![silver screen cinema silver screen cinema](https://media-cdn.tripadvisor.com/media/photo-s/03/e1/b9/8d/silver-screen-cinema.jpg)
Indeed, it’s part of the value exchange, in exchange for your ticket, you accept a certain (proportional) amount of advertising.
![silver screen cinema silver screen cinema](http://photos.cinematreasures.org/production/photos/171229/1466186234/large.jpg)
Think of the context in which you see cinema ads: plied with popcorn, lights dimming, you know exactly what to expect, when to expect it, and perhaps even how long to expect it for. Mark Inskip, CEO - Media Division, Kantar So what makes the big screen so successful, and how we can take those learnings to other platforms and touchpoints? Make it seamless That means an appetite still exists for entertaining brand campaigns, and offers interesting insights for brands and marketers looking to get their advertising ‘right’. Cinema, in particular, is bucking the trend, with 37% of consumers surveyed for DIMENSION saying they actively enjoy advertising at the cinema. Internet spend continues to rocket, and some spheres of advertising remain very much enjoyed and celebrated. Last month’s IPA Bellwether Report showed overall ad spend flatlining, whilst our own DIMENSION report of 1,000 connected consumers in the UK revealed that 55% are completely apathetic about advertising.īut it’s far from bad news across the board. We in the ad industry are living in challenging times. Writing exclusively for ExchangeWire, Mark Inskip, CEO – Media Division at Kantar, discusses what lessons from cinema advertising can be applied to other platforms in ensuring memorable and fruitful ads, without compromising user engagement. This in turn can raise the risk of customers turning to ad-free subscription services and ad blockers. "I’m trying to look askew at a familiar set of narratives about the emergence of cinema’s key aesthetic forms," Dr Duncan says of her research for the book.Serving effective ads which simultaneously enhance viewer experience is a perennial goal of the advertising industry, however in tough times it is often the bottom line that receives all the focus, shuffling consumers down the pecking order. It is, in effect, an alternative film history, told via the materials used in filmmaking and their effect on audiences. She is working on a book, 'A Natural History of Film Form', which shows how the raw materials of film, including cellulose, silver and gelatin, informed the emergence and evolution of popular Euro-American film aesthetics. Her research shows how the materials used in the production of film - silver, for example - are not simply passive ingredients or technological necessities, but rather come to shape what we see and experience on screen. Silver screens were excellent for use with the low-power projector lamps and black and white films of the period in which they were invented.ĭr Pansy Duncan of Massey’s School of Humanities, Media and Creative Communication works in the area of film aesthetics, studying the sensational and emotional effects of film and the stylistic and formal strategies that sustain them. The "silver screen" is now synonymous with the romanticism and perceived glamour of the film industry as a whole.īut the phrase had an altogether more utilitarian beginning, describing the actual silver content embedded in the projection screen’s highly reflective surface. From production material to film aesthetics