Five Keys to Branded-Entertainment Success

Viewpoint: Digital Competition Demands a Move Beyond Shout-Out-Loud Marketing

by Joel Lunenfeld Published: December 21, 2009

Joel Lunenfeld

As shout-as-loud-as-you-can marketing is proven less effective every day, marketers are looking for ways to get closer to their customers and prospects. Brands want to deliver engaging, entertaining and educational messages in environments they create, not in spaces they rent.

With the digital revolution -- where every celebrity, publisher, agency or client can produce content relatively quickly (yet, somehow, they still all feature a hilarious scenario involving a hidden camera and Ashton Kutcher) -- the competition to play in this space is heating up. However, just because everyone's now in the game, it doesn't mean they are all doing it well.

Great branded entertainment must cover five key categories:

It must be an experience that could only be brought to you by the brand in question.

In order to promote its new lineup, the Cartoon Network created a series of videos known as "The Wedgies," which featured the characters from the show. The videos were developed around stories involving individual characters from "The Wedgies." Individual episodes were specific to the brand that each character represented. They were successful in promoting the show, and viewers were able to share their thoughts of the videos with their friends through posts and social media.

The brand or product must play an integral role in moving the story forward.
You can have 100-plus product placements in a new movie, but unless your brand is somehow tied to the hero or storyline in a meaningful or authentic way, you're just background noise. Though almost a decade has past since it made its debut, BMW's groundbreaking online film series from then-agency Fallon, "The Hire," remains a classic example. The plot was simple: The main character, played by actor Clive Owen, as a mysterious BMW-driving chauffeur, provided transportation to various people in different episodes. The cars were crucial to the storyline. Without the cars, the story did not move forward.

Your brand has to have the right to create this content.

The show "It's Everybody's Business" would not have worked if just any businessman was involved. Former General Electric chief Jack Welch, an authority in the business world, created the show and shared the spotlight with Microsoft throughout the branded-entertainment web series. The premise was that Jack and Suzy Welch would help different businesses solve problems in order to operate more efficiently. This show would not have worked with just anyone. Because Welch is a legend in the business world and famous for his problem-solving strategies at GE, he was able to create a show that was believable and real.

The content must leave room for speculation, co-creation or interaction.
Holiday Inn Express' "The Smart Show," a web series that humorously portrayed the challenges of traveling, did a great job at integrating different mediums to continue the conversation with the audience. Holiday Inn launched "The Smart Show" website, which provided information for travelers including deals of the week and travel tips based on that week's episode. It also created a blog allowing the community to communicate directly with one another about the episode, experiences they had and other travel queries. Because the conversation continued long after the episodes had aired, the series was a success and the brand continued to grow.

The content must be entertaining, informative, interesting or useful whether a brand is present or not.

The "Life Without HP" series is a prime example of interesting videos that have a storyline outside of the brand's involvement. The short videos are entertaining and appealing regardless of Hewlett-Packard's presence. The featured products are secondary to the storylines at hand, creating a memorable experience for the viewer and one that they are more likely to talk about and pass on to their peers.

Considering how many pieces of branded entertainment we as consumers and marketers see on a daily basis, I also wanted to point out a few interesting trends that are garnering attention.

Technology is really pushing the boundary of brand-to-consumer connections. For example, Doritos Hotel 626 puts the participant in a virtual horror film, and tops it all off with gaming, singing, webcams and actual phone calls from the hotel.

Personalization of video, photos and branded experiences are bringing consumers deeper into the fold. Check out this experience built for "The Dark Knight" and Verizon Wireless, where a user can upload a picture of a friend and add his face to the video of an inmate in an insane asylum.

Another great example is the use of Facebook Connect by the video game Prototype. The website looks at basic profile information, including work history and profile photos, then displays that information directly in the trailer. It uses the participant's personal information to evoke strong emotion and creates an instant connection to the game.

The message here is simple but powerful. Create a branded experience that follows the tenants of good marketing as outlined above, but use technology and social connectivity to involve the audience and allow for co-creation. People love telling stories as much as they do hearing them. They'll really listen and interact if the experience isn't just about your brand, but about their favorite topic -- themselves.

