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

TITY .......................................................... HONEST I AM NOT ... UNASSERTIVE CORDELIA CHASE .......... BUFFY, 1997 WILLIAM THACKER ..... NOTTING HILL, 1999 Fig. 50. Fig. 51. I AM ... “TACT IS JUST NOT SAYING “I’M VERY SORRY ABOUT THE TRUE STUFF, I’LL PASS.” SURREAL BUT NICE COMMENT.” HONEST ............................ 99 UNASSERTIVE ....................... 99 BLUNT ............................. 99 SOFT .............................. 99 DIRECT ........................... 99 INDECISIVE ........................ 99 UPFRONT .......................... 99 WEAK-WILLED ....................... 99 ............................................................ 51

Fig. 52; Ronia GB, 2022........................................................... CONS RRRE TERSOOSIPSE OPTIMISTIC ROMANTIC FORGIVING ACCEPTING SENTIMENTAL 52 .............................................................

UMER .......................................................... SE CTSTAA TNOYRTS REALISTI C SENSITIV E Y GUILT T DEFIAN D AFFECTE Fig. 53; Ronia GB, 2022. ............................................................ 53

Fig. 54; Consumer Form, Blacklock. S, 2022........................................................... CONS 54 .............................................................

Fig. 57; Image sent by Consumer, Katlyn Noelle 2022. Fig. 56; Image sent by Consumer, Katlyn Noelle 2022.SUMER .......................................................... Fig. 58; Image sent by Consumer, Katlyn Noelle 2022. Fig. 55; Image sent by Consumer, Katlyn Noelle 2022. ............................................................ 55

Fig. 60; Image sent by Consumer, Cody Blanc, 2022........................................................... CONS Fig. 62; Image sent by Consumer, Ethan, 2022. Fig. 61; Image sent by Consumer, Ethan, 2022. Fig. 63; Image sent by Consumer, Cody Blanc, 2022. 56 .............................................................

Fig. 59; Consumer Form, Blacklock. S, 2022.SUMER .......................................................... ............................................................ 57

......................................................... CONS FRIDAY DAY Fig. 64; Image from Consumer Instagram Story, 2022. IN THE LIFE 8:30 am tired snooze alarm check socials 9:30 am content Observing a typical day for my consumer depicts the times they are more susceptible to contact coffee stop through their habits, interests and relevant headphones in; touchpoints. Using images from my consumer’s IndieWire Film Instagram stories further demonstrates their Talk Podcast. day-to-day use of the platform and how this will come into play for my route to consumer. bored 10:00 am university lecture booking cinema tickets 12:00 pm hungry Fig. 65; Laundry Room Studios’ Oat Milk Guest Check, 2022. meeting friends for veggie burritos 1:30 pm grateful friend paid for lunch last-minute shift at independent coffee shop 58 .............................................................

SUMER ......................................................... Fig. 68; Image from Consumer Instagram Story, 2022. Fig. 67; Image from Consumer Instagram Story, 2022. Fig. 66; Image from Consumer Instagram Story, 2022. 4:00 pm inspired 7:00 pm thrift shopping 7:30 pm walk long way home 9:30 pm listening to Amy Winehouse 11:00 pm on-edge lost track of time cinema snack-stop on phone to friend excited cinema trip: The French Dispatch amused post-film fries & shakes discussing film with friends wired sociable & entertained late night Netflix, Instagram & TikTok ............................................................ 59

....................................................... ROUTE TO A To add a multi-sen the zine’s messag my consumer’s lo RESP Attend & appreci novelty aspect sharing it on MEASU Ticket sales & so AIM ZINE EV To connect to my consumer’s 1 2 nostalgic interest through pre-digital means. RESPONSE Buying and sharing the physical product on social media. MEASUREMENT Zine sales & monitoring posts of it on social media. AIM POSTERS P Promote & spark interest in the Instagram & what’s to come from the brand. RESPONSE 4 5 Appreciate the aesthetic & references, sharing to social media (previously observed this level of interaction from them via their social media). Go on to engage with the Instagram & other brand outputs in future. MEASUREMENT Monitor the posters being posted, brand being tagged and increase in account followers. A Push Overlook online platform they trust & enj to get their ha RESP Follow Overlook further engage MEASU Monitor new fo accounts used 60 ............................................................

