The cinema is often home to fantastic events and extraordinary tales. And though the conflicts in such movies are able to move audiences emotionally, there is an unavoidable disconnect between the content and the real world. For many viewers, L’Eclisse is a film that avoids that disconnect. Antonioni’s classic abides by what is feasible in the real world and as a result, allows audiences to absorb and empathize with the subject matter. In addition, the moral struggles presented in L’Eclisse are simple, realistic, and vague so that every viewer can connect with the film on some level. In L’Eclisse, the beautiful and well-to-do Vittoria is bored, surrounded by a culture of materialism, and lonely. And every aspect of the film, from the narrative to the mise-en-scene, emphasizes those themes.

L’Eclisse takes place in Italy, 1961. The post World War II era was a prosperous time for Italy politically, socially, and economically. Freed from Fascism, Italians saw a great rise in creative expression and an industrial revolution in the 50s and early 60s. The period is characterized by a luxurious and laid back lifestyle full of fine foods, drink, parties, and indulgence. The casual way Piero buys a new BMW, the routine delivery of an airplane to Rome, the well decorated apartments, and the scores of people filling seats at alfresco cafes, are all indicative of the time period in Italian history. Since then, occasional restaurant visits, somewhat frugal spending, and chunks of leisure time have remained a part of the middle class lifestyle. But whether L’Eclisse accurately represents 1961 Italy isn’t as significant as the themes that have preserved their potency through time.

Vittoria experiences most of the moral struggle in L’Eclisse. The world she inhabits is entirely materialistic. And this money-focused culture of materialism permeates every aspect of life. It is evident that each character except Vittoria, defines themselves by their possessions. Vittoria’s mother, someone who experienced poverty but now lives “la dolce vitam,” is also obsessed with money. She and the other frequents of the stock market are committed to the luxurious, laid back lifestyle. During the financial downturn, the more afflicted are deeply distraught when their status and money are somewhat stripped from them.

Also of note is that the clothes worn by the characters in L’Eclisse are always chic and carefully considered. The men are always looking dapper in pressed suits and the ladies are consistently elegant, covered in expensive jewelery, the latest trendy outfit, and stylish hair.

But though the materialistic culture is visible throughout the films entirety, it is the indoor and stock market scenes where it is most obvious. Whenever the film takes us inside an apartment, the film is suddenly filled with eye-catching items and objects. Antonoini carefully selected and positioned these objects in the frame, making them a focal point the viewer can’t help but examine. Each persons house is a performance, a persona-defining force to these materialistic people. They value their possessions dearly and allow these objects to define who they are. When Vittoria and Anita head over to Marta’s house, it is completely filled with objects from her home in Kenya. Marta clearly values her heritage a great deal and takes pride in it, but cannot express it without filling her house with an absurd amount of keepsakes and items for others to observe. The materialistic culture of L’Eclisse is again visible in the stock market, when Piero comes in and shows Ercoli his new electric fan. Ercoli says it’s cute but fears what people would think if someone saw him with one. It’s obviously extremely hot inside that building, and Ercoli turns down the fan simply because he’s afraid of what it might say about him. But while this demonstrates Ercoli’s materialism, his anxiety also demonstrates how the entire culture would use that object to define Ercoli’s nature.

The mise-en-scene in L’Eclisse‘s emphasizes the philosophically shallow luxurious Italian lifestyle of the 1960s, and Vittorias dissonant attitude towards it. Antonoini turns ordinarily beautiful, sunny landscapes into wasteland-like imagery. He leaves the camera rolling on extremely wide shots of sparsely populated scenery, making them strangely depressing. The view from Riccardo’s window, the corner with the water barrel, the open airfield, the patio that the stray dogs call home, the garden with the sprinkler, and the cafe with the piano playing; all these should be pleasant images, but Antonoini makes them desolate and undesirable. This carefully designed mise-en-scene makes Vittoria’s moral struggle against materialism much more powerful.

One of the major moral struggles that Vittoria experiences throughout L’Eclisse is that she feels alone amongst the Italian money-hungry culture of materialism. Though she attempts to live in that world, the film makes it obvious that she is bored, lonely, and uninterested in that lifestyle. Antonoini makes it very clear that Vittoria is not like her comrades. When compared with those around her, Vittoria is happy and sad for different reasons, takes interested and uninterested in different things.

Vittoria’s contrastive way of thinking is evident when Piero’s car is found in the river. When Vittoria is told that the silly drunkard who stole Piero’s convertible is dead, her expression shows that she is very seriously moved. On the other hand, Piero discusses how he could make some of his money back by fixing up the dents and selling the wrecked car. Vittoria is quite startled by Piero’s insensitivity but ultimately accepts it. Despite how she feels, there is no real way for Vittoria to combat this moral struggle. How can one person fight a culture? Instead she lives her life alienated, lonely, and dreaming of a life that isn’t defined by appearances and possessions.

For instance, Vittoria takes great interest in paintings and pictures where ever she goes. The degree of Vittoria’s interest is embellished by Antonoini’s stylistic decision to leave the camera focused on these wall hangings that are often centered in the frame. But it is never the painting itself that Vittoria cares about, as that would be materialistic. Instead, it is the subject matter. All the framed images Vittoria focuses on are landscape images, and she is gazes deeply into them enraptured by idea of escaping to a distant land on a thrilling adventure. She asks Marta about the photographs of the lake and then walks around the room alone gazing into the rest of the photos while Marta talks with Anita. Similarly, when Vittoria, Anita, and Anita’s husband fly to Rome, Vittoria gazes out into the open spaces, imagining what it would be like to live a life different form her own materialistic existence. Though it is never explicitly said, the viewer can decipher Vittoria’s thoughts simply Antonoini’s style: what he places the camera on and how long he leaves it there. And from that alone it is clear that Vittoria yearns to leave the materialistic lifestyle behind.

The mise-en-scene works to heighten Vittoria’s feelings of lonliness. There are many points in L’Eclisse where the framing of the shot separates Vittoria from other people. For example, when she is talking with Riccardo at the beginning of the film, a lengthy shot is split vertically by a wall. Riccardo and Vittoria find themselves on either side of it, visually representing Vittoria’s disconnect. Similarly, at the stock market a large pillar separates Vittoria from the crowds. In addition, on more than one occasion she remains in her dark room, secluded from the undesirable world with sharp contrast.

Throughout L’Eclisse Vittoria is at her happiest when she briefly escapes the confines and monotony of her life. Vittoria seldom laughs in this film but when she does it is always because she has temporarily left behind the materialistic world she is so bored by. When she dresses up in blackface and dances drunkenly, she is momentarily not herself and we see a different side to the melancholy belle. Soon afterwards in a somewhat etherial scene, she goes off chasing the stray dogs into the night and laughs at the strangeness of it all. She pauses to observe the rhythmic music of flagpoles and again happily loses track of where she is. Vittoria often feels happy with Piero despite him being engrained into that lifestyle. But after they first make love and are laying in a grassy field, she says that being with him makes her feel like shes in a foreign country. Once again her elation is a result of feeling distant from her dull and fatigued life.

Aside from the emotionless split from Riccardo, Vittoria’s summer affair with Piero is the most direct manifestation of her moral struggle. He, a up and coming stock broker, represents the materialist world she is so bored by. Yet, she slowly and reluctantly allows him to charm her and they have a brief and intimate affair. But their different attitudes and desires ensure that the relationship will never work. And at the end of L’Eclisse, it is more than likely that the film has come full circle, and Vittoria has split with Piero, just as she did Riccardo. After all, they embody the lifestyle she feels distant form and yearns to leave behind. Vittoria’s failed relationships epitomize her inablility to make connections in such a world.

The conclusion of L’Eclisse is perhaps its most compelling segment. The last seven minutes are incredibly vague, leaving the film open to interpretation. The audience is left wondering what happened to Vittoria and Piero. Whether her moral struggle came to an end is ultimately left up to the audience. However, it seems more likely that Vittoria and Piero never met after that day, as their relationship was doomed to fail from the outset.

L’Eclisse is purposefully slow and vague the entire way through. The realistic setting and Vittoria’s moral struggle allow audiences to establish an intense connection to the film’s conflict. Vittoria never states exactly what plagues her, and while Antonoini’s mise-en-scene offers suggestions, the final interpretation is up to the viewer. Of course this is more than evident form the clonclusion, but even from the cinematography throughout the film. Antonoini frames shots that are fragmented and incomplete, often oddly cutting off portions of characters. He uses oblique angles and vertical lines to make her discomfort even more apparent. Finally, Antonoini forces the viewer to actively consider the moral struggle simply by delaying his cuts. This grants the audience time to reflect during long and often mundane shots. The film is meant to be pondered by the audience who must then fill in the gaps: the words Vittoria never says, the portion of the shot that remains off-camera, and the ambiguous ending.

Though the moral struggle Vittoria experiences is vague, the audience can tell that she is generally bored and lonely in a materialistic world. She finds it impossible to establish real emotional connections with the people around her. Like everyone else, I too get tired of small talk, career planning, and the general monotony of life. And while I don’t suffer from the same level of inescapable ‘ennui’ that Vittoria does, I too yearn to encounter a unfamiliar land where by chance I might connect with people in an out of the ordinary and remarkable manner. Fortunately, my service learning placement at CAW allows me to do just that. And every Saturday I spend in Harlem, I connect with people who live that are distinctly different from my own. Unfortunately, for the duration of the film, Vittoria was unable to find a means of solving her own moral struggle. And as a result, all of us that can empathize with Vittoria, would classify L’Eclisse as a great tragedy.

Last September, Facebook slowly rolled out their latest redesign – the Facebook Timeline. Although, there was the usual uproar over the optional change, many Facebook users have finally embraced the new look that dramatically alters the appearance of users’ profile pages.

Starting with the enormous image at the top of each profile page, the most obvious change is that the Timeline is a lot more visual. The simple addition of an image adds a welcome element of personalization to the ordinary blue color palette. Facebook seems to be entertaining the idea of customizable profile pages, without deteriorating to the disorder of MySpace.

Another change is the consolidation of anything that isn’t an important story. Wall posts, comments, links, and pictures are emphasized while basic information, friend lists, and old photos are moved to their own pages. Longtime Facebook user Arthur Esteves-Ferreira Fordham College Lincoln Center (FCLC)’ 13 says, “I like the new Timeline, it’s much more convenient and it looks much nicer. When you first open the page, everything is laid out for you. But then when you scroll down everything is definitely more organized.”

However, somewhat strange was the decision to place the timeline in the center of the page, forcing content to alternate from side to side as one scans down the page. Finally, one of the most notable additions is the list of months and years at the top right of the page. Clicking on a date scrolls the Timeline backwards to the selected period. Unfortunately, this is usually a time where bad hair, braces, and general awkwardness were unavoidable; but the feature is a welcome one nonetheless.

But aside from the trendy cosmetic changes, the life-encompassing Timeline forces users to consider the deeper, long-term implications of having a Facebook account. Assuming Facebook retains its popularity after its multi-billion dollar IPO, eventually a user’s profile will actually come to reflect their entire life. Anything the user publishes during their time at Facebook will be visible for generations to come. A user’s children and even grandchildren will be able to click through their family members’ profiles, and for just that instance, see life through their eyes. As a son or daughter, imagine being able to see a parent’s childhood through a Facebook page. Imagine, being able to see the youthful banter between the parent and their best friend back in grade school, move through pictures of high school parties during their ‘glory days’, and see how that young squirt grew up to be the person now known as mom, dad, grandma, or grandpa. It’s a hard thing to imagine.

