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

O CONSUMER ..................................................... Fig. 24; Print Campaign Mock Up, 2022. Fig. 25; Print Campaign Mock Up, 2022. INT paign OCT 31 Fig. 26; Print Campaign Mock Up, 2022. splayed in areas of student cachet in association with (Vintage shops, old-school t coffee shops). these include ter, The Lanes in Brighton, Bristol’s Gloucester Road. ............................................................. 101

........................................................ CONCLU OVERLOOK’S FUTURE where to next? Having established a community collection of comparison amongst the Overlook consumers points between each release. through its roots in a sense This also provides an of being in on a joke, there aspect of anticipation from is incentive for further when the Issue’s decade is growth. Considering where announced - What will the to take Overlook zine next, Top Trumps look like? Who having looked over what feels will be in the Burn book? relevant and engaging to my consumers right now, there Following on from this, the is an appetite for 60s/70s conversation-like setting aesthetics (satiated by of Overlook’s Instagram my branding already) that will be utilised for further could also be unpacked as discussion in between and the designated era for Issue accompanying each issue 02. However, from generating release. It can be used as Instagram content it became a tool for interest checking clear how much interest where to go next, and to there is to work with from generate buzz through hinting the 1980s, especially as we at what’s to come and asking would have seen a series of the consumers to guess, etc. sequels to 80s classics and big anniversaries for E.T The ‘Free Shit’ included and Bladerunner in 2022. with each issue will vary, including button badges, Overlook Issue 02: 1978- stickers and eventually 1989 will explore the bad expanding into products that aftertaste of John Hughes can be bought separately movies, the feminist arguments to the zine as the brand for and against the ending grows, such as graphic tees. of Grease, and the use of homophobic slurs in teen The collaboration with At the movies. There are zine-pages Drive In’s ongoing format that can be applied to the new can be altered to suit each content of different eras, release of the zine, becoming such as the ‘Cast of’ Top a bi-annual anticipated Trumps, the coupons and Burn event – Overlook’s Summer Book to create a long running and Halloween Drive-Ins. 102 .............................................................

USIONS ........................................................ Fig. 127; The Breakfast Club, 1985. Fig. 128; Ghostbusters, 1984. Fig. 129; Ferris Bueller’s Day Off, 1986. Fig. 130; Grease, 1978. ............................................................. 103

........................................................ CONCLU KG A P / O P P O R T U N I T Y / N E E D K To dodge the risk of outdated attitudes in nostalgic film/ TV being excused, using the opportunities in the connection my consumer has to these characters and narratives to fulfil their need for entertainment and accomplishment. My outcomes have succeeded in meeting my gap/opportunity/need through humour as a new way of communicating more serious social issues, playing into current trends (Graphic Activism, LS:N Global) as a way to connect with my consumer rather than shame, or guilt trip them for enjoying film and TV that hasn’t aged well. They have achieved a balance of incorporating my consumer’s affinity to the past and their awareness of the pressures of the future on their generation. KS U C C E S S K KR I S K S W T A K E N K I have taken a risk in the blunt honesty of the humorous tone of voice across my branding. This has potential to not connect as well to the Rosy Retrospectators in my consumer group as the Resistant. I have tried to counter balance their needs through use of reference in celebration of the film and TV they love. Having said this, I still feel that satirical comedy is something all of my consumers respond well to. The playful communication of such serious issues could also be interpreted as dismissive by those outside of the intended audience. Improving Overlook could be achieved through finding more of a balance of what’s mentioned in the risks I have taken, just to ensure all my consumers feel fully catered to and considered. KI M P R O V E M E N T S K 104 .............................................................

USIONS ........................................................ CONCLUSIONS ............................................................. 105 CONCLUSIONS

Fig. 131; The Shining Final Scene, 1980. Final Scene, The Shining, 1980. 106 .............................................................