O CONSUMER ..................................................... IM nsory experience to ge & further engage ove for the past. ONSE iate the humour & of it’s purpose, n social media. REMENT ocial media posts. ENT INSTA AIM To extend & strengthen the 2 3 community of zine consumers & the experience it provides through creating an interactive conversation around the content. RESPONSE Interact, share and utilise the account, ‘get’ the references and humour thus further connecting to the brand and feeling ‘in’ on a joke and part of a community. MEASUREMENT Monitoring the account engagement stats & insights. PR 5 RTC OVERVIEW OUTCOMES IMC IM to my consumer’s m thorugh accounts joy. Spark a desire ands on the zine. ONSE k themselves and with the brand. REMENT ollowers from the for promotion. ............................................................ 61

(A. Hawgood, , W Magazine, 2022.)....................................................... ROUTE TO “A POST MODERN PINING FOR A LE ZI PLUGGE ERA.” NE 62 .............................................................

O CONSUMER ..................................................... Fig. 69; @90sanxiety, 2021. T N ESS Fig. 71; @90sanxiety, 2021. ED IN Fig. 70; @90smilk, 2022. ............................................................ 63

....................................................... ROUTE TO OUTCOMEJUSTIFYING THE I have c to be a Fig. 72; Psycho Poster, 1960. it align Fig. 73; Jennifer’s Body Article, 2009. gravita digital primary to my c was abl their magazine in gene records One con spoke process relation rather t the r that ca longer based o instant one. (C research 64 .............................................................

O CONSUMER ..................................................... chosen for my outcome Fig. 74; Home Alone, 1990. a zine, based on how ns with my consumer’s In an article for W magazine ation towards pre- unpacking 90s nostalgia’s l eras. Carrying out current impact, Alex Hawgood talks about the irony of this research and speaking romanticisation of the pre- consumer directly, I internet era stemming from an le to further support “endless retro stream” that interest in print, is only accessible to younger es and analog products generations through online eral, such as vinyl platforms such as Instagram s and film cameras. and Netflix. This is something nsumer in particular I have also considered in about enjoying the how my physical outcome will s of anticipation in reach my consumer, and how n to film photography their habits will result in than instantly seeing them sharing it online. (A. results, something Hawgood, W Magazine, 2022.) an be applied to the process of a print- outcome, against the reception of a digital Cody Blanc, primary h participant, 2022). ............................................................ 65

....................................................... ROUTE TO Suits my consumer’s fascination As everything else is digital, with pre-digital culture, this allows for instant and the trending nature of improvements/updates to be buying into physicality again. made, print’s unchangeable nature limits its impact. Shareablity via my consumer’s online presence. Literal depiction of nostalgia in its tangible, durable nature; won’t ever be lost in the fast pace of the online space meaning it’s messsage will be ongoing. SW 66 .............................................................

O CONSUMER ..................................................... Cross-platform; interactive Not acknowledging how my and multi-sensory to suit consumer’s access to the my digi-native consumer. nostalgic content they are so drawn to is via online channels. Collectability of the zine itself and potential extra components relates back to my consumer’s evidenced habits from my primary research in the previous stages. OT ............................................................ 67

....................................................... ROUTE TO Fig. 75; Shelf Heroes - Issue H, 2018.C S “An intermittent Fig. 76; Ghost World by Alice Carnegie, 2018. printed fanzine created by people who love cinema. It celebrates great (and not so great) films one letter at a time.” (www.shelfheroes.com, ABOUT.) Fig. 77; Shelf Heroes - Issue D, 2016. 68 .............................................................

O CONSUMER ..................................................... As a competitor film-based independent S E publication, Shelf Heroes stood out to me due to its concept linking directly to its release structure. The zine is released sporadically, celebrating cinema by a letter of the alphabet per issue. This provides a longevity to its structure, aswell as a sense of limited availability in that there are only 26 letters before the cycle either finishes or starts again. Considering this in relation to my outcome, I want to create an issue-by-issue structure that provides this same sense of urgency to get involved while its running, but enough longevity for C Athe consumer to get invested. SHELF HEROES S T U D YThe content is displayed in a very graphic visual style, collaborating with different illustrators, remixing second hand imagery from film. Tonally, it’s fun and comedic, presenting a narrative of references the reader will get a sense of accomplishment for being in on, forming a community-feel. Shelf Heroes offers accompanying components to the zine, that can also be purchased separately, such as posters, iron-on patches and stickers. This extends the experience with the brand beyond the time spent reading the publication, and also presents it to others (-“Where did you get that sticker/poster?”). ............................................................ 69

Fig. 78; Godzilla Illustration........................................................ ROUTE TO SO WHAT? 70 ............................................................