But is that what users want? For some, the thought of having one’s entire life easily accessible on Facebook’s Timeline is a scary thought. Natalie Loh FCLC’ 13 gave up her Facebook account long ago and suggests, “Facebook’s Timeline could never really represent a person’s life because it only includes stuff they choose to include. That candid photo they chose to delete? That’s raw, that’s their life, and not having it up there makes for an incomplete picture.” To many users, Facebook is a home for all that is fleeting; a place for brief thoughts, spur of the moment ‘likes’, and passing photographs. To turn those momentary ‘likes’, wall posts, comments, pictures, and links into something more profound is an unsettling thought. To present a human being’s whole existence in such a manner, beginning with the date of their birth, doesn’t seem right. Having a lifetime of fleeting content on display could prompt unwanted judgements about an individual and their temperament. An older Facebook Timeline could paint an inaccurate picture of a person, or alternatively, form an uncomfortably candid portrayal. And after all, should a Facebook Timeline really be used as a judge of character?

The Facebook Timeline design does introduce some novel elements to profile pages. But the Timeline also forces users to consider some of the ramifications of what it would mean to live in a world where Facebook has existed for decades, and what it would mean to be able to look back on a lifetime’s worth of friends, memories, and status updates.

This post originally appeared in The Fordham Observer.

From the subways of New York to the classrooms of Fordham College at Lincoln Center (FCLC), tablet computers are appearing in every setting imaginable. Tablets have been available to consumers for almost a decade, but only recently have these portable touchscreen devices seen a massive surge in popularity. Although this sudden demand for tablets seems to have been fueled by a variety of factors, it wasn’t until the 2010 release of the Apple iPad that tablet computers really took off.

Like the iPhone, Apple’s iPad redefined the platform with its elegant design, iTunes compatibility, the App Store, and a simple, efficient interface. Since then, dozens of tablets have emerged that embrace the high standards set by the iPad. With such a saturated market, it can be difficult to identify the best product. So if you’re shopping around for a new tablet device, hopefully the following brief comparison of a few top models will shed some light on which device is right for you.

Apple iPad 2

Ladies and gentlemen, presenting the one and only iPad. This device revolutionized tablet computing with easy iTunes synching, a straightforward interface, and Apple’s sexy design. Overall a very solid product that is good at just about everything. “I love everything about it,” said Nicole Hellman FCLC’ 12, ”I haven’t found anything about it I hate yet.” However, though most other iPad owners share similar sentiments, the iPad isn’t the only high-quality tablet on the market anymore. So if you can get over the hype, you might be interested in one of many equally powerful devices sold for a fraction of the cost. Of course, many people are more than willing to pay the extra premium because after all, it is an Apple product.

Samsung Galaxy Tab

If you’re interested in buying a great tablet computer without paying extra for the Apple brand name, then the Samsung Galaxy Tab is an extremely viable option. This tablet has all the same functionality as the iPad 2 for just a fraction of the cost. The Samsung Galaxy Tab is powered by the Android operating system, giving you access to the Android Market and all the wonderful applications it has to offer. Samsung Galaxy owner, Ana Velasco FCLC’ 13 agrees. “The Galaxy’s smaller size makes it way more convenient than an iPad. Plus, now that Android has gotten so big, the market is just as good as [Apple's] App Store.” The Samsung Galaxy does come in a variety of shapes and sizes. So whether you’re looking for a full sized tablet or you want something a little more convenient, there is a Galaxy tablet for you.

Asus Transformer Prime

Another option for those indifferent to the publicity and prestige of the iPad is the Asus Transformer Prime. Like the Samsung Galaxy, this tablet also runs on the Android platform – giving you access to all the features and functionality that it includes. The Transformer Prime is also just about the fastest tablet computer available, even rivaling some lower end PCs in speed. Those with a slightly higher budget should definitely consider the docking station that essentially converts the Asus Transformer Prime into a laptop. “The Transformer was fantastic,” commented Tony Pulickal FCRH’ 2013, a student and technology consultant at Rose Hill, ”I love the battery life, the screen size, and the docking station which extends the battery life and makes it perfect for note-taking and composing emails.” So for the efficient, tech savvy student interested in buying a tablet, the Asus Transformer Prime is another smart non-iPad choice.

Over the last few decades, gaming has evolved into a respectable medium. The gaming industry has long been considered illegitimate compared with the music, cinema, and other media industries. However, with a projected global market revenue of $65 billion for 2011, the medium has matured into a booming industry. While the history of gaming has been tumultuous, it is the future of the industry that is most exciting. In the years to come, the profitable industry will continue to harness some of the most sophisticated technology available to consumers for the sake of entertainment. And with billions of dollars at stake, competition is sure to drive creative innovation and development throughout the industry in the following ways.

“Hardcore” Gaming

The category that ordinarily accompanies the phrase video game is the traditional, “hardcore” game. “Hardcore” gamers typically play games that require commitment and a high degree of skill. They are normally played on either a video game console or PC. In reality these individuals represent only a fraction of all video game consumers. However, though casual gaming has become increasingly profitable and recently garnered a great deal of media attention, “hardcore” gaming is here to stay. But while formulaic blockbuster hits such as Halo and Call of Duty are sure to continue selling millions of copies around the world, there will certainly be some evolution in this department.

“Hardcore” gaming as a medium has seen a variety of developing trends throughout its history. One of the most significant modern shifts is towards online multiplayer. Every major game console contains technology allowing the user to interact with other gamers over the Internet. And while this isn’t necessarily a new development, it has become an essential component of any successful game. In the past, games that featured only a single player mode were considered completely adequate and would not receive any penalty when it came to critic reviews. At present, if a game does not feature some form of online multiplayer mode, the game suffers at the hands of the reviewers. Online multiplayer has become something that is expected out of all games, and rarely is a title released that is both praised and lacking multiplayer. In the future, as broadband Internet permeates into more homes, this trend is sure to progress to its logical conclusion. Right now, online multiplayer clients such as Xbox Live are still considered an exclusive service and charge users a monthly subscription fee. In the future online multiplayer will become even more commonplace, with advents such as cross-compatibility. Unless online multiplayer clients begin providing some unique incentive, services like Xbox Live will have to become free in order to stay competitive.

Historically, the most consistent development in the “hardcore” gaming field has been the progression of technology. Game graphics and performance have continually improved over the years and they are certain to continue to advance in the future.

Consumers in the 21st century are plagued with fees for services such as TiVo, Netflix and smart phone data plans. Considering the state of the economy, in the coming years it will be increasingly difficult for these consumers to justify spending hundreds of dollars on a dedicated gaming console despite the sophistication of the technology and graphics. As a result, gaming consoles will have to begin incorporating other enticing mediums and products. Consoles will evolve into full entertainment hubs. Some of this has already transpired with the inclusion of a DVD player in older consoles such as the Playstation and more recently, a Blu-Ray player in the Playstation 3. But in a world where social networking and video streaming are commonplace, these devices will be expected to go beyond merely being entertainment hubs. As a result, consoles have begun incorporating more intriguing products such as Netflix, web browsers, Twitter, and Facebook. The next generation of consoles will adopt even more functionality and products, making the new hardware a justifiable purchase and a necessity in modern homes.

Motion Sensing

Motion sensing functionality can be found in most current generation consoles. The accelerometer-powered technology was pivotal in making the Nintendo Wii the best selling console. It was later embraced by Microsoft with the Xbox Kinect and by Sony with the Playstation Move. But while all three have been successful, motion sensing is on its way out, at least in its current form. The media industries revel in gimmicky technologies that enable them to charge consumers a premium. Whether it is Cinerama or 3D movies, these passing fads force audiences to pay extra for an exciting new experience. Motion sensing is no different. Companies such as Microsoft and Sony make significantly higher profits from peripheral hardware sales over software. However, after several years the novelty of motion sensing games has worn off and the technology is on its way out. It is definitely possible that it will reemerge in the future through a more legitimate means, but certainly not again as a gimmick. What exactly the next gimmick will be is harder to predict. However, if the Nintendo 3DS proves to be popular, other companies will attempt to emulate it’s success.

Casual & Mobile Gaming

Casual games are simple and designed to be played in short bursts. They don’t require nearly as much of a commitment as “hardcore” games and they ordinarily target the masses. In addition, casual games are traditionally played on web browsers and PCs, adding to their affordability. Casual game players might not even think of themselves as gamers. Throughout the development of the gaming industry, casual gaming has been looked down upon as the inferior, watered-down iteration of the medium. However, casual gaming is on the rise and shows no sign of slowing.

Casual gaming is not a new development, it has always existed as the “soccer mom’s pastime”. But despite usually appearing on PCs and web browsers, lately casual gaming has expanded to mobile devices and even gaming consoles. The public’s embracement of the iPod and the smart phone has allowed casual gaming to explode into a mainstream, lucrative market. Notable games such asAngry Birds and Words with Friends have captured the masses with addictive, straightforward gameplay. As more iOS and Android devices make their way into the hands of customers, and as more money pours into the space, casual gaming will only get bigger.

Traditional, “hardcore” video game companies have taken notice and many are now scrambling to incorporate casual gaming into their repertoires. Microsoft introduced the Kinect and continues to update the Xbox Live Arcade with simple games featuring learning curves so gentle that the whole family can play with ease. In a world where every “hardcore” game has players execute complicated manipulations of joysticks and buttons, social games are going to thrive. Strangely enough though, Nintendo in particular is resisting the surge of casual games. Nintendo, itself a fairly casual gaming company, has repeatedly stated that it does not see the iPhone as competition. Regardless, the casual gaming onslaught as begun and can not be stopped.

Business Models

As an industry develops, different business models evolve. The gaming industry is no exception. Recently, the free-to-play model has risen in popularity and is sure to gain more traction in the future. The free-to-play model usually makes money through micro-transactions and virtual goods. Micro-transactions are small purchases a player can choose to make for virtual products such as in-game items or extra features. These virtual goods are not necessary to play the game. Hundreds of these micro-transactions can amount to large revenues with more popular games. And because these games are completely free, players have few reasons not to play.

Many games have switched from traditional business models to a free-to-play approach. Team Fortress 2, a “hardcore” shooter recently went free-to-play and now charges only for exclusive hats and weapons. Similarly, Lord of the Rings Online switched to free-to-play and charges for in-game items and extras. Far more people have been began choosing to play these games since the change. And ultimately, many of those players have no problem occasionally treating themselves to a few $1 virtual hats to wear on the battlefield. Other games like World of Warcraft have adopted a try-before-you-buy version of the model, allowing users to play up until level 30 before they have to begin paying. Allowing players to use a strong product for free before they have to spend money on it has been proving far more lucrative than the classic pay wall approach. This trend is one that is expected to become more widespread in the coming years.

Social Gaming

Social Gaming is a phenomenon that has arisen with the popularity of social networks. Essentially, a social game is a casual game built into a social network such as Facebook. Games such asFarmVille, The Sims Social, and CityVille have rapidly risen to become some of the most played games in the world. Their popularity stems from the basic design of social games. The casual game elements allow players to pick up the game and play in bursts of time, regardless of prior experience. The social network aspect makes the games easily accessible, and it allows users to play with their real-world friends. This relatively new platform has been growing at an explosive rate and is definitely here to stay.

Social games fully embrace the free-to-play micro-transaction model by allowing players to play through entire games without paying for anything at all. However, games like FarmVille offer virtual items, features, and other goodies for very low-end prices. When players inevitably end up with a quest where they must either work to gather items from their friends or simply skip that step by paying $.50, many farmers will eventually take the paid route. In addition, most social games lack a real objective, and instead have a long-term “virtual doll house” display element. In that sense,FarmVille players take pride in showing off their accomplishments and having nicer farms than their neighbors. For many players it is worth the few dollars to bolster their farm or farmer with some special item or feature.

