The specification is on the left. We analysed the ways in which the candidates' own experience of media consumption illustrates wider patterns and trends of audience behaviour.
- With increased technological convergence and the trend of consumers as producers, younger audiences such as myself and my friends tend to buy and view films on stand-alone devices such as computers, tablets, mobile phones, rather than in-cinema on big screens.
- With this in mind, Peter Jackson filmed The Lord of the Rings trilogy as well as The Hobbit trilogy in 48fps, a much faster frame rate in order to make his films more attractive to younger audiences and draw them into cinemas. Jackson on 48fps: see http://mediaclaremont.blogspot.co.uk/2013/12/48-fps-hobbit.html
- The Hobbit benefited from the faster frame rate because its genre relies on spectacle for its impact on audiences; there are two different types of thrill. One comes from the shocking representations of orcs, combat and conflict in the battle scenes, speed and motion in the chase sequences, and the constant sense of jeopardy, all of which are typical genre conventions for this type of big screen blockbuster, a genre that currently seems to dominate Hollywood productions.
- Then there is the type of spectacle that relies on breath-taking beauty created using VFX, such as the realm of the Elves with the architectural splendours of their kingdom, the enchanting faces, costumes and jewels.
- The use of 3D technology is another choice that audiences like myself have to weigh up when choosing what to view and where to view it. Higher admission prices for The Hobbit: The Desolation of Smaug have to be set against greater 'thrills and spills' of 3D. Whereas five years ago, 3D would only be available at major centres, now even my local cinema offers the choice of 2 or 3D thanks to the proliferation of digital projection.
- Very strong box office figures reflect the success of the genre: Smaug came top with $318 million in global ticket sales.