O CONSUMER ..................................................... I studied various publications, such as Polyester and competitor Dear Movies to define what makes a zine successful and collectable, in particular what works in terms of release structure and the longevity of smaller publications, and establish an appropriate price point. Applying these findings to my publication and consumer, I have chosen a bi-annual release structure, giving enough time to generate buzz, conversation and accompanying online content around each issue. Focusing on a self-defined iconic era of film and TV per issue, I plan to start with a period of current relevance to my consumer; the 90s. This concept provides a sense of intrigue as it is not being released chronologically, hooking the consumer’s interest in where the zine will go next. It also achieves the balance of longevity and limited availability I am aiming for in how there are only a certain amount of periods to cover, but also the option of revisiting them to unpack further. Working era by era in this way links back to my research into the history of the horror at the root of the concept. I have also chosen to include additional elements, titled ‘Free Shit’, including a poster, character Top Trumps cards and a DVD that links to my secondary outcome. ............................................................ 71

....................................................... ROUTE TO outcome 01 ZINE Fig. 79; Zine Mock Up, 2022. OVERLOOK Click here or Scan QR to read. BI-ANNUAL ISSUES ISSUE 01: 1990-2000 £10 72 .............................................................

O CONSUMER ..................................................... Fig. 80; Zine Mock Up, 2022. Fig. 81; Zine Mock Up, 2022. Fig. 82; Zine Mock Up, 2022. ............................................................ 73

....................................................... ROUTE TO Fig. 83; Zine Mock Up, 2022. Fig. 84; Zine Mock Up, 2022. Fig. 85; Zine Mock Up, 2022. 74 .............................................................

O CONSUMER ..................................................... Fig. 86; Zine Mock Up, 2022. Fig. 87; Zine Mock Up, 2022. Fig. 88; Zine Mock Up, 2022. ............................................................ 75

....................................................... ROUTE TO Fig. 89; DVD Mock Up, 2022. ‘FREE SHIT’ Fig. 90; Top Trumps Mock Up, 2022. 76 ............................................................

O CONSUMER ..................................................... Fig. 91; Poster Mock Up, 2022. ............................................................ 77

....................................................... ROUTE TO H0W? WHERE? @90sanxiety Fig. 94; Overlook Poster Design, 2022. Fig. 92; Instagram Screenshot. Fig. 95; Overlook Drive-In Ad, 2022. @overlookzine Fig. 93; Instagram Screenshot. 78 .............................................................

O CONSUMER ..................................................... touchpoints COMMS MIX 01 Sending Overlook zine to the owners of accounts my consumer follows. Establishing an online community 02 v i a a n I n s t a g r a m a c c o u n t . Driving cosumers online through 03 posters in relevant loacations. A drive-in cinema touring event, adding an immersive experience to the 04 content they have engaged with so far. PR DIGITAL PRINT EVENT ............................................................ 79

....................................................... ROUTE TO Fig. 96; Obit, 2016. Fig. 97; Obit, 2016. (Berlo’s S.M.C.R SENDER MESSAGE Having explored my consumer’s I want to connect with my relationship with collectables consumer through referencing and the current trend of 90s the nostalgic film and TV they nostalgia’s impact on the are so drawn to, whilst calling resurgence of pre-digital out the outdated issues within product, I feel confident that them that cause a conflict in a physical printed outcome their interest. Doing so through is best suited to this need. a comedic tone of voice allows However, their activity both aims of my message to be online is the root of their achieved in a way that they connection with the nostalgic will actually engage with. content I am referring to, so reaching them via Instagram, where they are engaging with nostalgia archive accounts is key. I also have observed their engagement with cinema-based events, and the shareability of these, aswell as posters, again via their Instagram. 80 ............................................................

O CONSUMER ..................................................... Comms Process Theory Model Of Communication, 1960.) CHANNEL RECEIVER I plan to reach them and spark From this interaction, I want my their attention initially via consumer to be able to connect Instagram, before branching out with the nostalgic content to city-based locations where they love without shame or posters will be displayed, distraction by the contradiciton knowing they will engage with of their moral standpoints. them and again drive them back Through reaching them via the online. Having established appropriate channels, I want an interest in this way, the them to form a connection to my message contained in the actual brand so that the product will be publication will reach them in the purchased and the event attended comfortability of wherever suits to further implement my message. them after purchasing, before rounding off the conversation with the drive-in touring event, at multiple locations to ensure my consumers feel included where best suits them. ............................................................ 81

....................................................... ROUTE TO 2022 AS TOLD BY... JAN FEB Fig. 98. Fictional Cultural Calendar. 1976 1993 4 ROCKY FIGHTS CREED 2 GROUNDHOG DA 29 TRUMAN SHOW PREMIERE JUN MAY 2007 1993 13 FRIDAY THE 13TH 2 THE SUPERBAD PAR 23 TOM GETS OVER SUMMER 5 FERRIS BUELLER’S DAY O 26 JENNA RINK’S BIRTHDAY 28 LEE HIGH SCHOOL’S OC T LAST DAY OF SCHOOL 1985 SEP 1994 19 FORREST STOPS RUNNING 2 DONNIE DARKO MEETS FRA 3 MEAN GIRLS DA 21 MARTY MCF ARRIVES IN THE FUTU 82 .............................................................