ABOUT THE AUTHOR

Joel Lunenfeld is a founding partner and CEO of Moxie Interactive, one of the largest full-service interactive-marketing agencies in the U.S. You can follow Joel on Twitter at @JoelMoxie or e-mail him at marketing@moxieinteractive.com.

Ford's Next Fiesta Effort: Web-Only Show

by Karl Greenberg, Dec 21, 2009

Ford will launch the Fiesta in the U.S. next summer, but the automaker has been busy promoting the car for several months with social media programs intended to build buzz. The next program will be a product integration program putting the car in a new Web-only show called "If I Can Dream," about a group of five people trying to make it in the entertainment business in L.A.

The show will be screened in 30-minute segments on IfICanDream.com, and on Hulu. Connie Fontaine, Ford brand content and alliances manager, tells Marketing Daily that Ford was involved early on in the development of the show, which is via 19 Entertainment, the company that has handled "American Idol."

Ford's involvement with the show parallels Ford's use of social media to promote the car. The company has been running its "Fiesta Movement" program since last spring, with participants using social media to talk about their experiences with the car. Similarly, says Ford, the cast of "If I Can Dream" will talk about their efforts on social media. Ford is launching the second iteration of its Fiesta Movement program in mid-February.

"One of the things we strive to do is get involved early in the project and effect the outcome," she says. "But this was more than just a nugget of an idea." She says 19 Entertainment -- an organization that Ford has been involved with through its sponsorship of "American Idol" (the U.K. firm was started by Simon Fuller, who created "American Idol") -- brought the idea for the show to the automaker. "They thought what we were doing with Fiesta was the right fit."

The show is scheduled to start running in February, with a 24/7 element on the eponymous Web site, and a weekly webisode on Hulu.com. Fontaine says Ford has signed for the first season. "We felt first that 19 really got where we were with Fiesta and where we wanted to go, and we felt the timing was perfect for Fiesta."

All members of the show will be driving the car -- which, per Fontaine, may include both the European and the 2011 Fiesta for the U.S. market

Media Post

New 'product placement' bid

Monday December 21 2009

The Broadcasting Authority of Ireland is expected to announce changes to broadcasting rules, including a partial permit to use product placement.

Within the draft, there is a stipulation that audiences must be clearly informed about product placement.

The changes, which include allowing product placement be introduced to most programmes other than children's programmes, would be in line with the European Union's audio visual directive covering this area.

BBC approves

internet deal

The BBC has approved a venture that will see internet services brought to the television set.

Project Canvas, which is designed to bolster free-to-air broadcasters in the internet age, is expected to be available next year and will mean that the internet will be accessed through TV sets.

The venture has been criticised by British Sky Broadcasting, which has called for other regulators to become involved, claiming BBC's involvement in Canvas raises potential state aid issues.

Google fights books ruling

Google has been ordered to halt digitising of books without permission and pay €300,000 in damages to a group of French publishers.

The internet search giant has so far scanned 10 million books through partnerships with Oxford, Harvard and Stanford Universities, among others, in an effort to put the world's literature online.

Google France has already announced its intention to appeal against the decision that it considers detrimental to the public good.

Aviva ditches Hibernia tag

Insurance company Aviva is dropping the word Hibernian from its name as part of the last stage of rebranding.

A new TV commercial for the brand will be shown on December 26 which features an animated view of the new Aviva stadium on Lansdowne Road. The group acquired naming rights for the stadium earlier this year for an estimated €44m.

The Jay Leno Show' tops 'American Idol' for product placement in 2009

By Andy Grieser December 14, 2009 8:39 AM

Jay wins! Sort of. Nielsen's annual list of product placement-heavy television puts "The Jay Leno Show" squarely at No. 1. Drink more Coke, Simon Cowell: "American Idol" came in a distant fourth.

Jay's 1,015 product mentions give him a commanding lead over "WWE Monday Night Raw" (787 mentions) and "The Biggest Loser" (704).

Even with the ever-present Coke glasses at the judges' table and those awful Ford-based skits, "Idol" had only 553 mentions in 2009.

Round out the list:

• "Extreme Makeover: Home Edition" (483 mentions)
• "The Celebrity Apprentice" (428)
• "Top Chef: Las Vegas" (412)
• "America's Next Top Model" (380)
• "Project Runway" (350)
• "Dancing With the Stars" (331)

The counts are somewhat inexact: Nielsen counts both intentional plugs and accidental brand appearances.