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........................................................ ILLUSTR Fig. 1; Godzilla Print by Brian Reedy. Reedy, B., n.d. Linocut Kaiju series by Brian Reedy. [online] Pinter- est. Available at: <https://www.pinterest.cl/pin/Ad8QiZ1lMBRGOHmt1lNa2dwJ-wGIjC10zQ7M8Jbi65AMzcuNflZsrQE/> [Accessed 21 January 2022]. Fig. 2; Horror Movie Audience. Vincent, M., 2018. Le bon et le mauvais film d’horreur. [online] Visio Mundus. Available at: <https://www.visiomundus.fr/2018/10/08/le-bon-et-le-mauvais-film-dhorreur/> [Accessed 4 February 2022]. Fig. 3; Jaws, 1975. Jaws, 1975. [Film]. Directed by Steven Spielberg. America: Universal Studios. Fig. 4; Ferris Bueller’s Day Off, 1986. [Film]. Ferris Bueller’s Day Off, 1986. Directed by John Hughes. America: Paramount Pictures. Fig. 5; The Spy Who Loved Me, 1977. [Film]. The Spy Who Loved Me, 1977. Directed by Lewis Gilbert. England: Eon Productions. Fig. 6; Vertigo poster, Saul bass, 1958. Bass, S., 1958. Vertigo by Saul Bass - Art Print from King & McGaw. King & McGaw Available at: <https://www.kingandmcgaw.com/prints/saul-bass/vertigo-426920#426920::air:25_ frame:880608_glass:770007_media:1_mount:108649_mount-width:0_size:492,618> [Accessed March 10, 2022]. Fig. 7; Pulp Fiction, 1994. Pulp Fiction, 1994. [Film]. Directed by Quentin Tarantino. America: Miramax. Fig. 8; Bratz X Scream, Instagram, 2021. Bratz, 2021. Drop the (popcorn emoji) if staying in and watching scary movies all weekend is your vibe!! @bratz [Instaram], 29 October. Available at: <https://www.instagram. com/p/CVoU-VDgxUz/> [Accessed 27 January 2022]. Fig. 9; Gucci and beyond Campaign, 2017. Fulleylove, R., 2017. Gucci takes us on a journey through time and space with its AW17 campaign. It’s Nice That. Available at: <https://www.itsnicethat.com/news/glen-luchford- alessandro-michele-christopher-simmonds-gucci-and-beyond-gucci-aw17-film-250717> [Accessed January 28, 2022]. Fig. 10; Eye #1 (Flood), Alex Prager, 2012. Prager, A., 2012. Alex Prager: Eye #1, (flood) (2012). Artsy. Available at: <https://www.artsy.net/artwork/alex-prager-eye-number-1-flood> [Accessed January 27, 2022]. Fig. 11; Movie Pamphlet Collection, Min-Woong.K, 1954. Min-Woong, K., 1954. Old Movie Pamphlets - Korean Film Archive - Google Arts & Culture. [online] Google Arts & Culture. Available at: <https://artsandculture.goog- le.com/exhibit/old-movie-pamphlets/wQwWR5I6> [Accessed 17 January 2022]. Fig. 12; Toiletpaper Magazine, 2011. Talsol, M., 2022. Toiletpaper magazine N.2. TOILETPAPER SHOP. Available at: <https://www.shoptoiletpaper.com/product/toiletpaper-2-january-2011/> [Accessed January 26, 2022]. Fig. 13; Vinyl Record Card Instructions. Anon, 1n.d.. Record care. Pinterest. Available at: <https://www.pin- terest.co.uk/pin/749849406717220143/> [Accessed February 1, 2022]. Fig. 14; Me at the Sci-Fi Diner, Florida, 2008. Taken by My Dad. Fig. 15; Toiletpaper, Michela Natella, 2017. Angelos, A., 2017. Michela Natella’s hyperreal world and stand- out set designs for Toilet Paper Magazine. [online] Itsnicethat.com. Available at: <https://www.itsnicethat. com/articles/michela-natella-set-design-060917> [Accessed 1 February 2022]. Fig. 16; @offtrackoutlet, 2020. Dix, M., 2020. Once upon a time in… Hollywood VHS stack… @offtrackoutlet [In- stagram], 3 March. Available at: <https://instagram.com/offtrackoutlet?utm_medium=copy_link> [Accessed 27 January 2022]. Fig. 17; Shelley Duvall in The Shining, 1980. The Shining,1980. [Film]. Directed by Stanley Kubrick. America: Warner Bros. Fig. 18; Rosemary’s Baby, 1968. Rosemary’s Baby Poster, 1968. filmsite. Available at: <https://www.filmsite. org/rosem2.html> [Accessed February 28, 2022]. Fig. 19; The Mummy’s Ghost, 1944. Schneider, S., 2014. Hollywood horror: The evolution of the horror mov- ie poster. Tech Times. Available at: <https://www.techtimes.com/articles/19192/20141031/hollywood-hor- ror-the-evolution-of-the-horror-movie-poster.htm> [Accessed February 18, 2022]. Fig. 20; I Can’t Watch! Concept Board, 2022. Eyes by Herbert List. Cross. M., 2021. Herbert List. [online] Twitter, 17 June. Available at: <https://twit- ter.com/melcrossartist> [Accessed 24 January 2022]. Study for ‘Blaze’ by Bridget Riley. Riley, B., 1962. Bridget Riley, Study for ‘Blaze’ - Google Arts & Cul- ture. [online] Google Arts & Culture. Available at: <https://artsandculture.google.com/asset/bridget-riley- study-for-blaze/NwHR0QZYUC6bvg> [Accessed 17 January 2022]. More Problems? Blacklock, S., 2021. Play Workshop Collage Outcome. The Time Machine, 1960. Imdb.com. 1960. The Time Machine. [online] Available at: <https://www.imdb.com/title/ tt0054387/> [Accessed 21 January 2022]. The Lovers by Douglas Coupland. Coupland, D., 2013. The Lovers - Douglas Coupland - Google Arts & Culture. [online] Google Arts & Culture. Available at: <https://artsandculture.google.com/asset/the-lovers-doug- las-coupland/mQGXNZNJqGTl7Q> [Accessed 17 January 2022]. Oh no! Pinterest. n.d. Devo - All Access | Punk poster, Punk design, Band posters. [online] Available at: <https://br.pinterest.com/pin/323062973271693078/> [Accessed 16 January 2022]. Heathers, 1989. Heathers, 1989. [Film]. Directed by Michael Lehmann. America: New World Pictures. I Can’t Watch! Blacklock, S., 2022. Mood board title digital drawing. Fig. 21; Jawbreaker, 1999. Jawbreaker, 1999. [Film]. Directed by Darren Stein. America: TriStar Pictures. Fig. 22; Graphicteam, 1967. Pinterest. 1967. 1967 Exhibition Announcement for GRAPHICTEAM. [online] Available at: <https://www.pinterest.co.uk/pin/267753140332891623/> [Accessed 16 January 2022]. Fig. 23; Why Murder Mystery Game by Alfred Hitchcock, 1961. Milton Bradley Company, 1961. Board game:Why? A Mystery Game Presented by Alfred Hitchcock - Milton Bradley Company - Google Arts & Culture. [online] Google Arts & Culture. Available at: <https://artsandculture.google.com/asset/board-game-why-a-mystery-game-present- ed-by-alfred-hitchcock-milton-bradley-company/owEJVa4F8g0jew> [Accessed 17 January 2022]. Fig. 24; Dazed and Confused, 1993. Dazed and Confused, 1993. [Film]. Directed by Richard Linklater. America: Detour Film Production. Fig. 25; Alex Prager, 2008. Hamada, J., 2012. Alex Prager. [online] BOOOOOOOM!. Available at: <https://www. booooooom.com/2012/10/10/photographer-alex-prager-2/> [Accessed 16 January 2022]. Fig. 26; Play workshop collage. Fig. 27; Susan Strasberg in Taste of Fear 1961. Pinterest. 1961. Taste of Fear 1961.. [online] Available at: <https://www.pinterest.co.uk/pin/507780926707959656/> [Accessed 10 January 2022]. Fig. 28; Horror History Timeline, 2022. Frankenstein Poster, 1931. Miller, J., 2012. Photos: Gallery: Frankenstein, Dracula, and the Rest of the Most Valuable Movie Posters. [online] Vanity Fair. Available at: <https://www.vanityfair.com/hollywood/pho- tos/2012/03/dracula-frankenstein-most-valuable-movie-posters> [Accessed 6 February 2022]. 108 .............................................................

