, I looked ence to my at the punk-zine movement, rch in the Carrying out further its anti-society and fear age, where research into the genre, connotations further it has consistently relied suiting my concept theme. described on nostalgia through self- c film and TV referencing, remakes and Exploring this sub-genre in d to watch”. multiple long running relation to the upcoming film series/TV shows. release of the next season temmed from Throughout the history of of Stranger Things, I found duced in the horror, the villain or that its creation was , where I was ‘threat’ of the story has based on search history always been a reflection data, meeting the demand hyperbolic of the fears of society for 1980s nostalgia, ing dramatic at that time, often sci-fi horror and coming classic films exploring the theme of of age narratives. The captions and mankind being the danger show’s enduring popularity m reflecting to ourselves, mirroring alongside other nostalgia- omes, I had the danger of social and based releases within the societal issues at the horror genre, such as drawn to core of my research topic. Scream 5 and the Fear Street s of fear Trilogy, emphasised the horror films Moving on to consider current appetite for this I felt the various sub-genres; looking combination. Furthermore, between the at slasher films brought the increased relevance d fear that forward the fascination of the comedy-horror sub- oth horror many have with serial genre is evident through d outdated killers as another aspect the recent ‘trending’ of was really this concept could unpack Jennifer’s Body on TikTok. and refer to. The Sci-fi Consideration of comedy- genre and its themes of horror is key to the tone alienation can be applied of voice I want to use, to film/TV seeming so specifically the popularity backwards upon revisiting of teen horror comedies it feels unreal. This in the 1990s & 2000s, a illusionary impression lead time proven to be of key me to look into the Op-Art interest to my consumer. ............................................................ 27

.......................................................... CONC 193 THE GREAT DEPRESSION Frankenstein, 1931 1950s Godzilla, 1954. 196 WW2; NUCLEAR AGE SELF Sc AWARENESS The Blair Witch Project, 1999. Fig. 28; Horror History Timeline, 2022. 9 / 11 Jennifer’s Body, 2 Saw, 2004. 2000s 28 .............................................................

CEPTS .......................................................... 30s 60s VIETNAM WAR Night of the Living Dead, 1968. 1970s cream, 1996. Halloween, 1978. 1990s SERIAL KILLER REPORTS 2009. ............................................................ 29

Fig. 29; I Married a Monster From Outer Space, 1958. 30 ............................................................

“THE HORROR GENRE HAS ALWAYS BEEN A HIGHLY SOCIALLY ATTUNED GENRE BECAUSE IT DRAWS ON WHAT WE’RE AFRAID OF, AND WHAT WE’RE AFRAID OF CHANGES FROM ERA TO ERA.” (K. Brooks; horror specialist, Time Magazine, 2020.) ............................................................ 31

.......................................................... CONC From my supporting research for this ARE WE concept, I wanted to ensure its timeliness READY and relevance to the consumer group I am FOR targeting. Having spent the last few years HORROR in the midst of the unexpected due to the AGAIN? pandemic, I felt it was important to propose the question; are we ready for horror again? As summarised in my horror history timeline, the genre’s most successful outputs have always been dependent on pulling from the fears of society at the time. The current instance of the pandemic indicates we are in the age of another horror ‘buzz’. The genre’s dependence on viewers’ anxieties has typically presented the ideal viewer as white, cis, straight and usually male, only recently moving away from this with releases such as Get Out (2017) and It Follows (2014). “BEFORE, EVERYONE ELSE HAD(K. Brooks, , Time Magazine, 2020.) TO DO THE WORK TO SEE THINGS FROM THE POINT OF VIEW OF THE IDEAL VIEWER. NOW, [HORROR MOVIES] ARE CHARGING WHITE VIEWERS, AND PARTICULARLY WHITE MALE VIEWERS, WITH DOING THE WORK TO UNDERSTAND DIFFERENT POINTS OF VIEW AND EMPATHIZE WITH MORE PEOPLE.” Having observed the cultural calendar within the genre, examples of referencing the classics such as Texas Chainsaw Massacre (Feb. 2022) and Halloween Ends (October 2022) highlight the crossover between my consumer’s interest and the genre. In general, there seems to be an ongoing trend of horror and nostalgic reference, seen in Stranger Things’ 1980s setting and more recently Netflix’s Fear Street Trilogy, which is set across multiple historical eras. Other examples include Last Night in Soho (2021) which was split between the present and the 1960s, and Archive 81, another Horror series from Netflix, which is based around restoring video tapes from the 1991, thus referencing the ‘found-footage’ realist sub-genre of horror that came about in the 1990s. 32 .............................................................