O CONSUMER ..................................................... MAR APR 1985 1995 8 REX MANNING DAY AY 2 MIB’S FIRST CONTACT 24 MISS CONGENIALITY’S CHERYL 24 BREAKFAST CLUB DETENTION FRASIER’S FAVOURITE DATE JUL AUG 1980 ---- RTY 4 JACK TORRENCE CELEBRATES NO NOTABLE DATES OFF INDEPENDENCE DAY WITH GHOSTS 8 MARTIN BRODY AND MATT DEC HOOPER DEFEAT SHARK 1989 NOV 1982 ANK 2 E.T. GOES HOME 31 HARRY CONFESSES AY 5 MARTY MCFLY HIS FEELINGS FOR SALLY ARRIVES IN THE PAST FLY URE ............................................................ 83

....................................................... ROUTE TO APPLYING THE CULTURAL CALENDAR BUT WHEN? Observing a cultural calendar Fig. 99; specific to my consumer, I compared key dates against those of a There are multiple fictio fictional basis to construct a throughout the summer whic successful route to consumer to via my brand’s Insta timeline. Using fictional dates using relevant events to from film, opens opportunities for such as London and Edinbu grabbing consumer attention through E.T & Bladerunner’s 40th references they will ‘get’. screenings, new film rele Gun:Maverick, and a 1960s My branding aesthetic aligns with a Schneemann exhibition Halloween-based release, as this is August provides a window also linked to a surge in interest on online engagement due for the horror genre, through new before September opens up releases (Salem’s Lot, Dark Harvest, the build up to the horro Halloween Ends) and streaming mentioned. Thorpe Park services bringing back the classics. opens on October 1st, Considering this period to release a horror film festival, my zine and event, I want to have marking the start of hor built up an online presence via my Having a longer re brand’s Instagram beforehand to allows time to est encourage a call to action for my conversation with my c consumers to purchase the zine, and off what they are bes attend the event. FICTION VS NON-FICTION 84 .............................................................

O CONSUMER ..................................................... JUN - JUL AUG - SEP - OCT Eye Body #11, Carolee Schneemann, 1963. Fig. 101; Ferris Bueller’s Day Off, 1986. onal dates of note ch could be referred agram, whilst also display my posters urgh film festivals, anniversary cinema eases such as Top s feminism Carolee at the Barbican. w to focus mainly to limited events, p the beginnings of or-buzz previously k’s Fright Night before Grimmfest, opens on the 7th, rror-based events. elease timeline tablish genuine consumer and feed st responding to. Fig. 100; E.T Alternative Poster,1982. ............................................................ 85

....................................................... ROUTE TO JUN 1st; Building peak activity on Instagram account from this date, posting for key fictional dates, and building an online community and conversation. 10th; First round of posters go up in alignment with E.T’s anniversary, before festivals, relevant imc exhibitions and other cinema screenings throughout the summer. PRE-LAUNC INTEGRATED MARKETING CAMPAIGN 1st; Promot (owners relevant nosta account recieve a c of Overlook z 4th; Promot to post z referencing Independence scene from Shining, crea instant connec between the b name and fi JU 86 .............................................................

O CONSUMER ..................................................... AUG OCT Ongoing online 1st; Drive-In content, event opens with interacting first tour stop, with community in alignment with and generating Halloween season . buzz for the zine release. POST-LAUNCH CH LAUNCH ters 1st; Zine of release date. algia ts) Interactive copy Accompanying zine. Instagram content ters zine relating directly the to contents of day The zine begins. ating ction 19th; Event brand film. tickets go on sale L to celebrate the day Forrest Gump stops running. SEP ............................................................ 87

....................................................... ROUTE TO EVE NT 88 .............................................................