RATIONS ........................................................ Godzilla Poster, 1954. Pinterest. n.d. Original Godzilla (1954). [online] Available at: <https://www.pinter- est.co.uk/pin/701646816924675410/> [Accessed 6 February 2022]. Night Of The Living Dead, 1968. Imdb.com. 1968. Night of the Living Dead. [online] Available at: <https:// www.imdb.com/title/tt0063350/> [Accessed 6 February 2022]. Halloween, 1978. Dressler, J., 2019. Original ‘Halloween’ Poster Features Hidden Image That You’ll Never Unsee. [online] ScreenGeek. Available at: <https://www.screengeek.net/2019/10/09/halloween-poster-hidden-im- age/> [Accessed 6 February 2022]. Scream, 1996. Ibrahim, S., 2021. ‘Scream’ stars Matthew Lillard, Skeet Ulrich tease possible sequel return. [online] New York Post. Available at: <https://nypost.com/2021/10/15/scream-stars-matthew-lillard-skeet-ul- rich-tease-sequel-return/> [Accessed 7 February 2022]. The Blair Witch Project, 1999. Imdb.com. 1999. The Blair Witch Project. [online] Available at: <https://www. imdb.com/title/tt0185937/> [Accessed 6 February 2022]. Saw, 2004. Imdb.com. 2004. Saw. [online] Available at: <https://www.imdb.com/title/tt0387564/> [Accessed 6 February 2022]. Jennifer’s Body. Imdb.com. 2009. Jennifer’s Body. [online] Available at: <https://www.imdb.com/title/ tt1131734/?ref_=tttr_tr_tt> [Accessed 3 February 2022]. Fig. 29; I Married a Monster from Outer Space, 1958. MOVIES and MANIA. 2018. I MARRIED A MONSTER FROM OUTER SPACE (1958). [online] Available at: <https://moviesandmania.com/2018/10/13/i-married-a-monster-from-outer- space-review-movie-film-sci-fi-horror-1958-overview-cast-plot/> [Accessed 24 January 2022]. Fig. 30; Creature From The Black Lagoon, 1954. Duncan, P. & Penner, J., 2017. Horror cinema, Köln: TASCHEN. Fig. 31; Psycho, 1960. Duncan, P. & Penner, J., 2017. Horror cinema, Köln: TASCHEN. Fig. 32; King Kong, 1933. Duncan, P. & Penner, J., 2017. Horror cinema, Köln: TASCHEN. Fig. 33; The Blob, 1958. Anon, 1958. The Blob. IMDb. Available at: https://www.imdb.com/title/tt0051418/ [Ac- cessed March 1, 2022]. Fig. 34; Child’s Play, 1988. Anon, 1988. Child’s play. IMDb. Available at: https://www.imdb.com/title/ tt0094862/mediaviewer/rm4102105088/ [Accessed March 1, 2022]. Fig. 35; The Shining, 1980. Anon, 1980. The Shining. IMDb. Available at: https://www.imdb.com/title/ tt0081505/mediaviewer/rm3131156225/ [Accessed March 1, 2022]. Fig. 36; The Earth Dies Screaming, 1964. Anon, 1964. The earth dies screaming. IMDb. Available at: https:// www.imdb.com/title/tt0058050/mediaviewer/rm667857153/ [Accessed March 1, 2022]. Fig. 37; Whatever Happened To Baby Jane?, 1962. Anon, 1962. What ever happened to baby jane? IMDb. Available at: https://www.imdb.com/title/tt0056687/mediaviewer/rm154605568/ [Accessed March 1, 2022]. Fig. 38; The Evil Dead, 1981. Anon, 1981. The Evil Dead. IMDb. Available at: https://www.imdb.com/title/ tt0083907/?ref_=ttmi_tt [Accessed March 1, 2022]. Fig. 39; It Follows Poster, 2015. Anon, 2015. It Follows. PosterSpy. Available at: https://posterspy.com/ posters/it-follows-10/ [Accessed March 14, 2022]. Fig. 40; Logo print, Blacklock.S, 2022. Fig. 41; Chandler Bing, Friends, 1994. Friends, 1994. [TV]. NBC, 22 September 1994. Fig. 42; Overlook, Blacklock.S, 2022. Fig. 43; Study for ‘Blaze’ by Bridget Riley, 1962. Riley, B., 1962. Bridget Riley, Study for ‘Blaze’ - Goog- le Arts & Culture. [online] Google Arts & Culture. Available at: <https://artsandculture.google.com/asset/ bridget-riley-study-for-blaze/NwHR0QZYUC6bvg> [Accessed 17 January 2022]. Fig. 44; Matthew Perry in Friends, 1994. Friends, 1994. [TV]. NBC, 22 September 1994. Fig. 45; Amanda Seyfried in Mean Girls, 2004. Mean Girls, 2004. [Film]. Directed by Mark Waters. America: Paramount Pictures. Fig. 46; Brad Pitt in Fight Club, 1999. Fight Club, 1999. [Film]. Directed by David Fincher. America: 20th Century Studios. Fig. 47; Velma Dinkley, Scooby Doo, 1969. Scooby Doo, Where Are You! [TV] CBS, 13 September 1969. Fig. 48; James P. Sullivan, Monster’s Inc., 2001. Monster’s Inc., 2001. [Film]. Directed by Pete Docter. America: Pixar Animations, Walt Disney Studios. Fig. 49; Alicia Silverstone in Clueless, 1995. Clueless, 1995. [Film]. Directed by Amy Heckerling. America: Paramount Pictures. Fig. 50; Charisma Carpenter in Buffy, 1997. Buffy the Vampire Slayer, 1997. [TV] The WB, 10 March 1997. Fig. 51; Hugh Grant in Notting Hill, 1999. Notting Hill, 1999. [Film]. Directed by Roger Mitchell. England: PolyGram Filmed Entertainment. Fig. 52; Ronia GB, 2022. Ronia GB, 2022. Made these at 1AM lol. @ronia_gb [Instagram], 12 February. Available at: <https://www.instagram.com/p/CZ5SSltBTtT/> [Accessed March 6, 2022]. Fig. 53; Ronia GB, 2022. Ronia GB, 2022. Made these at 1AM lol. @ronia_gb [Instagram], 12 February. Available at: <https://www.instagram.com/p/CZ5SSltBTtT/> [Accessed March 6, 2022]. Fig. 54; Consumer Form, Blacklock. S, 2022. Fig. 55; Image sent by my Consumer, Katelyn Noelle, 2022. Fig. 56; Image sent by my Consumer, Katelyn Noelle, 2022. Fig. 57; Image sent by my Consumer, Katelyn Noelle, 2022. Fig. 58; Image sent by my Consumer, Katelyn Noelle, 2022. Fig. 59; Consumer Form, Blacklock. S, 2022. Fig. 60; Image sent by my Consumer, Cody Blanc, 2022. Fig. 61; Image sent by my Consumer, Ethan, 2022. Fig. 62; Image sent by my Consumer, Ethan, 2022. Fig. 63; Image sent by my Consumer, Cody Blanc, 2022. Fig. 64; Image from Consumer Instagram, 2022. Fig. 65; Laundry Room Studios’ Oat Milk Guest Check, 2022. Laundry Room Studios, 2021. Pick a side. @laundry- roomstudios_ [Instagram], 6 August. Available at: < https://www.instagram.com/p/CSPMYqnLNYN/> [Accessed 25 January 2022]. Fig. 66; Image from Consumer Instagram Story, [Link unavailable], 2022. Fig. 67; Image from Consumer Instagram Story, [Link unavailable], 2022. Fig. 68; Image from Consumer Instagram Story, [Link unavailable], 2022. Fig. 69; @90sanxiety, 2021. Abraham. J, 2021. 1990s End of Summer Mix. @90sanxiety [Instagram] 9 September. Available at:< https://www.instagram.com/p/CZ9WhaALiC-/> [Accessed: March 6, 2022]. Fig. 70; @90smilk, 2022. Nineties Milk, 2022. Mobile phones from the 90s and 00s. @90smilk [Instagram] 6 Feb- ruary. Available at: https://www.instagram.com/p/CZpo_fUMaRn/ [Accessed: March 6, 2022]. ............................................................. 109

