The Hunger Games: Catching Fire: Using Digital and Social Media for Brand Storytelling

2016 ◽  
Author(s):  
Mohanbir Sawhney ◽  
Pallavi Goodman
Author(s):  
Mohanbir Sawhney ◽  
Pallavi Goodman

After the successful release of the first Hunger Games film in 2012, the film's distributor, Lionsgate, was preparing to release the next movie in the series, Hunger Games: Catching Fire. Fan expectations had grown after the success of the first film, and Lionsgate faced the challenge of keeping moviegoers interested and engaged in another Hunger Games movie. In an era marked by the rising popularity of digital and social media, Lionsgate knew that attracting fans to a sequel meant pushing the boundaries of traditional marketing tactics. Digital brand storytelling is about using digital media in a holistic way to tell a brand story and build excitement for an audience. Brand storytelling seeks to make a connection with the audience by giving them an emotional experience that resonates with them. While Lionsgate was aware that traditional marketing would need to be blended with a digital campaign to bring in moviegoers, it also needed to strike a careful balance between the two and choose the appropriate platforms to tell a cohesive story. Should Lionsgate launch a brand storytelling campaign to appeal to fans? Lionsgate's comparatively small marketing team gathered to brainstorm about how to execute such a campaign and position the film for another big success.


2019 ◽  
Vol 1 (1) ◽  
Author(s):  
Intan Novia Sari ◽  
Purwarno Purwarno

This research is the result of qualitative research on the protagonist’s struggles named Katniss Everdeen depicted in Suzanne Collins’ novel The Hunger Games. Burleson (1964) says that struggle is one of ways to reach the better life in the future and also to increase the prestige. It means that any hope will be achieved through struggling. Katniss Everdeen is a strong as well as a resourceful sixteen-year-old girl who is far more mature than her age would suggest. Katniss is the main provider in her family, which consists of Katniss, her mother, and her younger sister, Prim Everdeen. She must struggle hard to make herself and her family stay life. Therefore she always keeps on struggling in her life. The finding of this research shows that the protagonist is succesful in her struggles to fulfill her family needs, to protect her sister and to win in the Hunger Games.


Lexicon ◽  
2018 ◽  
Vol 1 (2) ◽  
Author(s):  
Farhani Nurhusna

The use of sentence fragments is generally discouraged in good English writing because they lack one or more essential components of a sentence, namely a subject and/or a predicate, and thus are grammatically unacceptable. However in fiction writing, the use of sentence fragments is not only quite common in dialogue, but in narration as well. The present study analyses sentence fragments in the narration of the first novel of the young-adult science-fiction trilogy The Hunger Games written by Suzanne Collins, to investigate the types of fragments employed in the novel and their classification based on syntactic structure in the form of dependent-clause fragments and phrase fragments. The sentence fragments were further analysed for their use based on the context of their preceding sentences. The use of sentence fragments in the novel basically serves the function of creating emphasis or stressing important points in the story.


Author(s):  
Jyrki Korpua

Artikkeli käsittelee postapokalyptisen nuorten fiktion lainalaisuuksia K. K. Alongin romaanissa Kevätuhrit (2016). Teos on avausosa samannimiseen kirjasarjaan, jonka toinen osa Ansassa ilmestyi vuonna 2017. Alongin romaani kuvaa postapokalyptistä maailmaa, jossa suuri osa ihmisistä on menehtynyt. Teoksen nuoret keskushenkilöt pyrkivät selviytymään vaarallisissa miljöissä, joissa suuri osa jälkeenjääneestä populaatiosta on muuttunut epäinhimillisiksi ja aggressiiviksi tappajiksi. Romaanissa on nähtävissä perinteisen kehitysromaanin (Bildungsroman) ja postapokalyptisen fiktion genrelogiikkaa, joka vertautuu suosittuihin aikalaisteoksiin kuten Suzanne Collinsin Nälkäpeli-trilogiaan (The Hunger Games, 2008‒2010) tai Emmi Itärannan Teemestarin kirjaan (2012). Artikkeli esittää, että huolimatta postapokalyptisen fiktion lainalaisuuksien seuraamisesta Alongin romaani ei ole vain nuorille suunnattu kertomus dystooppisen postapokalyptisen maailman keskellä selviytymisestä, vaan se sisältää kertomuksen tasolla utooppisen toiveen uuden harmonisen ja voimauttavan maailman rakentamisesta tuhoutuneen maailman sijalle.


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