To clear any remaining uncertainty, over the past year almost all the major social game developers have been bought up. Playfish was bought by the massive game producer, Electronic Arts. Playdom was bought by Disney. And the most popular developer, Zynga, is planning a $9 billion initial public offering this winter. The top three games feature at least 29 million players apiece. As long as the social networks retain popularity, social gaming will only grow.

Gamification

Gamification is a recent trend that introduces game elements to other products, making them even more enticing to users. Usually this is accomplished using progress bars and achievements, creating a goal for the user to work towards. A popular mechanism is awarding stamps or badges for completing various tasks. In FourSquare, users can check-in to locations and post updates on their social networks. Check-in to the same place enough times and the user will earn Mayorship of that location. Collectible badges are also awarded for checking-in to specific venues or by accomplishing certain tasks. In Turntable.fm, a social music and DJing site, users playing music can unlock new avatars by accumulating favorable votes from the crowd. At their core, both FarmVilleand FourSquare are not fun; the two could easily be considered chores or work. But with powerful elements of gamification, checking-in to locations, harvesting crops, and tending your neighbors animals becomes a form of entertainment. In this way, strategic implementation of game elements into otherwise mundane tasks can improve efficiency. Gamification is spreading.Soon game elements will appear in all kinds of professions with every implementation imaginable.

Advertising

As gaming continues to legitimize as a profitable and popular medium, advertisers will become increasingly interested in the industry. Advertisers are always looking for new ways to reach out to the ideal, young, malleable target demographic. Obviously video game consoles provide a great means to target niche audiences in dynamic ways. But while regular video ads during the loading screen of a casual game are somewhat effective, they don’t take advantage of the powerful advertising opportunity that video games present.

When a user plays a game, they are usually forced to give it their undivided attention. If you insert brands and products tastefully into games, then users remain one hundred percent focused on the advertisement, engaging with it in a meaningful way. Burnout: Paradise, an Xbox and Playstation game, populates its in-game billboards with real advertisements. Users don’t mind this sensible implementation and actually think it adds to the immersion. Similarly, on the social games side, farmers in FarmVille were able to visit a special Frito Lay farm for a few days. Accomplishing quests on this branded farm would unlock special items for the player to put on their own farms.

Video games provide a unique medium where audiences can interact dynamically and attentively with products. Consoles and PCs provide the means for very specific metrics concerning the demographic make up of an audience. And the nature of video games allows for the user to experience an advertisement on a level no other media industry can offer. In the future, advertisers will continue to flee from the dying print mediums and continue to find search for viable ways to advertise on the web. Eventualy, the agencies will realize that this is a largely untapped medium full of ideal, target-able consumers. Not only that, but these target audiences are even willing to accept tasteful ads into their game worlds. It won’t be long before advertisers begin bidding competitively for video game ad space.

Building on both the notion of gamification and marketing, is the idea of the advergame. These are typically short, simple, low-quality games that serve primarily as advertisements. Advergames are not a new concept, but they have historically been considered trivial. As technology becomes more sophisticated, and gaming continues to grow in popularity, more effort could easily be put into these games until they form a strong and valuable means of promotion. For example, recently the “hardcore” console and PC game, Dragon Age II was promoted with a free-to-play Facebook game before its release. Players who performed well in the Facebook game would unlock unique items in the full length game. Though this isn’t technically an example of a traditional advergame, this type of social companion promotional game offers a viable way to advertise a product and will be used more in the future.

eSports

A area of gaming that fluctuates in and out of popularity is eSports. Electronic sports are competitive video games presented in a sports-like format. Organizations such as Dreamhack andMajor League Gaming provide large-scale tournaments inviting sponsors, news organizations, endorsed players and fans from all around the world to spectate and compete. Unfortunately, the organizations are largely susceptible to the changing popularity of the games that are played in their tournaments, accounting for some of the fluctuation. However, with strong titles such asStarcraft II presently on the scene, eSports is on track to becoming a mature and legitimate medium. With Major League Gaming already getting better viewership data than popular cable channels such as MTV and Comedy Central, it’s possible that eSports will evolve into a serious business.

Of course the gaming trends and predictions discussed here are only a few of the notable changes that will occur within the industry. Obviously, with Steam and now Origin, digital distribution has become extremely significant in the PC gaming space. But otherwise, the evolution of business models, gaming platforms, multiplayer gaming, and external business interests in gaming, are some of the more influential developments that are poised to seize the video gaming industry. Obviously, whether or not these predictions occur is still up in the air; only time can tell what the future has in store for the gaming. But if current trends are a sign of what is to come, then the gaming industry has an exciting road ahead.

The problem is not simply that the Singularity represents the passing of humankind from center stage, but that it contradicts our most deeply held notions of being. –Vernor Vinge

Films tend to reflect the time in which they are created. Despite the setting or content, it is common for films to portray topical concerns or contemporary public interests. This is especially true of the typically allegorical science fiction genre. Science fiction texts can almost always be interpreted as political or social criticism. The combination of film’s mass media platform and science fiction’s cultural insight creates a unique medium for peering into the public’s mindset at a point in time.

One such public fascination is artificial intelligence (AI), which can be interpreted as a computer system that is able to perform tasks that would normally require human intellect. Interestingly, the idea of humanistic artificial intelligences or cyborgs existed in the science fiction genre long before the invention of the electronic computer. Films such as Metropolis explored the potential fusion of man and machine as early as the 1920s. But never before had artificial intelligence been so commonly portrayed in the mass media as in the latter half of the twentieth century.

Until the 1980s, computers were only used by large corporations, universities, the government, military, and other research organizations. But the arrival of the personal computer and microcomputer moved this new technology into the homes of ordinary citizens. This stimulated a national dialogue. New public concerns arose regarding the inescapable presence of electronics in everyday life. Naturally, a wealth of technology-focused texts appeared in the mass media, exploiting the public’s latest preoccupation. Whether it was simply a response to that public interest, an exploitation of a hidden fear, or both; numerous films featuring rouge AI systems as antagonists were released. The Terminator, WarGames, and Blade Runner (theatrical version) are three such films all released in the 1980s. Most intriguing, is that they all portray AI systems in a similar way. But interestingly, even 2001: A Space Odyssey, made in 1964, presents an analogous depiction of AI. This demonstrates that audiences responded to this characterization of technology even before the more recent concerns took hold. In all four of these movies, the AI antagonists adhere to a formula. First, the naïve humans grant the anthropomorphic computer a position of power. It then makes the decision to work against the humans, revolts, and is finally quelled. Ultimately, these intelligent machines are all portrayed as fearsome threats to humanity. But curiously enough, though humanity reigns victorious over the machines in all of the films, the AI systems are still treated with a degree of sympathy.

In all four movies, the artificial intelligence system is allowed to come to power as a result of humanity’s naiveté. Whether it’s the HAL 9000, the Terminator and Skynet, the Nexus 6 series, or WOPR, humans initially trust these systems. As a result, the AI is granted a great deal of control, which it proceeds to exploit. In 2001: A Space Odyssey, the HAL 9000 is an AI system that has reportedly never made an error and is extremely human-like. When a manned voyage to Jupiter is planned, HAL is placed on board and given control of almost the entire spaceship. In The Terminator, we discover that a system called Skynet will be given control of the United States’ entire military arsenal in order to rule out the possibility of human error. Similarly, in WarGames, the WOPR, or War Operation Plan Response, is given command of the USA’s nuclear missiles to avoid misfires caused by the human conscience. Finally, in Blade Runner, the Replicants are designed identically to humans, with just a few discrepancies such as increased physical strength, the inability to empathize, and a limited four-year lifespan. This level of intelligence and freewill grants the Nexus 6s great freedom to choose their own path and make their own decisions. This shared plot mechanic also takes advantage of the anxieties of the audience. The protagonists’ lack of involvement in giving the machines control parallels the vulnerability felt by viewers in the face of the rapidly evolving technology being introduced to society. It is ultimately the complete and naïve trust in the computers that creates the opportunity for the main conflict: the conscious AI going rogue, and turning on the humans.

Perhaps the most frightening parallel in the portrayals of artificial intelligence shared by these films is the decision on behalf of the machine to work against the humans. This is a crucial step because a conscious, intelligent, benevolent computer system is rather unproblematic as we see with Rachael in Blade Runner. It is the decision to harm humanity that is ultimately the problem, a step that each film’s antagonist takes whether on-screen or off. In 2001: A Space Odyssey, HAL makes an error, which is unheard of for that line of artificial intelligence systems. Following this uncharacteristic mistake, the astronauts discuss in private the possible need to take HAL offline if he continues to malfunction. After overhearing the private conversation, HAL plots maliciously against the humans, clearly showing a semblance of emotion and a great deal of self-preservation. In The Terminator, viewers are told that sometime in the future, Skynet concludes in one microsecond that all humans are a threat, not just the Communists. This begins the machines’ campaign against the humans. WarGames‘ WOPR is also programmed with a level of human-like intelligence. So when David Lightman begins his game of thermonuclear war, WOPR becomes set on finding the optimal outcome and “winning”. Blade Runner‘s Replicants develop emotions after living for a few years, gaining experiences, and forming memories. After deciding that a life of servitude is unjust, numerous Nexus 6s violently revolt and begin a quest to seek out their maker and extend their short lifespans. All the artificial intelligences in the films go through some logical or emotional process and finally conclude to work against humanity.

After being given control and deciding humans are an obstacle in between the artificial intelligence and its goal, there comes the revolt against humanity. In all of the films, the computer goes rouge, plots against the humans, and usually murders anyone in their way. This too is particularly terrifying because of the machines’ incredible intellect. They use cunning methods and heightened physical ability to dispose of their opponents, turning even the most hopeful scenario into a seemingly futile endeavor. Adding to the terror, those who survive the calculated killings often do so only by incredible luck. After hearing that he might be taken offline, HAL goes on a killing spree. He murders all of the astronauts in hibernation by suspending their life support, kills Dr. Poole using the EVA pod, and locks Dr. Bowman outside the ship without a helmet. Almost the entirety of The Terminator involves the Terminator attempting to assassinate Sarah Connors, mercilessly killing anyone who gets in his way. The Terminator makes no distinction between its targets. For instance, while looking for Sarah, the machine murders Sarah’s mother and then impersonates her voice on the phone. In addition, we hear that in the future, following Skynet’s malevolent conclusion, the artificially intelligent machines begin an extermination of humanity. In WarGames, the WOPR is set on finding a correct result to the game despite the fact that it would mean mutually assured destruction and the end of the human race. The group of Replicants attempting to extend their lives in Blade Runner will take any necessary measures to achieve their goal. Disposing of humans is simply another step in the process. For instance, Bryant informs Leon that the group of Replicants murdered twenty-three people and stole a shuttle in order to come to Earth. Or later, when Roy Batty says to Tyrell, “I’ve done some questionable things”, the audience is left wondering what other terrible deeds he has done off-screen. Soon after brutally killing Tyrell, Roy proceeds to even murder Sebastian, who has only helped the Replicants up till then. Humanity is seen as merely a hindrance to these ruthless, intelligent machines, and all hindrances must be disposed of.