Product Placement Grows Popular in Korea

englishnews@chosun.com / Dec. 17, 2009

The "supporting actors" with the most exposure in the TV spy drama "Iris" are cars made by Kia Motors. Featured in the action-packed program is the entire stable of Kias, including the K7 luxury sedan, Mohave SUV, Forte compact and Sorento R SUV. The Korean automaker provided 19 vehicles in all.

When "Iris" went on location to Hungary, Kia supplied seven cars through its local office. It even unveiled its newest luxury sedan -- the K7 -- in the drama, with Lee Byung-hun, who plays the lead, driving a specially-prepared prototype. The sedan is scheduled to be officially launched this month.

Actor Lee Byung-hun poses in front of Kia's K7 luxury sedan at an event to showcase the new vehicle at a hotel in Seoul on Oct. 24. /Courtesy of Kia Motors

Powered by the huge popularity of "Iris," Kia is featuring models dressed like secret agents in promotional events for the K7. It costs Kia around W200 million (US$1=W1,165) to supply the cars taking fuel costs and price depreciation of the vehicles into account, but the carmaker says the publicity is worth it. It is considering putting up the prototype K7 for auction. The car cannot be sold otherwise since it is not fully completed, but the company believes fans of Korean movies and TV dramas in Japan and other Asian countries could be very interested.

Until a while ago some foreign carmakers have usually used product placement as a way to promote their vehicles in Korea. But now the trend seems firmly established as the cost of conventional advertising rises. In some cases, companies even pay film producers some W100-200 million besides providing cars. Increasing interest in product placement has also led to their increasing involvement in the film or drama production. "A car's image is at stake when it comes to sponsoring TV dramas or movies, so we take a look at the scripts and go over the content first," said one source in the industry.

Currently, TV broadcasters are barred from showing corporate logos on programs, but a revised regulation allowing it has recently been passed by the Korea Communications Commission. If it is approved at a Cabinet meeting, the logos of carmakers can appear on TV shows.

Cars used in movies or TV dramas are usually sold at 10 to 15 percent discounts. The Kia vehicles used in "Iris" will be around W2 million cheaper than brand new ones.

2012: The Year Product Placement Will Destroy All Integrity in Movies

By Ryan Sager Neuroworld

I saw 2012 over the weekend. Yes, it was dumb. But I love the dumb spectacle movie — it can be done better and it can be done worse, but there will be explosions and people running about. So, it tends to be good fun. As for 2012 itself, the mayhem was pretty spectacular, the plot was if a little hinky, and — as usual — I found myself agreeing with the political views of the movie’s ostensible villain.
Image via Wikipedia

[Side note on the villain thing: Oliver Platt plays a high-up White House official who takes a cold-hearted view of preserving continuity of the human species in the face of the crazy planet-destroying threat facing humanity. He's entirely right on every practical question, yet the movie prods us to feel that he should have alerted the public to Armageddon years in advance so that anarchy could overtake the planet and that he should — at the last possible minute — risk the survival of the human species to salve the conscience of the movie's lead scientist. I felt no such thing.]

Okay, back to my point. I won’t be giving away too much to tell you that 2012 involves one of the most ludicrous seeming product placements in movie history: The hero’s 7-year-old daughter wearing Huggies Pull-Ups. The pull-ups problem is introduced in the first act (and, if you see a gun in the first act…). They don’t appear in the second act. But — and truly, I’m not giving anything away here, I don’t think, but possible spoiler alert — the Huggies Pull-Ups end up featuring in the last two lines of the movie, which go roughly as such:

Annoying 7-year-old daughter: I don’t need Pull-Ups anymore!

The insufferable John Cusack: Nice!

That’s the end of the movie. Trillions of dollars worth of special effects. Years of people’s lives making this movie. And it ends with a non sequitur (there has been no character development of the daughter to justify this line) about diapers.

What’s the deal? Presumably product placement (though I can’t find any news stories confirming it). Regardless of this particular instance, though, we all know that product placement has become rife in movies and TV (TV especially needs it these days, with people fast-forwarding through DVR’d commercials). Product placement is a running meta-joke on “30 Rock.” It’s a non-joke on most every other show.

But does it work?