CEPTS ..........................................................Fig. 30; Creature From The Black Lagoon, 1954.‘NOT ............................................................ 33HAS THE WORLD SINCE THE BEHELD Fig. 31; Psycho, 1960. TERROR BEGINNGING (Creature From The Black Lagoon Poster Tagline, Anon. 1954.) OF LIKE Fig. 32; King Kong, 1933. TIME THIS!’

.......................................................... CONC Another era of current fascination to my consumer is the 1960s-70s, both aesthetically and through the impact of subcultures and social movements of that time. The ties between these two time periods can be seen in the MORE 70s trend revivals of the 1990s and 2000s, evidenced in the release of films and TV such as Almost Famous (2000), Dazed and Confused (1993) T I M E L I N E S Sand That 70s Show (1998-2006). Both the 90s and 60s are also times of romanticisation for British culture, contributing to this ongoing past T E S T I N G . . .refence and trends cycle. Current visual trends are made up of 1960s/70s typography and graphics, in particular to communicate activist Nostalgia for the 1990s is of specific significance to my consumer, narratives and perspectives. evidenced in their engagement with “Energetic collages of 90s trend revivals, films and shows such as Friends (1994-2004) and visuals, powerful typography Notting Hill (1999), and their online engagement with 90s pop culture, and phrasing are challenging through accounts like @90sanxiety. harrowing activism narratives.” (Buller.A & Scott.S, LS:N Global, 2020.) The revival of grainy, film-style This ‘graphic activism’ trend is also photography due to the younger in reference to meme culture, using generation’s disovery of disposable/ humour as a new way of communicating film cameras, adopting this style serious topics, something which that “feels new although it’s old.” my idea statement aims to fulfil. (J. Bridgland, Its Nice That, Acknowledging this, I have referenced 2022.). The imperfect feel of film the 1960s and 70s in the visuals of photography allows for error and my chosen concept, looking at the blemishes, in high contrast to the horror genre aesthetic from this time strive for a flawless image we have but also Op-art of the 60s and Punk previously seen taking over social zines from the 70s to acknowledge a media. This ties in with the desire range of past references. This not for a more forgiving online space only evidences the timeliness of in relation to ‘context culture’. my chosen concept, but its visual appeal and resonation to my consumer. Having spoken to my consumer and asking for a ‘streaming service log’, I gained further evidence of their engagement with horror, seen in the appendix. 34 .............................................................

CEPTS .......................................................... “The younger generation definitely romanticizes a time before the Internet. The ’90s were the most ‘advanced’ pre-Web era in terms of culture, which is why it might seem so appealing to those who didn’t experience it.” (A.Nirui, W Magazine, 2022.) ............................................................ 35

.......................................................... CONC Fig. 34; Child’s PLay, 1988. Fig. 33; The Blob, 1958. THE LANGUAGE OF HORROR 36 .............................................................

Fig. 36; The Earth Dies Screaming, 1964.CEPTS .......................................................... TERROR, STRUGGLE, SHOCK, DARE, LIMITS, SCREAMING, FEAR, NIGHTMARE, CREATURE, NEVER-SEEN- BEFORE. Fig. 35; The Shining, 1980. Fig. 37; Whatever Happened To Baby Jane?, 1962. ............................................................ 37

C A.......................................................... CONC S T UJENNIF BOD “If somebo As previously mentioned, Jennifer’s Body me, it’s alw (2009) acts as an example of the resurgence like, 22- of horror interest. As a teen horror-comedy, who wants its tone of voice aligns with my concept. me about J Its cult status demonstrates the reverse Body. To m effect of my research topic; having only the cooles recently found its intended audience after the world. being extremely unsuccessful upon its release. don’t think Screenwriter Diablo Cody, was in a rare have legally position of creative authority at the time movie whe due to her Oscar win for Juno (2007), and took this opportunity to create her passion project; a female lead horror-comedy. The film aims to explore the toxicity of female out and you friendship through following the ‘Needy’ best (Diablo Cod friend of a high-school-cheerleader-turned-flesh- eating-demon. In its depiction of a female narrative from a female perspective, it comments on the sexist advantages taken of women within society. Megan Fox, at the time facing extreme oversexualisation industry-wide, “objectified is not the right word. It doesn’t capture what was happening to me.” (Megan Fox, 2019.) was cast as the title character, Jennifer Check. 38 .............................................................