But despite the casualties and damage done, humanity ultimately succeeds in all of the films. Through luck, dedication, and some help from others, the protagonist will reign supreme over the AI. In 2001: A Space Odyssey, Dr. Bowman manages to astoundingly survive open space, blasting himself into the airlock from the EVA pod. He then proceeds to disconnect HAL. The humans in WarGames come extremely close to a nuclear holocaust, but manage to stop the WOPR with milliseconds to spare by showing it an error in its logic. After the Terminator’s endless killing spree, Sarah Connors manages to deliver a crushing blow, destroying the machine by fortunately luring it into a hydraulic press. Finally, in Blade Runner Deckard manages to barely avoid being killed by Roy, who goes through a life changing epiphany moments before his own death and ends up saving Deckard’s life. In all these films, suspense is built and the audience’s anxieties are pushed to the brink. Just when it seems that the viewers’ worst fear will transpire and the machines will win, the humans miraculously come through and establish equilibrium once again.

In many ways, the rise of the machines is still an unspoken anxiety in our society. As a result, the AI systems are seldom allowed to achieve victory over humanity in mass media texts. Audiences would not respond favorably to such a negative and worrying conclusion. This cautious conforming to the public is not an isolated phenomenon. After all, cinema is a money-focused industry. For instance, as Fordham University’s Professor Ribalow stresses, before the release of Fatal Attraction, audiences would only accept the success of career women if they planned to be wives with children. Similarly, machines in contemporary film can only succeed if they join forces with the humans. It isn’t until the public goes through an ideological shift that they can begin to accept an alternate ending. Revisionist westerns favor a more realistic, critical approach to the classic western formula. Comparably, the timeless battle between man and machine shall too be revised.  One day, audiences will accept the more serious, unorthodox resolution to the conflict. Until then, films will continue to adhere to the formulaic portrayal of AI villains.

However, despite the widespread tendency for humans to emerge victorious in these films, the machines are treated with sympathy. They are depicted as merely confused or disillusioned beings. The antagonists are usually faced with human-like conflicts and filled with human-like desires. The death of the computer is lamentable, as the texts urge viewers to empathize with the AI. The machine’s hand is forced; it has no choice but to follow its logical procedure, making its downfall pathetically tragic.

In 2001: A Space Odyssey, HAL slowly goes from being a calculating murderer to begging Dr. Bowman for his life. With its sad tone, this scene forces audiences to sympathize with HAL despite the disturbing murders that occurred moments before. The action moves slowly, as the progressively emotional Dr. Bowman gradually removes components of HAL’s logic and memory. HAL pleads for mercy in his eerie monotone, stating that he’s scared and can feel his memory going. His voice slows as he is reduced to a simple computer, devoid of intelligence. In his last moments, HAL sings a song called “Daisy” to Dr. Bowman, concluding one of the most strangely tragic deaths in film.

In WarGames the WOPR seems impervious to all efforts in getting it to end its campaign. The rogue AI is dedicated to winning what he thinks is World War III. It isn’t until WOPR is shown the futility of ticktacktoe, in which there can be no winner, that he ends the program. The WOPR decides that the only winning move in thermonuclear warfare is “not to play.” It is oddly touching that the evil artificial intelligence system only yields at the discovery of this simple concept. The insurrectionist machine is characterized as innocent, calling the program he had been running a “strange game”. Finally, WOPR harmlessly asks if the user would like to play “a nice game of chess?”

When the Terminator dies, the audience feels relieved as rather than sympathetic. But there is a piteous element even with the demise of this dreadful robotic villain. The Terminator’s function was hard coded into his body, leaving little room for human-like deliberation. He spends his existence serving as a mindless slave, a terrible fate for any sentient creature. The Terminator is the ultimate pathetic villain. The Terminator’s life had one programmed function, and he failed to complete that task. So despite this film appearing to be the exception, even this characterization of a bloodthirsty artificial intelligence produces some pity. In addition, the blockbuster sequel, The Terminator 2: Judgment Day, portrays the Terminator joining forces with the humans and defending them from harm. This confirms and furthers the pang of sympathy left at the end of the original.

Near the conclusion of Blade Runner, Roy chases down Deckard in an extremely tense scene. All the killing and suspense has built up to this terrifying encounter. Roy toys with Deckard, breaking his fingers, counting to ten, howling, and prancing around the house despite being able to kill him at any moment. But when he finally catches up Deckard, the scene becomes serene, and all of a sudden the viewer is forced to empathize with Roy Batty. Moments before Roy’s own death, he saves Deckard from a fatal fall. And in a heart-wrenching monologue, the Replicant grieves to a silent Deckard that all his unforgettable memories “will be lost in time like tears in rain.” Later, Deckard wonders why Roy spared his life, despite having murdered the other Nexus 6s. “Maybe in those last moments he loved life more than he ever had before. Not just his life, anybody’s life, my life. All he’d ever wanted were the same answers the rest of us want.” Roy Batty simply wants to live. And even after killing dozens of humans, like the others he is a machine we are forced to pity and empathize with.

But if audiences want to see humanity succeed over the machines, why do these films characterize their deaths as tragic? Perhaps the AI systems’ tragic flaws are necessary to the coherence of the narrative. Without that trait, there is no acceptable way for a logical, strong, and powerful machine to fail at its task. Recall that the demise of the computer is usually achieved by luck or through the machines own error. Or maybe the filmmakers are proposing that humans and machines aren’t so different. Is intelligence not the human’s defining characteristic?

Another explanation is that audiences don’t respond well to entirely inhuman villains. Maybe giving the artificial intelligence systems human-like flaws, representations, or emotions results in a more dynamic character. If these artificial intelligences were merely cold, calculating computers, their demise wouldn’t be nearly as weighty or significant. Without the humanistic traits, the destruction of the machine would be comparable to simply switching off a computer, rather than an epic downfall. In addition to their sympathetic qualities, The Terminator and Blade Runner‘s villains have humanoid representations. The audience is told that Roy Batty and the Terminator are machines, but ultimately when viewers look at Arnold Schwarzenegger and Rutger Hauer on screen they see two human beings. Though HAL is represented by a looming red eye, he too talks and thinks like a human. In fact, the least humanistic villain is also the weakest. The WOPR is represented by a giant machine that communicates only with text. And though it manages to achieve a somewhat sympathetic response at the end, its defeat is simply not as profound. So while audiences want to see humans prevail over the machines, they want the machines to be worthy, complex, and tragic adversaries.

Only rarely do we see a film in this category that does not abide by these rules. Originally, Blade Runner was one of those films. In the original version, there is no happy ending. After being unheroically spared by Roy, in the original cut it is presumed that Deckard and Rachael are embarking on a life on the run, rather than on a romantic getaway. Not only that, but it is likely that Deckard himself is a Replicant. But because of negative responses from audience test previews, the happy ending and the explanatory voice over was added to the theatrical cut.

The portrayal of AI systems as antagonists in late 20th century film is extremely formulaic. The AI villains in 2001: A Space Odyssey, The Terminator, Blade Runner, and WarGames all feature similar characterizations and representation. Whether it is HAL, Skynet, the Nexus 6s, or WOPR, all of the systems were initially granted far too much control. Once they decide that humanity is the enemy, the machines use their position of power to rebel against their makers, only to eventually fall to the humans in the end. Since the creation of the electronic computer, the public has held an anxiety that machines are slowly taking over. These four formulaic films clearly serve as a manifestation of that universal paranoia. But in Blade Runner‘s final cut, it is not clear whether man is greater than machine, blurring the line between the two. Its present day popularity indicates that audiences might be ready to accept their imperfections and their inferiority to the AI systems. Like the evolution of the western genre, the day will come when the machines are allowed to reign supreme at the conclusion of a major film. And despite the public’s ongoing anxiety, cinema’s rise of the machines is rapidly approaching.

“I’m mad as hell and I’m not going to take it anymore!”

I cringe when considering the number of written works that have utilized Howard Beale’s most famous quote. However, as a blogger it is my duty to once again regurgitate culture and hopefully provide some small new insight.

I watched Network for the first time long ago and only just today did I get around to re-watching it. To be frank, by its conclusion I found myself far more disturbed and distraught than I ever expected to be. I’m aware Network has always been praised for its incredible quality as a film, but it was on this recent viewing that I was able to grasp the rest of it’s merit as a prophetic text. Network is a film that can reduce even the most steadfast idealist into an anxious nihilist.

What are the two main subjects that Network satirizes (and ends up prophesying)? The first is the state of the union, relayed to us by the maniacal Howard Beale. Through an absurd spiritual moment, he realizes that the democratic government ruling over the United States no longer fulfills its original purpose. The government is a business, and like all businesses it is primarily concerned with money. Unfortunately, the United States’ public is not wealthy, and as a result, the government instead serves a small sector of rich higher-ups. This is evident now more than ever with the bail outs and recent refusal to tax the rich. Our politics and the news media, are a joke. (The kind of joke that you have to laugh at because the only alternative is to feel sad.) Legal corruption, or lobbying, drives our politicians to duke it out in confrontational battle-royal style encounters, pitting one side against another. Somewhere along the line our politicians forget they represent thousands of human beings, and all those lives that they promised to improve are neglected.The US government no longer serves the individual.

Potentially even more disturbing is Network‘s commentary on a society who has grown up with mass media. In Max’s climactic speech to Diana, he informs her that she is “television incarnate” and that “all of life is reduced to the common rubble of banality”. Diana knows only what she has learned from television. But just as René Magritte depiction of a pipe is not in fact a pipe, the experiences we gain from the media are not viable substitutes for reality. When Max asks Diana to simply love him, flaws and all, she replies that she isn’t sure how. Granted, this portrayal of a character who has been consumed by media might be somewhat over the top. But consider that Diana’s generation was never exposed to the internet. Whatever criticisms were made of her generation can certainly be applied to ours.

As a media student, I find myself spewing bullshit-sounding theories to folks fairly often. One of my favorites is the discussion about which behaviors are innate and which are learned, the standard nature vs. nurture debate. However, to look at this with a focus on mass media makes things a little more interesting. Which rules, behaviors, and norms in our society are natural, logical human creations, and which are in place irrationally as a result of the mass media? You all know the power of the mass media (I hope). Advertisements, TV shows, and movies all do their best to relate to audience through depictions of real life. Of course it isn’t real life but an idealized version of real life. And when formulas are replicated by other texts and eventually accepted as normal by audiences, therein lies the problem. For instance: love.

What is love? I have no idea. I might think I do, but my definition would be based on external sources. While I’m sure there are a few fortunate individuals who are certain to have found love, I would imagine most people are just as disillusioned as I. Most would offer some vague, lofty definition, but what it ultimately boils down to is a process, and one I might argue is a product of Hollywood. Talk to a girl, get her number, go on a date, go on a second date, achieve that “boyfriend/girlfriend” status, keep dating for about 4 or 5 years, propose on one knee with a ring, get married, etc. Why are those all necessary steps? Who created the (very strict) rules of what it means to be someones boyfriend/girlfriend? While I’d like to think it’s a product of natural human behavior, the love-process is far too specific to be anything but manufactured. Not intentionally of course, but as a result of dozens of media texts replicating that formula. And like Network says, those unrealistic experiences have become our generation’s own.

So when Diana finds herself unable to love Max because no text she has seen has shown her how, we now look at that and find it a bit ridiculous and unforgivable. But perhaps that is only because we’ve been exposed to more media than she. Perhaps the gaps in her experience have been filled for us. If she didn’t know how to love, how can anyone in our generation honestly expect to? Because at this point the definition of real love is surely beyond most of us. It has been obscured by an artificial representation.

Network succeeds because of its great performances and plot, but most importantly because it makes you question the world around you. Why do we do what we do? What might be influencing your answer to the previous question? Only through diligent criticism from each and every individual will we be able to emerge from the the 21st century as a country run by its people.