One team took a look, in this study (abstract), “The Effectiveness of Brand Placements in the Movies: Levels of Placements, Explicit and Implicit Memory, and Brand-Choice Behavior.” Cognitive Daily takes a look:

Moonhee Yang and David Roskos-Ewoldsen showed 373 students from the University of Alabama one of 15, 20-minute movie clips taken from major Hollywood films. Around the middle of each clip was a single product placement of interest. These products had been pre-selected by a preference panel to be roughly equally appealing. Another panel assessed the importance of the product in the movie’s storyline by placing it in one of three categories: Background (not important to story), Used by Character, and Story Connection (meaning the product was actually related to the plot of the movie). This table lists all the products and films in the study:

After watching the movie clip and completing a survey with demographic information and questions about how much they liked it, the students were given a “word game study” where they were presented with partially completed words and asked to complete them. The purpose of this test is to see if the students were biased to complete the words with the brand-names they saw in the movies. For example, they might be given a word like C_KE. This could be completed as both “CAKE” and “COKE.” Most of the words they completed had nothing to do with the brands in the film they saw — but they might have been a brand in one of the other clips. Then after another distractor task, the students were directly asked which brands they saw in the clip. So did seeing a brand-name in the movie affect the responses? Here are the results:

As you can see, if the product was actually used in the clip, it was recognized significantly more often than if it was just a part of the background. However, there was no apparent advantage for having the product play a role in the story of the movie: whether the product was just used by a character in the film or it was a part of the plot, there was no difference in how often it was recognized.

So, if that Pull-Ups thing was product placement, they really didn’t need to try to make it part of the plot (especially not in such a half-assed way) — showing it a couple times was enough.

I’m actually not a purist on these things, despite my headline on this post. Movies are commerce, and people have to make a buck. But a study like this shows product placement can achieve its aims without intruding too much on the plot. So, Hollywood, maybe no more Pull-Ups? That’d be n

Take THAT Twi-Product Placement ;)

There's a "Twilight" crime wave sweeping the nation -- particularly at Burger King restaurants -- and all the suspects seem to be the most fearless creatures on the planet ... teenage girls with a crush.

TMZ has learned multiple Burger King restaurants across the country are reporting life-size promotional posters of Taylor Lautner and Robert Pattinson are being ripped right off the BK windows in broad daylight ... horrible time for a vampire.

So far, the interstate theft has affected BKs in Maine, Delaware and Montana. One Burger King rep tell us, "The girls just walk up in the middle of the day ... rip off the posters and run ... we've had to replace them over and over."

'Bones': 'Avatar' gets some aggressive product placement

By Liz Pardue

December 3, 2009 8:28 PM

"Bones" hit a new product placement low this week with a sideplot entirely based around how awesome "Avatar" is. I mean, you gotta do what you gotta do, but this was pretty egregious.

And the main plot was very obviously based on the (extremely awesome) documentary film "The King of Kong: A Fistful of Quarters." I'm not sure what to do with that other than to call it a homage in which (spoiler alert!) the hero of the movie is instead murdered and proved a cheater. Can't imagine Steve Wiebe is too happy about that! But I'm getting ahead of myself...

The Case: Do you think the writers sit around a table brainstorming disgusting ways to find a body? Because they've truly outdone themselves this week with the oily, rotting body in a tank of fast-food fryer oil. As Cam puts it, the cause of death was "drowning and cooking." Uggggh. Our victim, Steve, was a mailman by day, video game rock star by night. His game of choice: "Punky Pong." Ha, why not just call it "Schmonkey Schmong"? Punky Pong just sounds like some "Punky Brewster"-branded version of Pong. Whatever that would look like. At any rate, after his "tempura'd" body is de-fleshed using a tank of beer (seems appropriate), they discover that Steve was also attacked with a weapon.

His rival world champion, "Pong Master Bill" (aka Billy Mitchell in real life, complete with American flag tie), disputes Steve's perfect score. And when Brennan realizes that a wrist injury would have prevented Steve from playing at all, let alone completing a perfect game, they discover that Steve's perfect game was actually played by Dougie, an autistic boy on his mail route who's obsessed with Punky Pong.