........................................................ ILLUSTR Fig. 71; @90sanxiety, 2021. Abraham. J, 2021.’Friends’ Season 1 costume design. @90sanxiety [Instagram] 28 May. Available at:< https://www.instagram.com/p/CPZcbqAFitR/> [Accessed: March 6, 2022]. Fig. 72; Psycho Poster, 1960. Unknown source. Fig. 73; Jennifer’s Body Article, 2009. Anon, 2022. Jennifer’s body: Jennifer’s body. Pinterest. Available at: https://www.pinterest.co.uk/pin/294282156909569518/ [Accessed February 20, 2022]. Fig. 74; Home Alone, 1990. Home Alone, 1990. [Film]. Directed by Chris Columbus. America: 20th Century Studi- os. Fig. 75; Shelf Heroes – Issue H, 2018. Smith, B., Film zine - Issue H. Shelf Heroes. Available at: http:// shelfheroes.com/#/issue-h/ [Accessed March 3, 2022]. Fig. 76; Ghost World by Alice Carnegie, 2018. Carnegie, A., Film zine - Ghost World. Shelf Heroes. Available at: http://shelfheroes.com/#/ghost-world/ [Accessed March 3, 2022]. Fig. 77; Shelf Heroes – Issue D, 2016. Smith, B., Film zine - Issue D. Shelf Heroes. Available at: http:// shelfheroes.com/#/issue-d/ [Accessed March 3, 2022]. Fig. 78; Godzilla Illustration. Anon, Godzilla. Pinterest. Available at: https://www.pinterest.co.uk/ pin/338614465741272687/ [Accessed January 29, 2022]. Fig. 79; Zine Mock-Up, 2022. Fig. 80; Zine Mock-Up, 2022. Fig. 81; Zine Mock-Up, 2022. Fig. 82; Zine Mock-Up, 2022. Fig. 83; Zine Mock-Up, 2022. Fig. 84; Zine Mock-Up, 2022. Fig. 85; Zine Mock-Up, 2022. Fig. 86; Zine Mock-Up, 2022. Fig. 87; Zine Mock-Up, 2022. Fig. 88; Zine Mock-Up, 2022. Fig. 89; DVD Mock-Up, 2022. Fig. 90; Top Trumps Mock-Up, 2022. Fig. 91; Poster Mock-Up, 2022. Fig. 92; Instagram Screenshot, 2022. Abraham. J., @90sanxiety [Instagram]. Fig. 93; Instagram Screenshot, 2022. Blacklock. S., @overlookzine [Instagram]. Fig. 94; Overlook Poster Design, 2022. Fig. 95; Overlook Drive-In Ad, 2022. Fig. 96; Obit, 2016. Anon, 2016. Obit. IMDb. Available at: https://www.imdb.com/title/tt4820284/ [Accessed March 11, 2022]. Fig. 97; Obit, 2016. Anon, 2016. Obit. IMDb. Available at: https://www.imdb.com/title/tt4820284/ [Accessed March 11, 2022]. Fig. 98; Fictional Cultural Calendar. Rocky, 1976. [Film]. Directed by John G. Avildson. America: United Artists. Groundhog Day, 1993. [Film]. Directed by Harold Ramis. America: Columbia Pictures. The Breakfast Club, 1985. [Film]. Directed by John Hughes. America: Universal Studios. Empire Records, 1995. [Film]. Directed by Allan Moyle. America: Regency Enterprises. Dazed and Confused, 1993. [Film]. Directed by Richard Linklater. America: Detour Productions & Alphaville films. Superbad, 2007. [Film]. Directed by Greg Mottola. America: Columbia Pictures. The Shining, 1980. [Film]. Directed by Stanley Kubrick. America: Warner Bros. Anon, Cabot Street Cinema Theatre, 286 Cabot Street, Beverly, MA 1915. Cinema Treasures. Available at: http://cinematreasures.org/theaters/28/photos [Accessed March 10, 2022]. Forrest Gump, 1994. [Film]. Directed by Robert Zemeckis. America: Paramount Pictures. Back To the Future, 1985. [Film]. Directed by Robert Zemeckis. America: Columbia Pictures. E.T, 1982. [Film]. Directed by Steven Spielberg. America; Universal Studios. When Harry Met Sally, 1989. [Film]. Directed by Rob Reiner. America; Columbia Pictures. Fig. 99; Eye Body #11, Carolee Schneemann , 1963.Carolee Schneemann Nelson, M., Als, H. & Scott, A.K., 2019. The reënchantment of Carolee Schneemann. The New Yorker. Available at: https://www.newyorker.com/books/ page-turner/the-re-enchantment-of-carolee-schneemann [Accessed March 6, 2022]. Fig. 100; E.T Alternative Poster, 1982. Anon, 2014. 10 E.T. ideas: Extra terrestrial, alternative movie post- ers. Pinterest. Available at: https://www.pinterest.co.uk/jonnyreid79/et/ [Accessed March 11, 2022]. Fig. 101; Ferris Bueller’s Day Off, 1986. Ferris Bueller’s Day Off, 1986. [Film]. Directed by John Hughes. America: Paramount Pictures. Fig. 102; Event Mock Up, 2022. Fig. 103; Event Mock Up, 2022. Fig. 104; Event Mock Up, 2022. Fig. 105; Tickets Mock Up, 2022. Fig. 106; The Birds, 1963. Duncan, P. & Penner, J., 2017. Horror cinema, Köln: TASCHEN. Fig. 107; Night Of The Living Dead, 1968. Duncan, P. & Penner, J., 2017. Horror cinema, Köln: TASCHEN. Fig. 108; The Wickerman, 1973. Duncan, P. & Penner, J., 2017. Horror cinema, Köln: TASCHEN. Fig. 109; Nightmare on Elm Street, 1984. Duncan, P. & Penner, J., 2017. Horror cinema, Köln: TASCHEN. Fig. 110; The Shining, 1980. Duncan, P. & Penner, J., 2017. Horror cinema, Köln: TASCHEN. Fig. 111; Instagram Screenshot, 2022. Blacklock. S., @overlookzine [Instagram]. Fig. 112; Instagram screen recording. Fig. 113; Instagram Mock-Up, 2022. Fig. 114; Instagram Mock-Up, 2022. Fig. 115; Instagram Mock-Up, 2022. Fig. 116; Instagram Mock-Up, 2022. Fig. 117; Instagram Mock-Up, 2022. Fig. 118; Instagram Mock-Up, 2022. Fig. 119; Instagram Mock-Up, 2022. Fig. 120; Instagram Mock-Up, 2022. Fig. 121; Print Campaign Mock-Up, 2022. 110 .............................................................