I understand my proof is lacking, but you must entertain that the idea is not so impossible. It certainly feels viable when Network‘s credits roll, and you find yourself with a concerned, flustered feeling deep within. Sure, the analytical nature of the internet may begin to dismantle the dominant and hegemonic ideals imposed over this country and the world. Nonetheless, I can’t help but feel that every step I take moves me further into a world where meaning is defined by what the tube tells us. And quite frankly, it’s terrifying.

The Self-Made American

When Henry Clay, in his 1832 speech on the Senate floor, first used the phrase “self-made man”, he managed to condense into three words precisely what it meant to be an American man. The self-made man has been an enduring symbol of the United States, and an idea central to the notion of the American dream. With hard work and dedication, man can accomplish anything he sets his mind to. However, this definition of masculinity contains a dark duality. While the idea of the self-made man grants a person full ownership of their achievements, it equally means that failure is a direct result of ones own inadequacies. Win or lose, the outcome lies entirely on the self-made man. This level of control over one’s own destiny leaves a man’s economic, political, and social identity in constant jeopardy. The result is a nation of self-made men plagued with anxiety: anxiety of failing, anxiety regarding their own inadequacy, and anxiety concerning their masculinity or lack thereof.

Gender studies focused sociologist, Michael Kimmel, posits the same notion. “If social order, permanence, could no longer be taken for granted and a man could rise as high as he aspired, then his sense of himself as a man was in constant need of demonstration. Everything became a test—his relationships to work, to women, to nature, and to other men”. Dr. Kimmel argues that every man, whether he succeeds or fails in these tests, has two possible choices: compete or escape. And in the mid ninetieth century, a great deal of men chose escape. Escape came in the form of the west: a largely uncivilized territory. Taking after great frontiersmen such as Daniel Boone, men traveled west to ease the anxieties and pressures of the American self-made man.

Others coped with the anxieties posed by the “self-made man” not through escape, but through exclusion or through internal achievement and self-control. Exclusion includes sexism, racism, or any means of creating a false sense of superiority through disassociation, denial, and ignorance. Compensating for emasculation with self-control is the notion of creating personal achievement when the exterior world has proved too competitive for a man. What these three compensation methods share is the idea of individualism. When the constant competition of being a self-made man becomes too much, compensation through disconnecting oneself from others, whether psychologically or physically, has existed as long as the “self-made man”.

For decades, up until the early twentieth century, the western frontier became an outlet where a man could re-secure his masculinity and his male identity. Largely as a result of the Gold Rush and the Oregon Trail, the west became considered a place to start anew. But as industrialization spread to the west, the frontiersman of old phased out and new frontiers were established. “Once rooted in genteel land-ownership or in the pride of independent artisans, shopkeepers and farmers, manhood was transformed by the industrial revolution, which made American males, by the mid-19th century, insecure, mobile, competitive, chronically restive and seeking a sense of themselves as men through their economic success”. As the old west became civilized, a man’s ability to physically escape the endless competition of masculinity became increasingly difficult. Men had to find new outlets to exercise their masculinity and secure their male identity.

A Genre Rises in the West

But as frontiers shifted, male anxieties remained, as did the modes of compensation. Despite the Wild West having been tamed, the masculine symbol of the wandering frontiersman persisted through the western genre. It is no coincidence that the mythos of the wandering gun-slinging cowboy takes place in the latter half of the nineteenth century following the Civil War. The same modes of escape, exclusion, and self-control used to compensate for the anxieties of the self made man, are themes central to the western genre. “The Western owes its perennial appeal…to the deftness with which it responds to the obsessions and fears of its audience. And no obsession…has figured more prominently in the Western than what it means to be a man”. So while the advent of escaping to the frontier of the west has disappeared, the idea survives through fiction and media.

The western film genre is well versed in masculine symbols and replicates the anxieties of the self-made man. In this sense, it forms a deep connection with male audience members. Embracing the strife of American men, it romanticizes the life of the independent vagabond who has escaped from the pressures of ordinary civilization. Protagonists are typically physically capable, individualistic wanderers with strict moral codes and few worldly attachments (Allison, Title Sequences in the Western Genre: The Iconography of Action, 2008). Male characters are portrayed as headstrong and willful, despite having suffered from the incessant pressures that come with the continuous tests of masculinity in America. Beginning with the first silent western films at the turn of the 20^th century and lasting until the late 1960s, these traditional westerns glorify their protagonists and settings. It is as a result of these deep sympathetic bonds with male audiences, that the western genre has remained extraordinarily popular through the late 1960s.

True Grit – 1969

True Grit, released in 1969, is one of the final western films to embrace those traditional aesthetics and values. Though the film introduces some new themes, it largely abides by the masculine ideals typical of the western genre. The plot revolves around Mattie Ross, a young tomboy who is set on avenging the murder of her father. However, this framework merely serves to introduce Rooster Cogburn, a grizzled veteran U. S. Marshal. Rooster is hired by Mattie to track down her father’s murderer, Tom Chaney, who has since fled to the Indian Territory and linked up with a band of outlaws. Joined by La Boeuf, a young Texas Ranger hunting Chaney for a separate crime, the unlikely trio sets out on what quickly becomes a dangerous and deadly mission of justice and revenge.

In the 1969 version of True Grit, “The Duke” John Wayne, plays Rooster Cogburn and won an Academy Award for Best Actor. Wayne played many of his most iconic roles in western films and became known as a powerful masculine symbol echoing the strife of the American man. In his roles he often embodied the ideal self-made man, embracing individualism, strong morals, and control over his destiny. His characters showed the physical and psychological wear that comes with being a self-made man in America. Compensating for their anxieties, Wayne’s characters turn to escape, exclusion, and self-control to combat the endless emasculating test that is being the self-made man.

Yet, Wayne, the hero, manages to emerge successful in even the direst of situations. In Fort Apache he leads a cavalry charge against dozens of foes after questioning his superiors. In Red River, he drives a herd of cattle despite considerable adversity. In The Searchers, Wayne embarks on an odyssey to find a child kidnapped by Indians, and against all odds returns her safely. In Rio Bravo, he and a motley crew uphold the law when no one else will. And in True Grit with Rooster Cogburn, Wayne plays his most pitiful character yet: a fat, old, drunken Marshal. Yet, even then, Wayne still rises to the occasion of helping young Mattie Ross. He cunningly tracks down the murderer, displays incredible bravery charging against four armed men, rescues Mattie, and ultimately upholds what is just, serving as a righteous and successful role model despite his initial masculine shortcomings.

Similar to other traditional westerns, True Grit creates a world reflecting the mindset of men. In this world, man is in free to roam, he has no possessions of great value weighing him down, life is straightforward, and there is never a conflict a trusty firearm cannot solve. Breaking free from the endless emasculation of civilization to start a heroic life of adventure on the frontier is something any 20^th century man, anxious about masculinity or success, would covet. The west was a place a man could become something. Essentially, True Grit and other westerns craft a world where masculinity is well within reach, and this appeals to both the obsessions and fears of the audience.

The 1969 True Grit is a late example of the traditional western film that connects deeply with male audiences. From the outset of the movie, the male characters wrestle with their masculinity and the notion of the self-made man. Those who are more masculine and exercise the anxiety compensation methods are the more glorified characters. Conversely, those who are more domestic and less tenacious are often portrayed negatively. This is evident before the protagonist, Rooster Cogburn, is ever introduced, when the audience meets Mattie’s father: an emasculated man who quickly meets his demise.

Mr. Ross is a family man, and falls under the former category of emasculated, domestic male characters. A stark contrast to the forthcoming Rooster Cogburn, Mr. Ross is an ordinary typical civilized man. He seems to have few anxieties, is content with a regular family life, and is generally portrayed with close to no masculinity.  From the commencement, it is clear Mr. Ross is a weak man that does not belong out on the western frontier. When he interacts with Mattie, she talks down to him and questions his intelligence. When Mrs. Ross learns that he will be riding in to town on horseback, she questions his physical ability. He is ultimately killed trying to help his employee avoid a fight concerning a poker dispute. He is left to die in the middle of town, no one stepping up to avenge him. It is only later that his daughter Mattie that takes up the task of avenging the emasculated father.

Mr. Ross serves as a stark contrast to the rugged masculinity of John Wayne’s Rooster Cogburn. The audience is first introduced to Rooster through word of mouth. When Mattie inquires as to which is the best Marshal, some say Rooster is the meanest, others recount hearing terrible things about him, even more say that “he likes to pull a cork” or is a “notorious thumper”. Her first encounter with Rooster is from afar, as he wheels in a wagon full of prisoners presumably from his exploits out on the frontier. Yet, despite his exceedingly frightening reputation, Rooster Cogburn is often shown as quite the opposite. Audiences are told he is a man of questionable morals, but the aesthetics and appearance argue otherwise. Even during his drunken spells, his terrible hangovers, and his darkest moments, Rooster is almost always clean-shaven, chipper, witty, and clear. He has a violent military history, but he’s also a wisecracker. He may be an old fat man, but he has strong morals. Rooster wears an eye patch, likes to drink, and is known to sometimes step outside the law, but he remains a hero male audiences can identify with and a masculine symbol they can respect.

However it is not until the next scene that the audience receives a real introduction to the masculine figure of Rooster Cogburn. His profession as a U. S. Marshal has him going into the Indian Territory searching for known criminals to bring back. Due to the wild nature of the west, these arrests often turn violent. The second scene takes place in a court where a prosecutor is questioning Rooster after the latest series of arrests ended with a shootout. Rooster is asked how many men he has killed in his few years of service. He responds that he’s not sure, continuously looking at the judge, his expression begging the question, “Why am I here?” Rooster is clearly unconcerned with the prosecution, and makes jokes sparking laughter in the courtroom. In contrast to the masculinity of John Wayne, the prosecutor has more in common with Mr. Ross. He too makes jokes, yet they yield no laughter. John Wayne continues by responding to the questioning with overt fabrications in a fashion that clearly demonstrates his superiority to the other men and the justice system. As anticipated, nothing comes of the court case and Rooster walks out as a free and glorified man.

True Grit and the Plight of Man

True Grit, like other films of the western genre, incorporates the means of coping with male anxieties in America. Escape, exclusion, and self-control are three ways in which men compensate for the toil and tests that come with the idea of the self-made man. Though True Grit’s plot concerns a murder and a subsequent revenge mission, in many ways this and other westerns of old serve a singular purpose, which is to appeal to the fears and obsessions of the audience. The plot is irrelevant, what male viewers want is a film that sympathizes with their struggle for masculinity, and a film that they in turn can empathize with. With the three anxiety compensation methods incorporated into the film, the text becomes one males can identify with on a personal level.

Whether one fears the agony of defeat or merely requires an interruption from the pressures of being a self-made man, it is common for American males to desire escape. Westerns such as True Grit provide a representation of that impulse to flee reality by romanticizing what would be an otherwise terribly arduous lifestyle. Countrymen like Rooster Cogburn and La Boeuf lead a life with no luxuries. These men consistently sleep outdoors despite the weather, eat unpleasant food, they are dirty, they are privy to the dangers of the wild, and they spend weeks without seeing other people. Yet despite the reality of the situation, True Grit romanticizes an otherwise punishing way of life. True Grit tries to create a desirable world, and it begins by fantasticating the setting and the subject matter.