Peacock poop leads them to Dougie's father, who snapped when Steve claimed credit for the only thing Dougie has in his life. So he hit Steve with a golf club...and then decided to throw him alive into a fryer? Now that's fatherly love.

The Squint Squad: Fisher the Aggressively Melancholic Intern (FAMI for short) scores tickets to "Avatar," and invites Sweets and Hodgins. First, there's an ad for "Avatar" during the commercials. Back on the show, commence actual "Avatar" footage being shown, complete with reverent comments about the CGI, and phrases like "this is so much more than a movie." Yeah. And they basically keep talking about the amazing significance of "Avatar" throughout the episode, as they camp out in shifts to get good seats. This honestly might be the most unironically in-your-face case of product placement I've ever seen. I suppose I should be glad it's a movie and not soda or a car...

When Sweets finds out that FAMI has slept with nearly 100 women (really?), he gets insecure and makes out with a very forward tattooed nerd in line. DUDE. That's not cool at all -- you have a girlfriend! Happily for his relationship with Daisy, Sweets backs off and FAMI takes over. In a tent. In the line. Yes. This happens. Hodgins kindly reminds Sweets that though FAMI may "pitch a tent" with many women, Sweets has been with one woman many, many more times. Like seriously, a lot. Plus, FAMI is so busy rolling around in the tent that he misses the movie.

Booth and Brennan: An adorably sheepish Booth had Cam drag Brennan to the crime scene even though the body was still ... fleshy. If you can even call that flesh. After Cam busts him on it, she realizes that she's "in the middle" again, after getting "in the middle" of an argument about sports earlier. Ha. It's a moot point anyway, since all the flesh falls off (ugggghhhh) when they pull the body out of the tank.

Later, after the father confesses, Booth tells Brennan he understands the impulse to protect one's son, and explains it quite eloquently and touchingly. Brennan rightly points out that Dougie wouldn't have even cared about the record. But, she acknowledges that Booth also has a valid "number system" for seeing the world, even though it's different from hers. Growth, people. What you're seeing is growth. And then she tries to play Punky Pong and gets totally pwned.

Odds and Ends:

• Props for continuity, since we finally see Hodgins' Angela tattoo ... as does Angela. Awkward! She's pissed at her dad and wants it lasered, partly because she doesn't want Hodgins sweating on her face. Fair enough.
• Brennan trying to do "Bow chika wow wow" porn music = hysterical.
• Brennan talking about banana incisors = almost equally hysterical.
• Hmm ... we got a DVR-buster where Angela and Brennan talked about Punky Pong representing evolution. So now we have to watch out for those? Sigh...

Quotes:

• FAMI: "Saturated fats...they're a killer!'
• Brennan: "Oh, show him your gun. Kids love guns."
• Payne: "Lance -- very phallic name you've got there."

Was anyone else out there who's seen "The King of Kong" weirded out by this episode? How did you feel about the "'Avatar' is the greatest movie of all time ever and everyone should go see it right away" plot?

UK product placement consultation launched

By Mark Sweney

On-screen alcohol and junk food plugs may be restricted if product placement is allowed on television

The government has launched a consultation looking at how product placement could work on UK television, with a view to restricting the promotion of alcohol, junk food and gambling.

The culture secretary, Ben Bradshaw, said the move, which confirms a U-turn on the government's previous position, was recognition that the beleaguered broadcast industry should "not suffer through being overly strictly regulated".

Ofcom has estimated that within five years of it launching, product placement could make UK broadcasters as a whole £25m to £35m a year.

The consultation is calling for responses on whether to ban or restrict placement of products from the alcohol and gambling industries as well as food high in fat, salt and sugar.

In addition it is looking at whether there should be a "specific prohibition" of product placement in religious programmes, current affairs and consumer shows.

The overarching European Audiovisual Media Services directive already bans product placement in children's TV . However, the UK is looking at whether the ban should extend to programmes that have a high proportion of younger viewers. This would tie in with Ofcom's

"Index 120" rule that blocks junk food being advertised in shows of "particular appeal" to under-16s.

The government said that it was reconsidering its former position, adopted by former culture secretary Andy Burnham, of a total ban.

"There is no doubt that commercial broadcasters are suffering in this challenging economic climate," said Bradshaw. "Programme-makers have argued that our current stance on product placement will put them at a competitive disadvantage against international rivals, particularly from the US".