RATIONS ........................................................ Fig. 122; Print Campaign Mock-Up, 2022. Fig. 123; Print Campaign Mock-Up, 2022. Fig. 124; Print Campaign Mock-Up, 2022. Fig. 125; Print Campaign Mock-Up, 2022. Fig. 126; Print Campaign Mock-Up, 2022. Fig. 127; The Breakfast Club, 1985. Anon, 2022. The Breakfast Club cast photo, from 16 Magazine, 1985: Break- fast Club movie. Pinterest. Available at: https://www.pinterest.co.uk/pin/749849406702756696/ [Accessed March 16, 2022]. Fig. 128; Ghostbusters, 1984. Ghostbusters, 1984.[Film]. Directed by Ivan Reitman. America: Columbia Pic- tures. Fig. 129; Ferris Bueller’s Day Off, 1986. Ferris Bueller’s Day Off, 1986. [Film]. Directed by John Hughes. America: Paramount Pictures. Fig. 130; Grease, 1978. Grease 1978. [Film]. Directed by Randal Kleiser. America: Paramount Pictures. Fig. 131; The Shining Final Scene, 1980. The Shining, 1980. [Film]. Directed by Stanley Kubrick. America: Warner Bros. ............................................................. 111

........................................................ REFERE Anon, About Shelf Heroes. Shelf Heroes. Available at: http://shelfheroes.com/about-1 [Accessed March 9, 2022]. (“An intermittent printed fanzine created by people who love cinema. It celebrates great (and not so great) films one letter at a time.”) Anon., (1954). Creature From The Black Lagoon [Poster] - Tagline. (‘Not since the beginning of time has the world beheld terror like this.’) Anonymous, 2019. Brief Comparison Of Pop Culture 60s vs 90s. [online] Essay Examples. Available at: <https:// benjaminbarber.org/brief-comparison-of-pop-culture-60s-vs-90s/> [Accessed 2 February 2022]. Bachman, M., 2021. Jennifer’s Body: The Real Reason The Horror Movie Bombed After Release. [online] Screen Rant. Available at: <https://screenrant.com/jennifers-body-movie-bombed-release-reason-marketing-bad/#:~:tex- t=Fox%20even%20blames%20herself%20for,gaze%2C%20which%20it%20is%20not.> [Accessed 1 February 2022]. Basu, R., 2022. Five design trends set to visually shape 2022. [online] Itsnicethat.com. Available at: <https://www.itsnicethat.com/features/forward-thinking-five-design-trends-creative-industry-040122> [Accessed 23 January 2022]. Berlo. K., 1960. The process of communication; an introduction to theory and practice. New York, Holt, Rine- hart and Winston. Blacklock.S, 2021. Self-Devised Research Appendix. Contexts Insights. Blacklock.S, 2021. Self-Devised Research Appendix. Contexts Primary Research “hard to watch” – participant. Blacklock.S, 2021. Self-Devised Research Proposal. Idea Gap, Problem, Need and Statement. Blanc. C., Primary Research Participant, 2022. Bridgland, J., 2022. Five design trends set to visually shape 2022. [online] Itsnicethat.com. Available at: <https://www.itsnicethat.com/features/forward-thinking-five-design-trends-creative-industry-040122> [Accessed 23 January 2022]. (“feels new although its old” – J. Bridgland) Brooks, K., 2020. How COVID-19 Might Influence Horror Movie History. [online] Time. Available at: <https:// time.com/5891305/horror-movies-coronavirus-history-genre/> [Accessed 1 February 2022]. ( “The horror gen- re 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.”) (“Before everyone else had 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.”) Cody. D., Jennifer’s Body Reunion: Megan Fox and Diablo Cody Get Candid About Hollywood (Exclusive), 2019. [YouTube], ET Live, 19 Sep. Available at: <https://www.youtube.com/watch?v=u2JLRtWlq0o> [Accessed 28 January 2022]. (“If somebody stops me, it’s always some like, 22 year old who wants to talk to me about Jennifer’s body. To me, that is the coolest thing in the world. Its like, I don’t think you could have legally seen this movie when it came out and you found it.“) Duncan, P. & Penner, J., 2017. Horror cinema, Köln: TASCHEN. Fox. M., Jennifer’s Body Reunion: Megan Fox and Diablo Cody Get Candid About Hollywood (Exclusive), 2019. [YouTube], ET Live, 19 Sep. Available at: <https://www.youtube.com/watch?v=u2JLRtWlq0o> [Accessed 28 January 2022]. (“objectified is not the right word. It doesn’t capture what was happening to me”.) Hawgood, A., 2022. Why ‘90s Nostalgia Feels So Good Right Now. [online] W Magazine. Available at: <https:// www.wmagazine.com/culture/90s-fashion-revival-trend-music-tv> [Accessed 1 February 2022]. (“A post modern pining for a less plugged in era.”) (“endless retro stream.”) Hindley, L., 2021. Jennifers Body: Hell is a Mismarketed Masterpiece - obscur. [online] Obscur. Available at: <http://obscurmagazine.co.uk/jennifers-body-hell-is-a-mismarketed-masterpiece/> [Accessed 8 February 2022]. Jennifer’s Body Reunion: Megan Fox and Diablo Cody Get Candid About Hollywood (Exclusive), 2019. [YouTube], ET Live, 19 Sep. Available at: <https://www.youtube.com/watch?v=u2JLRtWlq0o> [Accessed 28 January 2022]. Jennifer’s Body and the Horrific Female Gaze, 2021. [YouTube] The Take, 27 Jul. Available at:< https://www. youtube.com/watch?v=X7Twg8rG2HI> [Accessed 28 January 2022]. Lodi, M., 2022. JENNIFER’S BODY COSTUME DESIGNER REFLECTS ON THE FILM’S FASHION, 13 YEARS LATER. [online] Ny- lon. Available at: <https://www.nylon.com/fashion/jennifers-body-costume-designer-outfits-fashion> [Accessed 12 February 2022]. Mccluskey, M., 2020. How COVID-19 Might Influence Horror Movie History. [online] Time. Available at: <https:// time.com/5891305/horror-movies-coronavirus-history-genre/> [Accessed 1 February 2022]. Mitchell, T., & Thompson, L. (1994). A theory of temporal adjustments of the evaluation of events: Rosy prospection & rosy retrospection. 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GRAPHY ........................................................ Nicholson, R., 2017. From clueless to tarantino: Why the 90s was Hollywood’s fairytale decade. The Guardian. Available at: https://www.theguardian.com/film/2017/sep/29/from-clueless-to-tarantino-why-the-90s-was-holly- woods-fairytale-decade [Accessed March 1, 2022]. O’Neill, L., 2021. ‘Gossip Girl’ 2.0 Shows The Pitfalls of Reboot Culture. [online] Vice.com. Available at: <https://www.vice.com/en/article/qj8abw/gossip-girl-20-shows-the-pitfalls-of-reboot-culture> [Accessed 12 January 2022]. Ramachandran, N., 2020. U.K. drive-ins boom in Pandemic Era with 40 new cinemas (exclusive). Variety. Avail- able at: https://variety.com/2020/film/news/uk-drive-in-cinemas-boom-40-venues-comscore-1234712174/ [Accessed March 9, 2022]. Schneider, S., 2014. Hollywood horror: The evolution of the horror movie poster. Tech Times. Available at: <https://www.techtimes.com/articles/19192/20141031/hollywood-horror-the-evolution-of-the-horror-movie-poster. htm> [Accessed February 18, 2022]. Scott, J., 2020. The Horror Genre Explained. [online] StudioBinder. Available at: <https://www.studiobinder. com/blog/what-is-horror-definition/#:~:text=Horror%20is%20a%20genre%20of,by%20society%20at%20the%20time.> [Ac- cessed 18 January 2022]. Scott, S. and Buller, A., 2020. Graphic Activism. [online] Www-lsnglobal-com.ntu.idm.oclc.org. Available at: <https://www-lsnglobal-com.ntu.idm.oclc.org/design-directions/article/25965/graphic-activism> [Accessed 23 January 2022]. Seligman, M., 2018. Perma and the building blocks of well-being, The Journal of Positive Psychology. Taylor & Francis. Available at: https://www.tandfonline.com/doi/full/10.1080/17439760.2018.1437466 [Accessed March 4, 2022]. Shelton, J., 2017. If you watched Jim Carrey’s ‘the mask’ as a child, you’re probably a pretty messed up per- son. Ranker. Available at: https://www.ranker.com/list/ways-jim-carrey-the-mask-is-actually-horrifying/ja- cob-shelton [Accessed March 8, 2022]. Stitch, 2022. The lie of “Let people like things”. Teen Vogue. Available at: https://www.teenvogue.com/story/ lie-of-let-people-like-things-stitch-fan-service#intcid=_teen-vogue-bottom-recirc_33588fee-c2f0-4023-b599- 1131b8377d8a_text2vec1 [Accessed March 1, 2022]. Susan E. Thomas, 2013. Value and Validity of Art Zines as an Art Form, Journal of the Art Libraries Society of North America 28, no. 2 (Fall 2009): 27-36, 38. Available at: http://www.jstor.org/stable/27949520 . [Ac- cessed February 20, 2022]. The Shining, 1980. [Film]. Directed by Stanley Kubrick. America: Warner Bros. Thomas, L., 2017. Charlotte York is anti-feminist, and we’ve outgrown her. Marie Claire Magazine. Available at: https://www.marieclaire.com/culture/news/a27933/sex-and-the-city-charlotte-york-anti-feminist/ [Accessed March 3, 2022]. Whitmore, G., 2012. Dracula film posters: In pictures. The Guardian. Available at: https://www.theguardian. com/culture/gallery/2012/dec/15/bram-stoker-dracula-in-pictures [Accessed February 10, 2022]. Wittingham, E., 2021. 10 Times When The Poster Is More Iconic Than The Movie. [online] ScreenRant. Available at: <https://screenrant.com/ten-times-poster-more-iconic-than-movie/> [Accessed 15 January 2022]. Yallop, O., 2021. Welcome to the Post-Social Era. LS:N Global. Available at: https://www-lsnglobal-com.ntu. idm.oclc.org/opinion/article/27692/welcome-to-the-post-social-era [Accessed February 1, 2022]. Zillmann, D., 2008. Excitation Transfer Theory. The International Encyclopedia of Communication, [online] Available at: <https://doi.org/10.1002/9781405186407.wbiece049> [Accessed 2 February 2022]. ............................................................. 115