S ECEPTS .......................................................... FER’S U D YDY ody stops ways some, -year-old This context paired with the film’s name, was s to talk to intended to speak volumes about womens’ role Jennifer’s in film, but instead was spun by the influence me, that is of the misogynistic assumptions of the film’s st thing in distributors. The film subsequently suffered . It’s like, I extreme mismarketing, being promoted to a post- k you could Transformers male audience as a ‘Twilight for y seen this Boys’. Completely out of the control of the en it came creators, excluding the intended audience and u found it.” ultimately disappointing the young, straight, male viewers, Jennifer’s Body became a box office flop. The negative reviews sending Diablo Cody 3 steps back and taking away from what should’ve been a reconsideration of Megan Fox’s identity. dy, 2019.) For its 10 year anniversary in 2019, Cody and Fox held a Jennifer’s body reunion where they discussed the significance of the of the film’s now cult status. There is an irony in its acceptance and celebration from a younger audience, as it evidences the need for acknowledgement of the outdated issues both in and surrounding nostalgic film and TV, but also how many layers there are to the issue my project has been aiming to tackle from the start. ............................................................ 39

T-STH-SDTIREHHETMVD“TIAAR?EIHEIYDST”LTMV“AA?IIYDST”L (Amanda Seyfried as ‘Needy’ in Jennifer’s Body, 2009.) 40 ............................................................

Fig. 38; The Evil Dead, 1981. ............................................................ 41

.......................................................... CONC Fig. 39; It Follows poster, 2014. 42 .............................................................

CEPTS .......................................................... COMPETITION COMPETITION COMPETITION Since the conceptualisation of my idea is combining IN the themes of horror films with conversations around social issues, I attended an event based on the intersections of the horror genre and feminism. ‘Catcalls & Assassination Nation’ consisted of a film screening and panel discussion around feminism’s relationship with horror, exploring the genre’s position as both for and against feminism. Although topically interesting in that there was a lot to unpack, such as the final girl tropes, applied misogyny and more recently the genre’s step into empowerment of female narratives, the discussion was not the most engaging in its format and tone. This placed an emphasis on my desire to communicate my message in a very different way. COMPETITION COMPETITION COMPETITION ............................................................ 43

.......................................................... IDEN 01 VALUES ACCOUNTABILITY FOR A FONDNESS FOR 02 BELIEFS NOSTALGIA IS A VALUABLE OUTDATED ATTITUDES THIS FILM AND TV NARRATIVE TOOL, FILM/ IN THE CLASSIC FILM IS NOT SOMETHING TV OF THE PAST IS TO AND TV WE ARE STILL TO BE ASHAMED BE CELEBRATED FROM ACTIVELY CONSUMING OF DESPITE IT’S A PERSPECTIVE THAT NEEDS TO BE HELD. ACKNOWLEDGES CONTROVERSIES. SOCIAL CHANGE. TALK CALL IT OUT 05 VISION A COMEDIC 06 POSITION CHALLENGING BUT MAKE CONFRONTATION OF OTHER NOSTALGIA- THEM LAUGH. OLD FILM/TV THAT BASED BRANDS BY SIMULTANEOUSLY OFFERING A BRUTALLY 04 CELEBRATES OUR LOVE HONEST, SATIRICAL FOR IT. ACKNOWLEDGEMENT OF PROGRESSION. PRODUCE AN OUTCOME THAT07 BEHAVIOUR SPEAKS TO MY CONSUMER’S AMBIVALENT RELATIONSHIP WITH CLASSIC FILM/TV AND IT’S OUTDATED NATURE. 44 .............................................................