Bradshaw said if product placement was allowed it would be with "adequate safeguards to address concerns that relaxing the rules will threaten the trust of viewers and the integrity of programming".

The consultation will close on 8 January.

Lady Gaga's product placement Opus

By Maxine Shen

Say what you will about Lady Gaga, but there's one thing you can't argue with: The girl knows how to work a visual.

It's been a very long time since I've seen a music video that is as visually striking as Lady Gaga's new clip for her song "Bad Romance." So long, that I can't even remember what the last video might have been.

I'm starting to think that the weird outfits she shows up to events in are nothing more than early promotions for her upcoming music videos. Par example, those who saw her red crown-veil outfit at the MTV VMAs in September, will see similarities in the black and white outfits she wears in this video. Also, the polar bear coat is genius.

As for the song itself, I like it. A lot. But then again, I've always been a sucker for a Lady Gaga tune...and electronic harpsichord intros and outros.

Check out the video below. While you're at it, see if you can spot all the product placements. I counted five. Which has got to be a record, right?

See The Video

5000 Feature Films

by Connie Larson ( Copied From Brand Builders Website)

Novemer 18th was the 5000th feature film submitted to Feature This!

Feature This! started on Jay May's daughters school desk in his dining room on the second floor of a four plex in Beverly Hills. Jay said " I remember when production had to return an item and would see stairs they would shake their heads". Jays two bedroom apartment started to grow with products, "my living room became our warehouse" he chuckled. Once he ran out of room in our home, Feature This! had their first office in Hollywood right next to a prop house.

This was very clever of Jay because he was a propmaster for 22 years on (Features like "TeenWolf", Pumkinhead") " when I had nothing to do I would just walk 400 feet and visit his friends and say, "what are you working on"? Then he added "I have the perfect product for your show" The Prop house Ellis Mercantile"

Ellis Mercantile" Started as a Pawn Shop by Ellis Zemanski in 1902. due to failing profits combined with runaway production concerns. There are rumors that George Reeves ( Television's "Superman" shot himself with an Ellis prop gun)


Here are just a small handful of movies FT! had a hand in.

The New office was really a one bedroom apartment that was owned by actress Jule Newmar from the original "Batwoman". "I will never forget when Julie walked us ( La Wanna May co-founder ) through the apartment, she was still very beautiful, she was at least six feet tall" says Jay. The only issue was, I didn't learn a lesson because, once again there were stairs, productions where not happy campers", he chuckles. Once again Feature This! outgrew their space and finally moved to a ground floor building on Venice Blvd next to MGM and 20th Century Fox. Jay and La Wanna figured this is where we can grow. That was an understatement within the first year that facility was already too small. They ended up having to rent storage places to store the products because they had a five year lease. When that lease was over they finally landed in Burbank between Warner Bros, Universal, Disney and Nickelodeon. " my people can get to any of those studios in under five minutes" said Jay. Presently Feature This! is working on over 45 Future Blockbusters like Marvel Comics "Thor" or "A-Team at 2oth. Feature This! also works on most network and syndicated shows like "24", "The Office" as well game shows "Wheel Of Fortune", "Lets Make a Deal" and most talk shows like "Ellen or Letterman"; and reality shows such as "The Biggest Losers"

Today they are very comfortable in our own building with 8 offices, an editing room, loading docks and warehouse. Propmasters, Producers, Set dressers even Directors go through Feature This! everyday. "Jay provided a great service to productions. We have very restricted budgets and jays company really helps me defer substantial costs" Said Scott Rosenfelt producer of "Home Alone" and discovered Julia Roberts in "Mystic Pizza"

Feature This! has become part of movie history....
.

TV Game Shows Looking for Products

Because the economy is so bad, the Game Shows and Talk Shows need Corporate Brands for prizes In most cases there are no fees and the brand will have a 10 second on air promotion

Prizes for some shows could be as low as $100

Appeal of TV Game Shows
The cultural influence of the TV Game Show has generated much popularity of the last sixty years; mainly due to it's audience response in viewing. Millions of people love to watch their favorite shows in day or night time. The first shows, which began in the 1940's, vary in great detail from the production and glamour of today's technology. Contestants now can interact with websites, play the games online and use special devices to pre-record each episode. Still, the biggest differences of our modern game shows and those of the past is how the games are played and how much the winners are paid. Along with their charming hosts and long time running history.