O CONSUMER ..................................................... E For my secondary outcome, I am producing the plans for a drive-in cinema event marketed in the style of old horror movie drive in premiers. The films showed will be “today’s versions” of 90s classics; all the badly aged scenes cut out to accentuate just how much would not fly today. This will be in collaboration with the company At The Drive In, who tour the UK hosting drive in cinema screenings with accompanying food service and stand-up comedy in more urban settings, something key in the accessibility of my consumer. The added elements and overall youthful, playful tone of the brand is in alignment with the comedy at the core of my brand. Growing up, my Dad’s love of film meant that he couldn’t wait THE BACKSTORY for me to be of the legal age to watch certain classics, so he would burn his own copies onto DVDs with all the adult content cut out. “Dirty Dancing – Sophie’s version” was a 40-minute film with not that much dancing, no abortion, and a romantic relationship that appeared out of nowhere. As I grew up and watched the full versions, I was shocked by how much longer these films now were, having only experienced very little of their original content. This shock is reflective of the realisation of how badly aged some film and TV is in the light of today, and so I have decided to use this concept of my Dad’s “Sophie’s version” DVDs to highlight how much outdated content there is in the film and TV my consumer still loves. I will include a lucky dip of a “Today’s version” DVD with the zine, as well as showing 3 of the films at a drive-in cinema event, marketed as ‘the shortest triple bill runtime ever!’ to poke fun at how much has had to have been cut-out. ............................................................ 89

....................................................... ROUTE TO outcome 02 EVENT Fig. 102; Event Mock Up, 2022. SOUTH LONDON EAST LONDON BIRMINGHAM MANCHESTER NEWCASTLE EDINBURGH LIVERPOOL BRIGHTON BRISTOL CARDIFF GLASGOW AT THE DRIVE IN OCT 1 - OCT 30 TRIPLE-BILL EVENT TOUR £12 90 ............................................................

O CONSUMER ..................................................... Fig. 104; Event Mock Up, 2022. Fig. 103; Event Mock Up, 2022. Fig. 105; Tickets Mock Up, 2022. ............................................................ 91

....................................................... ROUTE TO POSITIVE-EMOTIONS P The consumer will get enjoyment Fig. 106; The Birds, 1963. in ‘getting’ the references made to nostalgic cinema throughout the marketing. They will be entertained by the humour at the core of the event and the novelty feel to it. RELATIONSHIPS R Fig. 107; Night Of The Living Dead, 1968. The consumer will be pushed to question their relationship with nostalgic films and characters. ACHIEVEMENT A Fig. 108; The Wickerman, 1973. The consumer will leave the event feeling accomplished and satisfied in their enjoyment of nostalgic film that they have always loved, whilst taking part in a statement addressing it’s outdated nature through humour. 92 .............................................................

O CONSUMER ..................................................... Fig. 109; Nightmare On Elm Street, 1984. E ENGAGEMEN T The consumer will be engaged by the films, the jumps in their plotlines and the statement this is making. MEANIN G Fig. 110; The Shining, 1980. M The consumer will appreciate the acknowledgement of their conflict of interests relating to nostalgic film and TV today. Consumer Reaction (Seligman’s Positive Psychology Theory - PERMA Model, 2012.) ............................................................ 93

....................................................... ROUTE TO outcome 03 INSTA Fig. 111; Instagram Screenshot, 2022. INSTAGRAM Click here or Scan QR to see the account. ZINE EXTENSION COMMUNITY IN CONVERSATION 94 .............................................................

O CONSUMER ..................................................... Fig. 112; Instagram Screen Recording. ............................................................ 95

Fig. 114; Instagram Mock Up, 2022........................................................ ROUTE TOMEME CULTURE & HYPE GENERATION 96 ............................................................. Fig. 113; Instagram Mock Up, 2022. HORROR REFERENCES

Fig. 116; Instagram Mock Up, 2022.INTERACTIVE ZINE PAGESO CONSUMER ..................................................... ............................................................ 97 Fig. 115; Instagram Mock Up, 2022. GUESS THE ZINE CONTENT

Fig. 118; Instagram Mock Up, 2022.HUMOUR & CULTURAL CALENDAR....................................................... ROUTE TO 98 ............................................................. Fig. 117; Instagram Mock Up, 2022. LINKING PRINT CAMPAIGN

Fig. 120; Instagram Mock Up, 2022.CORE OF THE BRANDO CONSUMER ..................................................... ............................................................ 99 Fig. 119; Instagram Mock Up, 2022. FICTIONAL CULTURAL CALENDAR

....................................................... ROUTE TO Fig. 21; Print Campaign Mock Up, 2022. Fig. 23; Print Campaign Mock Up, 2022. Fig. 22; Print Campaign Mock Up, 2022. PRI camp JUN 10 Posters and zine pages dis cities that hold a ‘cool’ my consumer’s interests ( cinemas, markets, independent Manchester’s Northern Quart London’s Brick Lane, and 100 .............................................................