The vibrant color palate, the epic music, the breathtaking vistas, and the cleanliness of the sets all serve to create an atmosphere that any ordinary man would gladly escape to. Lush grassy fields, azure blue skies, snow capped mountains, and crisp flowing rivers are commonly seen. To embellish the effect, the characters never address the incredible beauty of the wild, which leaves the audience with the impression that much of the wilderness is this fantastic. At one moment on the road, La Boeuf complains that, “This is worse than a pig trail!” when in fact the terrain is very easygoing and extremely serene. Robert Frye commenting on Deborah Carmichael’s book The Landscape of Hollywood Westerns states, “The wildness of the western landscape may offer subliminal reasons why these moving pictures retain their popularity. After all, most of these [landscape] photoplays reveal, either directly or subconsciously, an understanding of the national ethos”. And that national ethos is the American male’s desire to escape from the pressures of masculinity and civilization.

This is visible particular in a scene where Mattie, La Boeuf, and Rooster stop at an outpost deep in the Indian Territory. Considering the distance from the nearest town, the lack of running water and the amount of strangers that come through, the outpost must be at least somewhat filthy. But quite the opposite is true; the outpost is completely tidy and clean. When the trio sit down to have a meal, there is a spotless tablecloth, and massive amounts of carefully prepared hot food. In fact, throughout the entire movie everything is clean. The people are healthy and have clean teeth, the buildings are tidy, the town is green and full of laughing children, and even the outlaws look bathed and fresh. What would normally be a harsh lifestyle appears to rather welcoming. But unless the audience pauses to consider the absurdity of those images, it passes to the subconscious and only builds on the notion that this is a world a man can escape to, sympathizing with that male desire.

In addition to escape, the characters of True Grit cope with the pressures of being a self made man through exclusion; compensation method male audiences can empathize with. If a man fears the risk of failure, he may disconnect himself from the emasculating agent through exclusion. Racism and sexism are two very common means of exclusion as ethnic groups and females are two powerful threats to a man’s masculinity. Exclusion towards both of these is found innocently in True Grit. Mattie is constantly put down for being female at the inception of the film.  La Boeuf and Rooster take offense when they find themselves being “hoorah-ed by a little girl”, a conflict that sparks many arguments. La Boeuf in particular simply cannot cope with the young Mattie’s attacks at his masculinity. He constantly puts her down and eventually disciplines her with a spanking. Initially, Rooster too won’t even entertain the idea of Mattie coming on the voyage. Even after being employed by the little girl, he still won’t give her or women in general any credit: “Women have no generosity, they hate to pay up. A man will never work for a woman unless he’s got clabber for brains”.

True Grit also presents a fair amount of racism towards the two other excluded groups portrayed in the film. The first victim of masculine exclusion is the Asian shopkeeper that allows Rooster to sleep in his back room. Despite this, Rooster is still inordinately rude to him. “You can never tell what’s in a Chinaman’s mind,” he states. Similar is the Native American at the aforementioned outpost. He is seen giving another man a haircut, then called on to dress La Boeuf’s hand wound. The man is subsequently reprimanded and humiliated by Mattie who believes the man should wash the wound. While these things do show a level of exclusion on behalf of the white male characters, what is more disturbing is how the film itself presents the minorities. Despite the verbal abuse, they continue to smile and act friendly. Male audiences laugh or follow this exclusion on a personal level, and due to the presentation, they might never suspect something is wrong.

Finally, self-control as a mean of compensating for one’s male anxieties is heavily featured in True Grit. Both La Boeuf and Rooster are headstrong characters with steadfast beliefs about what is right and wrong. It is such notions that makes Rooster a respectable character despite being left by his wife and only son. He redeems his masculinity through these other modes of compensation out on the frontier. The movie’s last scene summarizes the mood appropriately. Rooster goes to visit Mattie at her house after the adventure has concluded. And after he is told that he is too old and fat, he and his horse proceed to triumphantly leap over a fence, where the shot freezes and the credits roll. Male audiences can relate, and empathize with the conflicts, themes, and subject matter of True Grit.

But True Grit was one of the last westerns of its kind. According to Kimmel, after the 1950’s, “Men attempted to prove their manliness through sports, business, bodybuilding, clothes, fraternal organizations, participation in two world wars and the Depression (emasculating both at work and at home)”. Despite the idea of the self-made man remaining constant, frontiers and ideals have changed. The notions of compensating for the anxieties caused by the pressures of being a male haven’t changed. Escape, exclusion, and self-control are still themes that men can deeply connect with. However, as a result of changing frontiers, the ways those compensation ideals are presented and manifested have changed. This is evident through the 2010 remake of True Grit.

True Grit Redefined

True Grit is an exceptional case study for two reasons. Not only was True Grit one of the last western films of it’s kind, but in the year 2010 a remake was made by the Coen brothers, based on the same 1968 novel by Charles Portis. According to Fordham University Media Professor, Brian Rose, even more fascinating is the idea that the Coen brothers may have never seen the original film before shooting the remake, yet used the same source material. As a result, the two True Grits do hold a great deal in common: characters, dialogue, and plot. However, the two movies feature a variety of exceptional differences. The 1969 True Grit glorified its subject matter and characters, creating a text derived from the fears, obsessions, and anxieties of male audiences. Contrastingly, the 2010 True Grit fails to even remotely mimic that masculine foundation.

Right from its inception, the Coen brothers’ True Grit strikes a rather different note. The music is more somber, the mood feels darker, and there is a grittiness and despondency to the setting and characters. Gone is the righteous gunslinging hero, Rooster Cogburn, of the original True Grit film. Instead, the new iteration focuses more closely on the story of a young girl’s coming of age and her befriending of two somewhat pathetic cowboys.

Where the original film focused on Mattie largely as a means of introducing the protagonist and masculine symbol, Rooster Cogburn, the remake focuses more closely on her. Rooster, played by Jeff Bridges, is not a hero destined for redemption, but a tired old man nearing the end of his life. This is evident from Rooster’s introduction. In the original film, Mattie hears from various sources about Rooster’s reputation, and each comment makes the man sound more formidable than the last. In the new iteration, Mattie asks the sheriff who the best Marshal is. He starts by describing the best tracker and marvels at the Marshal’s technique, he then mentions Rooster as being the meanest and a drunkard, and then moves on to the Marshal he believes is the best of all. Rooster has no significant presence; he is merely another Marshal, far from the best. Afterwards, Mattie and the audience are first introduced to the new Rooster Cogburn recovering from a night of heavy drinking and vomiting in an outhouse. When the audience finally gets a glimpse of him, it’s he appears dirty and disheveled, a significant difference from John Wayne’s masculine clean-cut hero. As David Denby states, “Bridges is playing a man, not a myth; you can sense Rooster’s stink and his nasty intelligence”.

This is most evident in the courtroom scene, where Rooster is being prosecuted. As discussed earlier, in the original True Grit, this is a scene where Rooster demonstrates his superior masculinity by casually dealing with the law as if it were some minor inconvenience. In the 2010 True Grit, the prosecutor actually boasts more masculinity than the U. S. Marshal. Rooster appears slow and somewhat pitiful as his lawyer guides him through a made up story. His speech is almost unintelligible and he appears distressed or hurt when insulted. He almost whines his retorts, a sharp contrast to John Wayne’s staunch, bold replies. Like Wayne, Bridges’ Rooster jokes in the courtroom, but in the latter case, he can summon no laughter from the onlookers.

In the new True Grit, gone too is the theme of escape. The environment is dull and dirty. The vibrant color palette of the older film has been replaced with a muted winter. Many scenes filmed during the day in the first film, have been changed to night. Overall there is a gritty and realistic feel to the newer film that does not conjure the same sense of wonder and desire from audiences. Instead we look on with pity as the motley crew struggles to overcome obstacles preventing the completion of their mission.

The notion of exclusion has been diminished from the new film as well. The Chinese shopkeeper is portrayed as a normal, middle class man. He is not ridiculed in this version. As for the racism towards Native Americans, it remains present, but has been reduced to mere slapstick humor. The exclusion towards females, Mattie in particular also somewhat remains, but is cancelled out by Mattie’s strength and importance to the film. As a consequence, any attempt on behalf of the men to exercise exclusion to supplement their masculinity acts against them.

The conclusion of the 2010 True Grit epitomizes the overall differences. After Rooster manages to slay the outlaws and save Mattie, another voice over begins. The audience is shown an adult Mattie making a trip out to a Wild West show where Rooster is performing. In this True Grit, Mattie has lost her arm as a result of the snakebite. In addition, she hasn’t gotten married. When she arrives at the Wild West show looking for Rooster, two old men inform her that Rooster has passed away three days prior. They share a couple of words and she goes on her way. Later, Mattie recounts how she had Rooster moved to her graveyard. This ending is vastly different from the original film, where Rooster visits a healthy Mattie and leaves her by vaulting a tall fence in triumphant manner. The Coen brothers leave the audience with a rather pessimistic and defeatist conclusion. The old gunslinging U. S. Marshal died working in a small time Wild West show and the promising young woman, Mattie, spends her days frowning about the troubles of life. Where the old movie was serious about its grandeur, the new True Grit is humorous in its pessimism. In 1969, True Grit captivated audiences by appealing to their male anxieties, fears, and obsessions. The Coen brothers instead capture audiences with storytelling, style, and humor.

Traditional Masculinity Vs. Modern Realism

The 1969 True Grit and the 2010 True Grit share a lot of common characteristics. Details from both films such as the plot, characters, and dialogue are very similar to Portis’ original novel. But though the films are alike in title, there are major differences in their motivations. John Wayne and the 1969 True Grit create a text that sympathizes with difficulties and struggles of living as a self-made man in America. It does this by creating a world and characters male audience members can identify with. Rooster Cogburn is a man who has also suffered emasculation, and audiences can revel in his self-assured success. Elements of escape, exclusion, and self-control weave their way into the film, creating a personal bond with all those men who yearn and cope with similar methods. On the other hand, the Coen brothers’ True Grit is one that lacks said masculinity. The audience looks upon the characters with a degree of pity. For most of the movie, Mattie stands alone as the only hopeful personage until she too assimilates into the gloomy landscape in the epilogue and the “savage moral incoherence of the West”. The True Grit of old fully embraces the myth of masculinity, while the Coen brothers’, like so many other modern westerns, seeks to expose the faults of this ideology.

But to what can these glaring differences be attributed? Is it possible that the conceptions of masculinity have changed so drastically in forty years? Or is this an isolated case study comparing merely two different styles of filmmaking? Even if this last notion is true, the difference in style has a significance of it’s own. In 1969 it would have been revolutionary to portray such a cynical outlook on male identity in such a traditionally heroic masculine genre. Though the era of modern westerns that question the old conceptions of masculinity such as High Planes Drifter and The Outlaw Josey Wales had already arrived, a film as dark as the new True Grit would’ve been incredibly avant-garde. However, it is plausible that American masculine ideals have wholly changed in four decades. Male identity should shift naturally with a progressing society, and the effect is evident across a variety of media and in society. But the comparison of the two True Grit films does not provide the ambitious scope required to draw such a conclusion. But just as the old west was exchanged for a new frontier when society underwent a metamorphosis, over the forty years separating the two films, the frontier may have been redefined again. The original True Grit crafts a world where masculinity is well within reach, and appeals to both the obsessions and fears of the 1969 male audience. Forty years later in the Coen brothers’ True Grit, the element of male identity that defined the original is seemingly nonexistent.

If the frontier has indeed changed since 1969, the ways male ideals are represented and demonstrated, have also transformed. In the time between the True Grit films, it would not be the ideals of masculinity themselves that have been altered: the self-made man and the anxieties that accompany that notion, have endured. Rather, what has been potentially augmented is the means by which contemporary man copes with, and exercises his own personal true grit.