TITY .......................................................... 03 ESSENCE AN OLD-SCHOOL EXPERIENCE STATEMENT FR0M A NEW AGE PERSPECTIVE; COMBINING A LOVE FOR THE PAST WITH THE REALITY OF HINDSIGHT. 08 LOOK A HORROR BRAND B-MOVIE WHEEL PUNK-ZINE LOVE CHILD. ............................................................ 45

.......................................................... IDEN BRANDING VISUAL IDENTITY Fig. 40; Logo Print, Blacklock. S, 2022. SATIRICAL, SARCASTIC, HONEST Fig. 41; Chandler Bing, Freinds, 1994. SansBlack (Title) LOOK BACK IF YOU Courier Fig. 42; Overlook, Blacklock. S, 2022. (Body) Fig. 43; Study for ‘Blaze’ by Bridget Riley, 1962. 46 .............................................................

TITY .......................................................... TYPOGRAPHY DOMINANT Donnie Darko SansBlack: Poster-style font, Room 237 referencing the style of classic film SUB-DOMINANT Fig. 1; Colour Palette, Blacklock. S, 2022. posters, in particular those of the Amity Island 50s/60s. ACCENT Rosemary’s Baby Courier: Typewriter-style, connotations Pig Blood For A Pig of cinema screenplays & scripts. LOGO/NAME Overlook: Directly referencing The Overlook Hotel from The Shining (1980). Definition; to fail to notice or to look down from above, this parallels my objective of drawing attention to the flaws in nostalgic film/TV so they are not overlooked. This will give my consumer a feeling of accomplishment in their new vantage point. Hands-Over-Eyes: The head logo refers back to the concept behind the outcome and the play on it’s discomfort/horror link. TAGLINE ‘Look back if you dare!’ Reminiscent of kitschy, 1950s/1960s horror movie taglines. A play on the connotations of horror genre, and literally looking back on the past. TONE OF VOICE Satirical, sarcastic and honest; More detail in my What I am, What I’m Not Top Trumps on the following page. TEXTURE Thick, rough, paper; vintage film pamphlet style, equivalent to the grainy-film look my design recipe encapsulates. Increases quality, durability of the zine. COLOUR PALETTE Based on key colour themes within the horror genre, pulling from iconic aspects of various films such as; the green hue of Room 237 from The Shining, the coastal setting of Jaws, and the pig’s blood scene from Carrie. ............................................................ 47

.......................................................... IDEN HUMOROUS I AM NOT ... THOUGHTLESS CHANDLER BING .......... FRIENDS, 1994 KAREN SMITH .......... MEAN GIRLS, 2004 Fig. 44. Fig. 45. I AM ... “HI, I’M CHANDLER, I MAKE JOKES “I CAN’T GO OUT *COUGH WHEN I’M UNCOMFORTABLE.” COUGH* I’M SICK.” HUMOROUS .......................... 99 THOUGHTLESS ....................... 99 WITTY ............................. 99 STUPID ............................ 99 AMUSING ........................... 99 INCONSIDERATE ..................... 99 SARCASTIC ......................... 99 ABSENT-MINDED ..................... 99 48 .............................................................

TITY .......................................................... CHALLENGING I AM NOT ... SHORTSIGHTED TYLERDURDEN..........FIGHTCLUB,1999 VELMA .............. SCOOBY DOO, 1969 Fig. 46. Fig. 47. I AM ... “HITTING ROCK BOTTOM “MY GLASSES! I CAN’T SEE ISN’T A WEEKEND RETREAT.” WITHOUT MY GLASSES.” CHALLENGING ....................... 99 SHORTSIGHTED ...................... 99 PROVOCATIVE ....................... 99 STAGNANT .......................... 99 STIMULATING ....................... 99 IMPRACTICAL ....................... 99 DEMANDING ......................... 99 ILL-CONSIDERED .................... 99 ............................................................ 49

.......................................................... IDEN SENTIMENTAL I AM NOT ... UNREALISTIC SULLY .......... MONSTER’S INC., 2002 CHER HOROWITZ .......... CLUELESS, 1995 Fig. 48. Fig. 49. I AM ... “DID YOU SEE THE WAY “A WATCH DOESN’T REALLY SHE LOOKED AT ME?” GO WITH THIS OUTFIT DADDY.” SENTIMENTAL ....................... 99 UNREALISTIC ....................... 99 CARING ............................ 99 IDEALISITIC ....................... 99 AFFECTIONATE ...................... 99 IGNORANT .......................... 99 NOSTALGIC ......................... 99 FOOLISH ........................... 99 50 ............................................................