APPE REFLECTION ..................................................................... DECLARATION STATEMENT ............................................ BIG IDEA VISUAL ANALYSIS ............................................ CONCEPT 1 ........................................................................ CONCEPT 2 ........................................................................ CONCEPT 3 ........................................................................ CONCEPT SWOTS ............................................................ HORROR TIMELINE ANNOTATED .................................... HORROR POSTER VISUAL ANALYSIS ............................. BIG IDEA & CONCEPT COMPETITOR ................................. BRAND WHEEL .................................................................. COLOUR PALETTE ............................................................. CONSUMER ....................................................................... ZINE PLANNING ................................................................ CULTURAL CALENDAR .................................................... EVENT JUSTIFICATION ..................................................... METHODOLOGY ............................................................... PRIMARY RESEARCH ....................................................... ETHICS .............................................................................. CRITICAL PATH ............................................................... TRIANGULATION: REPORT VISUALS ............................... 116 .............................................................

NDIX ..................................................................................... 118 ..................................................................................... 119 .................................................................................... 120 .................................................................................... 122 .................................................................................... 126 .................................................................................... 130 .................................................................................... 132 .................................................................................... 134 ..................................................................................... 136 .................................................................................... 140 ..................................................................................... 142 .................................................................................... 143 .................................................................................... 144 .................................................................................... 146 .................................................................................... 152 .................................................................................... 153 .................................................................................... 154 .................................................................................... 156 .................................................................................... 158 .................................................................................... 166 .................................................................................... 172 ............................................................. 117

...................... GIBBS REFLECTION ......................... Description I worked methodically through the concepts and outcomes stages, reflecting on my work from the first two self-devised hand-ins before establishing where to start with concept generation. Responding to feedback and rewording my idea statement before beginning a visual brainstorm around it. This led me to a range of visual and contextual aspects to explore, categorising and analysing throughout. From forming my visual concepts, reflecting and choosing the strongest I came to an outcome an IMC that felt perfectly suited to my consumer, and the aim of my big idea, meeting my gap, opportunity and need. Feelings My close connection to my self-devised topic really impacted my decisions throughout the process, using the emotive connection to my own childhood nostalgia felt very meta to my project topic and meant that I feel more connected to and proud of the outcomes I have produced. Initially feeling very overwhelmed at the thought of these two stages of the FCP process, my methodical approach, work ethic and ongoing peer discussion/evaluation meant that I was able to overcome this and get excited about where my project was going and what I was creating. Evaluation My 3 concepts stand out as being strong area within this process due to their visual distinction and meeting of the aim of my idea, and relevance to my consumer. My chosen concept feels very supported and justified and slotted into place perfectly as the means for what I wanted to achieve. I also feel confident in the justification of my outcomes, in particular the importance and desire for a pre-digital outcome to my consumer. The visual decisions made across my report and zine make references to the core of my chosen concept, acting as an extension of my brand’s tone of voice. Analysis These aspects of the project went well due to the breadth of my initial research (evidenced in my linked Miro board) and again, due to my personal connection to this project and my own experiences. My communication with my consumer throughout the project really informed the parts that feel the most successful and justified to me, due to the reassurance I was working to suit their needs. Conclusion At the end of this project, I considered risks I have taken and how I could’ve improved my outcomes, considering this and the process of these stages as a whole, I feel I could have incorporated an additional element / outcome/ comms touchpoint that spoke directly to the Rosy Retrospectators in my consumer group. Although I feel like I have met their needs and worked to suit them there are elements at the core of my branding that definitely feel more aligned with the Resistant consumers. Action Plan Moving on from the self-devised, despite it being an individual project I have worked closely with others to help each other come to the best decisions and ideas, something that I am looking forward to doing more of in the live project group brief. 118 .............................................................

.................... DECLARATION STATEMENT .................... Nottingham Trent University FASH30009 School of Art & Design 2021-22 Negotiated Projects Declaration Form FCP3 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 University's regulations on assessment contained in its handbook. Signed .......S. BLACKLOCK.................................................................................... Date ..........16/03/22................................................................................................ ............................................................. 119 _____________________________________________________________________________________________

...................................................... VISUAL AN 120 .............................................................

NALYSIS ....................................................... ............................................................. 121

.......................................................... CONC 122 .............................................................

CEPT 1 .......................................................... ............................................................. 123

.......................................................... CONC 124 .............................................................

CEPT 1 .......................................................... ............................................................. 125

.......................................................... CONC 126 .............................................................

CEPT 2 .......................................................... ............................................................. 127

.......................................................... CONC 128 .............................................................

CEPT 2 .......................................................... ............................................................. 129

.......................................................... CONC 130 .............................................................