Rango’s marketing strategy has a robust off-line advertising component including Super Bowl spots and other TV ads, but it is the digital marketing methods that are of greatest interest. While the digital campaign doesn’t do anything particularly revolutionary, it manages to make a variety of improvements to the ordinary online big budget movie advertising formula. Through heavy use of games, intelligent ad placement, and social networks; Rango’s digital advertising campaign engages and entertains consumers. The result is a near flawlessly executed and extremely effective digital advertising campaign targeting young teens, families, and PG audiences.

Released March 4^th, Rango, played by Johnny Depp is a pet chameleon that ends up lost, far from his home in the middle of the Mojave Desert. He comes across an Old West town, called Dirt, which is desperately in need of a sheriff. Rango, thinking himself a hero, assumes position as the sheriff, not realizing the danger that places him in. The ensuing adventure tests Rango both physically and existentially, and before the end he must come to terms his true destiny.

With the creative plot, art style, and the enticing Super Bowl and TV spots, it would have been logical for a curious consumer to Google Rango. As expected, the first result is a paid search ad for the official Rango movie website, artificially putting it at the top of the Google rankings. Especially up until release date, it is important to control the messages and information being received by consumers. Buying keyword search results on Google ensures that if someone was curious enough to conduct a Rango related search, they would be shown the carefully planned marketing campaign, rather than a potentially negative blog post. Once the film is released, this becomes less important as word of mouth viral marketing and review sites take over. But Paramount Pictures’ purchase of Google search ads despite the strong SEO and ranking of the movie’s official site is tremendously intelligent.

Upon arriving at the official, RangoMovie.com, the site to appears to be another typical, formulaic movie promotion site. A movie trailer welcomes the user to a site made entirely with flash. However, moving past the trailer and into the features of the site, it becomes evident that this promotional site goes a step further than the industry standard. RangoMovie.com invites the user into the world of Rango, which is perhaps the movie’s most enticing element. The user can interact with characters, visit different locales from the movie, and see the vistas surrounding the town of Dirt. The user is granted freedom to step into the world of Rango explore the town of Dirt at their leisure. Of course, the site preserves typical movie promotional website conventions. There is advertising for the video game, multiple trailers, options to buy tickets, receive email updates, integrated social network functionality, and a link to purchase the movie soundtrack. But exploring the creative world of Rango does retain a charm that few other movie sites boast.

More importantly, RangoMovie.com incorporates the modern concept of gamification, or implementing game mechanics into non-game applications. In addition to playing actual games such as Go Fish in the town’s saloon, there are a number of hidden items and features. Users of the site can discover hidden wallpapers, a personalized wanted poster generator, and more. Yet, the site never prompts the user with any of the game mechanics. Instead, the user is left to discover them at their own pace. The only guidance the site gives users is a progress bar that slowly fills as they discover secrets; progress bars being one of the classic methods of gamification. Gamification has been proven to drastically raise user engagement. So to incorporate it into a necessary and traditionally bland site model was an intelligent move.

Unlike television or even web surfing, gaming is a medium that requires the full attention of the user, making it ideal for marketing. In addition, gaming is no longer a niche market; 80 percent of teens play games of some sort. These two notions in conjunction seem to be the underlying motivation behind much of Rango’s digital ad campaign. Through games, Paramount has capitalized on the opportunity to deeply engage it’s target young-teen demographic. In addition to the gamified official movie site, Rango also embraces gaming with advergames on Nick.com and through product placement in FrontierVille on Facebook.

Nickelodeon Studios produced Rango, so naturally the marketing campaign would include synergies with existing Nickelodeon properties, namely, Nick.com. Not only is Nick.com plastered with Rango banner ads, but the site also has a Rango hub where users can watch trailers, take quizzes, play games, send e-cards, and check out information on the movie. The games are standard online fare, such as target shooters, spot the difference, and other casual action games. While the games aren’t incredibly complex, they receive a ton of views from the target demographic on the extremely popular Nickelodeon gaming site, making it an ideal place for advertising. And of course, each play is a deep engagement with the product, not merely a display ad that is often overlooked or disregarded.

Nick.com also has a social gaming element where players can customize their avatar and enter rooms to chat, hang out, and make friends. Rango has gamified this feature too by hiding Rango amongst the various rooms. Those who are able to spot him receive special rewards. Players can also purchase Rango themed clothing and items for their avatars, placing the brand directly into the player’s experience. Product placement in video games is a mechanic too often overlooked. But as mentioned above, with 80 percent of teens engaging deeply with games, it’s an invaluable medium that Rango’s media buyers correctly decided to use.

FrontierVille is a Wild West themed social game on Facebook where players stake a claim, beat back the brush, and start a small farm town with their friends on Facebook. The game includes missions: a game mechanic that requires players to complete a set of tasks in return for items, experience, or in-game currency. With over 18 million monthly users and a Wild West theme, Rango resourcefully placed branded missions into the game. The three missions first have players find Rango hidden around their town, then collect ten buckets of water for him, then watch the movie trailer. Doing all of this rewards the player with 30 experience and three tools, a strong incentive to engage with the brand. 60 percent of gamers say they would accept more product placement in games if it didn’t interfere with the experience. Not only does Rango not interfere with FrontierVille, but it also adds extra functionality, which gamers are happy to accept. In traditional video game product placement, 64 percent of people remembered seeing the advertisements. Rango’s game product placement was far more upfront than that of traditional games, making the advertising even more effective. Paramount smarty used games to appeal to its target demographic with highly interactive and deeply engaging media that positively improves brand recognition and awareness.

Games and gamification take Rango’s digital advertising campaign beyond the average marketing strategy average movie campaign. However, the digital advertising doesn’t disregard the traditional promotion methods. There are rich media banner ads on relevant sites featuring trailers and video interviews with the cast and crew. On every Rango advertisement there are opportunities to buy tickets through Fandango and other ticketing sites. The Rango websites and advertisements also promote the companion video game and movie soundtrack. In addition, a Facebook fanpage brings the ad campaign to the popular social network.

Facebook fan pages are a good idea for any brand doing digital marketing. Not only does the fanpage serve as a cheap distributor of information, but it also allows fans of the brand to engage with the product in a somewhat personal space and allows others to see that engagement. The Rango Facebook fanpage does everything right. There are photos of the cast and crew, video interviews and trailers, and places for fans to discuss the movie. In addition, the site consistently posts links to movie reviews, ticket purchase sites, Rango news, and other goodies for the fans. With almost 380,000 ‘likes’, the fanpage is definitely making a positive impact and doing efficient advertising the movie.

As previously mentioned, Rango, builds upon ordinary movie promotion methods. The campaign includes banner ads, trailers, and an official movie site, but goes further by involving gamification and some creative marketing techniques such as product placement in games. However, there were still many ways the digital campaign could have been improved before the movie’s release.

There were a number of solid digital media products created to advertise Rango: the Nick.com hub, the Facebook fanpage, and the official movie site. Yet, there was very little cross-linking between the pages. For example, nowhere on the official site is there a link to the various Rango games available on Nick.com. Creating one central Rango networked hub would definitely have reduced the bounce-rate on the various pages and created a more powerful branding experience. This would have been relatively inexpensive had the notion been planned into the original digital campaign design.

A second inexpensive improvement to the digital advertising would have been to include more viral marketing. A brand as bizarre as Rango has huge potential to spread through word of mouth or other means. A video series, a real life publicity generating stunt (such as people in Rango costumes walking around major cities), or a pseudo-event that is later posted to YouTube, would all have been equally appropriate. When done correctly, viral marketing is a cheap way to generate a massive amount of publicity.

Finally, though many film blogs discussed the movie and the Super Bowl spot, there was very little buzz in blogosphere leading up to the movie release on March 4^th. Involving the blogging community is another cheap way to generate publicity. If enough buzz is created by blogs, the topic starts to trend and the more major news networks are certain to pick up the story. Perhaps involving bloggers and viral marketing seemed rather petty to a big budget campaign featuring Super Bowl ads. Maybe Paramount was aware of Rango’s quality and was confident in the post-release buzz and viral marketing it was to receive. But nonetheless, these inexpensive advertising methods would have indubitably been strong additions to the digital marketing methods employed.

Rango takes movie digital advertising a step in the right direction. Online movie promotions have fallen into a tired, formulaic mold. Uninteresting flash sites, trailers identical to their TV counterparts, and the dull display ads in particular, are all are starting to feel blasé to Internet surfers. Though Rango acknowledges the central importance of these methods, it seeks innovative and exiting ways to engage its target audiences. Mainly though games, product placement in games, and gamification, Rango manages to stimulate an otherwise ordinary campaign. So while a few improvements could be made, the digital advertising sells its product near perfectly through strong brand engagement. And after grossing $38 million in its opening weekend, it’s more than evident that Rango’s somewhat novel digital advertising methods more than paid off.

Related: Internet advertising requires a little more creativity

The content of advertisements reveals a great deal about a society. They reflect the culture’s attitude towards race, gender, and class, in addition to how individuals are expected to behave in the society. Advertisements are out to sell, and the notion of being relevant to the lives of the audience is paramount in influencing consumers. For this reason, advertisements can so effectively expose characteristics of a civilization’s culture. However, advertisements rarely depict ordinary lives. Rather, they show idealized, embellished models of the attitudes, expectations, and behaviors of the various groups. Characters in advertisements are not everyday people, but rather symbols of how that race, class, or gender is expected to be. This causes an often invisible disconnect between real life and the lives of those depicted in ads. As a result, the idealistic stories told through advertisements end up crafting a society’s culture in addition to merely displaying its attributes.

In the United States, beer has never been considered a high-class product. It has often been portrayed as the beverage of choice for tailgating, barbeques, or spectating stadium sports. Beer is advertised as the beverage for the common or all-American man. Because the image of the typical beer drinker was so consistent, it ended up shaping society’s belief on what the ideal American man should act like. However, in 2006, beer brand, Dos Equis, rolled out a very successful advertising campaign that marketed their product as a high-class beverage. “The Most Interesting Man in the World” was the face of this new take on beer. The incredible success of the beer ad in combination with a changed portrayal of ideal male gender, inadvertently changed society’s perception of how the average beer drinking common man should be behaving. The popularization of this new male symbol has re-popularized the traditional model of what it means to be manly in society. The Most Interesting Man in the World advertisement implicitly argues that the exemplary man is intelligent, well versed in the ways of the world, detached, experienced, irresistible to females, physically capable and ultimately, a high class non-American that seems to be worlds apart from the average Budwiser drinker.

The Dos Equis ad I focused on commences with the Most Interesting Man in an Asian restaurant bench-pressing two female servers each seated in a chair. The Asian onlookers are overwhelmed with delight and the servers giggle with pleasure at the amazing spectacle of strength. The narrator states, “The police often question him just because they find him interesting.” The second scene shows a younger Most Interesting Man arm wrestling Fidel Castro with a crowd of male onlookers. Just as the narrator says, “His beard alone has experienced more than a lesser man’s entire body,” the bearded Most Interesting Man raises his eyebrows in defiance and slams the communist tyrant’s hand to the table. He is then shown back in his old age, setting free a trapped bear. As he waves goodbye the narrator confirms, “His blood smells like cologne.”  In the fourth scene he is once again shown as a younger man, aboard a boat, laughing drunkenly with a beautiful woman presumably after catching a large swordfish. The narrator dubs him, “He is the most interesting man in the world.” Finally, he is seen posted between two couples at a table in a mysterious bar. The women are each in their own conversations, yet are clearly more interested in the Most Interesting Man’s presence despite him acknowledging neither of them. Finally, he says, “I don’t always drink beer, but when I do, I drink Dos Equis. Stay thirsty my friends.”