The first TV Game Show was the Quiz Show, adapted form a Radio Show called The $64.00 Question. The Quiz Show became a popular show, by offering prize money to those contestants that gave the right answer to the trivia questions. This show began in early television and had the sponsors appear on the show to promote their company's products. This show did not stay on-the-air as long as it was expected to. It was discovered that the players of the game already knew the answers, and were paid to play, this became The Quiz Show Scandal. It was this great circus of events which inspired the intervention of a law body to restructure guiding rulings over the fairness of games being played in media circuits for a return amount of pay for winners. This entire elaborate involvement made history. More can be learned about The Quiz Show Scandal from seeking the website of Encyclopedia Britannica, under this title.

International Green Globe Film Awards

Akira Kurosawa was the youngest of seven children, born in Tokyo on 23 March 1910. He has said that the first important influence in his life was a teacher called Tachikawa, who was progressive in his emphasis on art education for the young. This was how the young Kurosawa was
introduced to art and film.

A talented painter, he enrolled in an art school that emphasized Western styles. Around this time he also joined an artists' group with a great enthusiasm for nineteenth-century Russian literature, with Dostoevsky a particular favorite. Another influence was Heigo, one of his brothers, who loved film and worked as a benshi, a film narrator/commentator for foreign silent films. His suicide deeply affected the director's sensibilities.

In 1930 he responded to a newspaper advertisement for assistant directors at a film studio and began assisting Kajiro Yamamoto, who liked the fact he knew 'a lot about things other than movies'. Within five years he was writing scripts and directing whole sequences for Yamamoto films. In 1943 he made his debut as a director with Judo Saga (Sanshiro Sugata), with a magnificent martial-arts sequence in which two masters fight to the death in a wind-swept field, their flying limbs all but obscured by the tall swaying grasses. Consider the acclaim given to the similar fight sequences in Crouching Tiger, Hidden Dragon and it's obvious why in 1943 people began to talk about a young film-maker with a brilliant future.

His early films were produced during the Second World War, so had to comply to themes prescribed by official state propaganda policy. It was Drunken Angel which was Kurosawa's first personally expressive work, made in 1948 and featuring Toshiro Mifune who became Kurosawa's favorite leading man. The director has noted "In this picture I finally discovered myself".

For those who discover Kurosawa, they will find a master technician and stylist, with a deep humanism and compassion for his characters and an awe of the enormity of nature. He awakened the West to Japanese cinema with Rashomon, which won the top prize in the Venice Film Festival of 1951, and also a special Oscar for best foreign film. A golden period followed, with the West enthralled by his work. Seven Samurai was remade in the US under its alternative title The Magnificent Seven and the lone samurai hero Yojimbo was the inspiration for Clint Eastwood's man with no name persona, most obviously in A Fistful of Dollars. The intercultural influence was reciprocal. Kurosawa's fondness for Hollywood westerns in the John Ford tradition is seen in the epic sweep of Hidden Fortress, an award-winning film that inspired George Lucas to lift the plot for Star Wars. His love of literature also surfaced in two superb interpretations of Shakespeare (Macbeth in Throne of Blood and King Lear in Ran) and versions of Gorky's The Lower Depths and The Idiot by Dostoevsky.

Following Red Beard (Akahige) in 1965 he entered a frustrating period of aborted projects and forced inactivity and when in 1970 his first film in five years (Dodeska-den) failed at the box office, he attempted suicide. Directing a Soviet-Japanese production, Dersu Uzala helped him to recover and took four years to make. It won the Oscar for Best Foreign Film in 1975 and a gold medal at the Moscow Film Festival.

Kurosawa won multiple awards for many of his films, notably Kagemusha (1980), a deeply humanistic historical epic, and for the blockbusting Ran (1985). A true auteur, he supervised the editing of nearly all his films and wrote or collaborated on the scripts of most. His memoirs were published in 1982, titled Something like an Autobiography.

In 1989 he won an Oscar for Lifetime Achievement. At the age of 72 he said "I like unformed characters. This may be because, no matter how old I get, I am still unformed myself." Kurosawa died in 1998.

Source: British Film Institute (BFI)