CEPT 3 .......................................................... ............................................................. 131

.......................................................... CONC Concept 1: Explained Based on the ambiguity of opponent colour theory through contrasting red and green, this concept explores the idea of something that is visually appealing but simultaneously unsettling. Referring to examples such as Vertigo (1958), aswell as the connotations of the colours individually. Meticulous and hyper-real, pulling inspiration from the work of photographer Alex Prager, and the style of filmmaker Wes Anderson, the visual style acts as a metaphor for the ‘bite’ of that “How is this even real?” feeling evoked when returning to an old favourite that has aged badly. SWOT Strengths; metaphorical relevance to theory that supports my topic, relevant to consumer Weaknesses; ‘hitchcockian’ nature - is this reference point is over done? doesn’t meet satirical comedy element of my idea statement - needs further exploration of how this could be met. Opportunities; print, film, lens, digital Threats; not necessarily applicable to all outcomes. Concept 2: Explained Stemming from the evidenced collection and fascination of film posters from my consumer, my second concept focuses on using the iconography of film memorabilia, through posters, props and quotes. Remixing these examples of what is familiar and nostalgic, in a way that pokes fun at the badly-aged film and TV my consumer is still so fascinated by. Visually and literally meeting the renewed desire for analog and physicality amongst today’s digital landscape, through artists such as Brian Burroughs and supported by research via James Abraham of @90sanxiety. SWOT Strengths; so much potential for really strong visuals, meets all aspects of my idea statement Weaknesses; seems too obvious? Opportunities; print - poster campaign, accompanying digital campaign/ presence, collectable product, event - poster sale and film screenings? Threats; certain posters have a naff connotation due to ‘geek t-shirt’ culture, remastering of film posters has been done before - risk of it being predictable. 132 .............................................................

CEPT 1 .......................................................... Concept 3: SWOT Strengths; Relevant to my consumer, valid support of the purpose of my project topic, answers the problem/opportunity and need of my idea statement. Weaknesses; hopping on horror/sci-fi engagement from consumer group too late? it is established and on going but not necessarily new - could take things in a fresh direction Opportunities; film - remastering scenes, print - zine, print campaign, collectability and resurgance of physical ‘stuff’ relevant to consumer, online presence - consumer engagement, meme culture, event - a take on fright night? explore halloween resonance Threats; missed joke, focus on using the correct TOV. ............................................................. 133

......................................................... ANNOT 134 .............................................................

TATION ........................................................ ............................................................. 135

....................................................... VISUAL AN 136 .............................................................

NALYSIS ........................................................ ............................................................. 137

....................................................... VISUAL AN 138 .............................................................

NALYSIS ........................................................ ............................................................. 139

........................................................ COMPE 140 .............................................................

TITOR ......................................................... Big Idea / Concept Competitor Event: My Experience I attended the Catcalls Assassanation Nation event due to its parralels in themes to my big idea’s purpose and my concept’s visual identity, to gage an idea of a competitor to these aspects of my self-devised project. The event’s format included a film screening of Assassination Nation (a 2018 horror-comedy with a female-based narrative and cast) and a Panel discussion on the topic of feminism in realtion to horror as a genre. As discussed in my report, i found this topically really enagaging and the mix of film and discussion was a good balance. However, both these means of communication in an event are traditional and not the most engaging due to its slow, predictable nature. Having also considered the use of film screening and debate/conversation in some way in the outcomes stage, this event showed me that I need to somehow revamp these formats in order to make my chosen use of them new, fresh and engaging for my consumer. Applying my findings Looking back over this experience after working on my outcomes and rtc plans, my decision to use a cinema screening event of such a niche format has definitely been fuelled by the traditionalism of this competitor. Wanting something faster paced, with a novelty/ humourous message that still holds a purpose, I combined my childhood experiences with my reflection on this competior experience to create the “Today’s version” Drive-In. This panel discussion experience drove my desire for a different method of conversatoin that felt more open, relaxed and interactive for my consumer. Through considering this and my consumer’s relevant touchpoints i came to create an Instagram account based on conversation, opinion and communication through humour around thescoial issues/nostalgic film & Tv narrative of my brand. ............................................................. 141

.......................... BRAND WHEEL ......................... 142 .............................................................

......................... COLOUR PALETTE ....................... ............................................................. 143

......................................................... CONSU What do my consumers want/need? Rosy Retrospectators; Being the more romantic and accepting side of my consumer group, their needs are rooted more in the appeal of the past and a love for the look and feel for vintage and ’old-school’ culture. Through their interest in film and TV, this fictional, romanticsed narrative is reflected in their viewpoint of the content, in how they are more accepting of the outdated issues as something of the past, aware that we have since moved on and therefore more comfortable in their consumption of the content. The Rosy Retrospectators get comfort and escapism from nostalgic film and TV, and they want an extension of this through something new, engaging and innovative - a new way of using these stories that isnt the predicatbaility of a reboot, sequel or reunion. Resistant Retrospectators; Although having the same affnity for the past as the Rosy consumers, the Resistant group are far more critical and aware of the problematic side of this nostalgic content. They sit in their guilt and discomfort a lot more, having a stronger need and desire for acknowledgemnt and calling out of the outdated nature of old film and TV. The resistant retrospectators still get escpaism and entertainement from nostalgic film and Tv, but also a sense of wanting to do better. They want something thta feeds their interesta nd love for classic film and TV that removes or reduces the discomfort surrounding this enjoyment through calling out their problematic nature. What are they scared of ? “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 changesfrom era to era.” (K. Brooks; horror specialist, Time Magazine, 2020.) Applying my horror research, specifiaclly the quote above, and the relation of the genre to current fears, I felt it would be beneficial to establish the fears fo my consumer. Rosy; Their fears are rooted in the pressure of the future on their generation, and wanitng to escape this through revisting the past. Resistant; They are scared of being guilty of the societal narrative not progressing through actively consuming and enjoying fil and tv that is now considering offensive. 144 .............................................................

UMER .......................................................... How do I cater to their needs & fears? Rosy; Through ensuring the narratives and references used by my brand contain an appreciation of the film, TV and past eras they are so drawn to, whilst ackowleding progression and informing the change of the future. Resistant; Through providing them with the classic film/ Tv based contetn they ejoy from a critical perspective in relation to how thye sit today. In order approach their fears in the right way, the tone of voice will be comedic to call out the issues and give accountability they need in order to get the entertainment they want, which comes from making them laugh. Other details; Although split by mindest and perspective my consumers are part of the same group in that their demographic and psychographic details are the same as initially established from my research in the ideas stage. However, i felt it was necessary to divide this group by hwo thye feel in thier consumption of classic film and TV as there was a clear distinction. Click to see My Miro. ............................................................. 145

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LANNING ........................................................ ............................................................. 147

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Flat Plan Testers (Unused Content) 150 .............................................................