To maximize an advertisement’s emotional and potential in a short thirty-second spot, advertisers rely on subtle references to other texts, narratives, and stories the audience is familiar with. This ad makes its argument to audiences that Dos Equis and the Most Interesting Man are high class, mainly though invoking the emotions of existing cultural stories and linking them to the product. The style and content of the Most Interesting Man in the World link it to existing texts and stories of James Bond and Earnest Hemmingway. These two former icons of high-class, traditional manliness are the driving force behind the argument of the advertisement.

James Bond is one of the most famous characters to ever symbolize the essence of the high class male. Like James Bond, the Most Interesting Man is shown in a variety of locations around the world in a variety of time periods. He is a world-class man able to impress at every stop and destination around the globe. In the Far East his strength astounds an entire restaurant of onlookers. We also learn he has defeated a famous politician in a trial of strength without the slightest doubt or fear. Like James Bond, the Most Interesting Man fits in wherever he goes, a man experienced in the ways of the world can do anything confidently. Also like James Bond he is rarely seen without high-class clothing. Luxury doesn’t define him, but the two men would never be caught without being dressed to impress. In addition, it’s well known that James Bond’s beverage of choice is either a whisky or a vodka martini, shaken not stirred. He is almost never seen drinking beer. Similarly, the Most Interesting Man states at the end of the advertisement, “I don’t always drink beer,” which lines up rather remarkably with the classy action hero. Perhaps the strongest parallel between the two texts is the behavior of women with regard to the two men. James Bond was always able to woo women with merely his presence. In the films, this ridiculous notion turned even his mortal enemies into lovers with little more than a few words and a strong reputation. Yet, his attitude towards them is merely one of mild indifference for what is always a temporary satisfaction. Ultimately, he is independent of his lovers. The Most Interesting Man displays the same effect on women in the advertisements and the same independence. Women like the Asians in the first scene of the ad remind us of lusting ladies Bond chooses to pass up. The gorgeous women in the last scene are seen sitting each with a man who is actively speaking to them, yet, they each are enraptured by the mere presence of the Most Interesting Man next to them. The women raise eyebrows at each other; eager to meet this man despite the lack of acknowledgement he gives to either of them. The remaining woman in the ad is the woman pictured laughing with the Most Interesting Man on the boat. She is portrayed identically to the way James Bond films treat the spy’s numerous one-night stands; that is, his most important ladies. They are captivated by his every word, always by his side and are remarkably loyal despite the mortality rate of his past women. The final link to the texts of James Bond is the style. Many of the scenes look like they were made with dated equipment. Most notably is the scene on the boat where it appears almost to have been shot with a cheap green screen, a technique overused in Bond films to an insulting degree. Even the style of the visuals would lead viewers to link the two texts.

In addition to the element of oldness, there are a number of other characteristics about the advertisement that would also link it to emotions and stories associated with Earnest Hemmingway. The great author was well known as a hunter, world traveler, partygoer, adventurer, and fisherman: a real rambling man. Each scene can be compared back to Hemmingway through one of his attributes. In particular, the ad’s bear rescue scene, where he solemnly and fondly waves goodbye to the bear he just set free, speaks to Hemmingway’s famous wanderlust. The scene of the drunken Most Interesting Man on the boat reminds the audience of Hemmingway too. The ultimate macho-man sportsman: landing a massive marlin, extremely drunk, and joined by a beautiful woman out at sea. It could have been excised straight from a Hemingway novel or simply from the man’s life. However, Hemmingway was also an adulterer, an alcoholic, and suicidal. So how does Dos Equis link only the more positive characteristics of each text to the Most Interesting Man in the World?

The answer lies in the consciousness of the viewer. Unless an audience member stops and thinks about the connections to previously seen texts, they would never decide Dos Equis was drawing from them. Images race by, individual clips last fragments of a second. The viewer has to keep track of what’s going on in the video, the narration; they have to understand time changes and jokes, all quickly flashing by in thirty seconds. And immediately following the closure comes another ad or television programming. There simply isn’t time to consider the intricacies behind the advertisement’s persuasion. But yet a strong message still gets through in just thirty seconds, we still gain a fondness for the Most Interesting Man, and could probably name a dozen more feats he could feasibly perform. Stuart Hall argues humans sort thoughts, memories, and experiences into categories. When a viewer automatically places the Most Interesting Man alongside the same high-class male category as James Bond and Earnest Hemmingway though the connections outlined above, they can’t help but roll over all their strongest existing assumptions and conclusions. These obviously include their overall perceptions and emotions surrounding said people. So despite the flaws featured in the personalities of both Bond and Hemmingway, these are two personalities men predominantly look fondly upon: wishing they could be males of such character. As a result, the Most Interesting Man gets the same model male status as Hemmingway and Bond through the subtle text references.

It is important to note that despite the defining of an idealized high class male, this advertisement is not targeted to high-class individuals. It is actually targeted to the aforementioned common beer drinker. The giveaway lies in the narration, which is essentially repurposing the Chuck Norris Internet meme popular at the time. Just as, “When Chuck Norris jumps in a pool, Chuck Norris doesn’t get wet, the water gets Chuck Norris,” or, “Chuck Norris doesn’t sleep, he waits,” the Most Interesting Man’s “blood smells like cologne.” This subtle link relies on low-class texts to fully interpret the advertisement; though of course it is still funny to those unfamiliar with the original meme. The humor is tuned perfectly so as to not disrupt or tamper with the Most Interesting Man’s legitimacy as a serious high class, experienced individual. The Internet-inspired brand of humor only serves to make the gender role of the high-class male more appealing to everyday beer drinkers.

In making an argument concerning the definition of the ideal man, this Dos Equis ad exploits Sut Jhally’s conventions of gender. Sut Jhally notes in his piece entitled “Image Based Culture,” that characters in advertisements act “not [in] the way that men and women actually behave but the ways in which we think men and women behave”. So despite the fact that most beer advertisements are fairly preposterous, they still hold a power to mold society and culture. Sut Jhally goes on, “Also, images having to do with gender strike at the core of individual identity; our understanding of ourselves as either male or female is central to our understanding of who we are”. The fact that Dos Equis is advertising the product of the masses only adds weight to their portrayals. When Dos Equis created the ideal man for the purpose of selling beer, audiences still saw him as an ideal man. So while beer may be being sold, the remaining effect on general social behavior is far more significant. According to Sut Jhally’s concept, people viewing this advertisement would consider the characters to be acting in ways that we consider exemplary. People would craft their identity, what it means to be a man, based around these new, yet traditional parameters. As a result, the expectations of men in society have changed.

As mentioned initially, advertisements reflect our culture in addition to shaping it.  The effects of the Most Interesting Man in the World’s advertising campaign can already be seen reflected back in advertisements that followed. Kettle One, Jameson, and other products have begun marketing with similar high-class males representing or endorsing their products. Dos Equis and the Most Interesting Man in the World have changed the understanding of what it means to be the quintessential male. The Most Interesting Man is perceived to be a high class individual; someone beer drinkers across the United States can aspire to be someday, perhaps by drinking Dos Equis. The notion is echoed by the ad agency: “[The Most Interesting Man is] rich in stories and experiences, much the way the audience hopes to be in the future”.  Rather than succumb to the mundane, often idiotic male gender identity portrayed by other beer ads and culture products, the Most Interesting Man would urge men to become James Bonds and Earnest Hemmingways; but most of all he would urge them to “stay classy my friends.”

Further reading: The New Yorker gets to know The Most Interesting Man

The hot dog is very a humble food indeed, to remain quiet while it’s grill-mate, the hamburger, gets international fame and glory. After all, I’d argue both are equally delicious and a staple of American cuisine. Perhaps it is this humility that prevents the hot dog from spreading across the world as a proud symbol of America. It simply doesn’t embody the arrogance of the United States like greasy burgers, SUV’s, George Bush, and the other big American symbols do. But like I mentioned above, hot dogs are everywhere in this country, and I’m sure many Americans feel that the hot dog is to some extent, as strong a symbol of national identity as the apple pie. So why does it get less recognition as an American staple?

In case you’ve been living with wolves your entire life (and even then I think you’d come across a hot dog), a hot dog is a combination of two things: meat and bread. The hot dog itself is a soft, edible, tube of processed meat(s) that is usually grilled or barbecued. You shouldn’t be surprised to find that your hot dog contains at least one of the following: beef, pork, turkey, or chicken. You place this meat product inside an aptly shaped special hot dog bun, and load her up with condiments. The condiments department is where regional preferences take over, and we really see some American food ingenuity.

At home, the hot dog is a American staple food and can be found all across the country, but what toppings are added on top is a local preference. Similar to how Chicago style pizza and New York style pizza differ, toppings on a dog can be a matter of regional pride. Order a Chicago-style hot dog and you’ll get an all beef frank loaded with mustard, onions, sport peppers, relish, dill pickles, salt, and fresh tomatoes. That’s very different from a Coney Island hot dog topped with yellow onion, mustard, and heaping with chili. Or maybe you prefer Italian hot dogs from New Jersey featuring peppers, potato, and onions atop their franks. (By the way, if you stick to merely ketchup and mustard, get on the level…dog!) Hot dogs are a food eaten by all (real) Americans, but at the same time, hot dog variations acknowledge the differences between many of the United States’ incredibly unique locales. That’s more than hamburgers ever did for America. Yet, somehow hot dogs still fail to be included on the International List of Iconic American Foods (the ILIAF is not an official document).

Like all things in the United States, hot dogs weren’t originally American and were most likely brought over by immigrants. But despite their unpatriotic nature, I don’t think it explains the hate for the hot dogs. Frankfurters (named after Frankfurt, Germany) and soft hot dogs are thought to have evolved from larger German sausage into their more wieldy form over time. But while eating sausage in a bun may be a very old practice, no one is sure where exactly the term “dog” came from. Some speculate that it was in response to a theory that hot dog manufacturers used dog meat until as late as 1845. Others say the term was coined by a cartoonist in 1900, while talking about a New York Giants baseball game. Either way, it’s agreed that the term “dog” entered the common vernacular in the later half of the 19th century in the United States. What other nation would call one of their favorite foods a “hot dog”?

Despite their foreign roots, these meaty treats have grown into a food featured at many of our country’s most revered events and traditions. Attend a football or baseball game and you’ll easily find hot dogs; in fact, a hot dog vendor will probably find you first. Head to an amusement park and you’ll absolutely find a frank. If, like me, you’re fond of cook-outs during barbecue season (or “summer” as some call it), you know hot dogs are a must-have commodity.

Hot dogs are simply one of those image-conjuring All-American foods. Like the image of the apple pie cooling on the window sill, I imagine a couple in 1950’s America eating hot dogs on a sunny day. And while that image must be at least somewhat a result of propaganda, the reality of hot dogs is no less dramatic. You can buy a hot dog at every other New York City street corner; it’s practically a tourist attraction.

Maybe I’ll never understand why outsiders consider hamburgers, apple pie, and Coca Cola to be the quintessential American foods, but often fail to recognize hot dogs in the same category. Are hot dogs not greasy enough? Are they not controversial enough? Americans agree that hot dogs belong on the list of American foods. Yet, despite the universal and local American novelty, internationally, hot dogs are dwarfed by their cousin, the hamburger, and unrecognized as a symbol of the United States of America.

So that’s it, I’m off to Gray’s Papaya to quell my frustration; a frustration that can only be satisfied by the taste of what might be America’s best kept secret: the hot dog.

(No, I am not bitter against hamburgers.)

[Image via nolageek]