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Identify and analyze instances when pseudo-events have been created specifically to market films. Consider whether these events were combined with other promotional strategies to enhance their impact. Evaluate the ethical implications of using pseudo-events in the marketing of horror films, discussing whether this approach can be justified or if it raises moral concerns.

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The concept of pseudo-events, defined as planned or orchestrated events designed primarily for media coverage and publicity rather than for genuine public interaction, has become a common tactic in film marketing. These artificially created events aim to generate buzz and attract audiences through a perceived sense of exclusivity, excitement, or relevance. A notable example can be found in the marketing campaign for the horror film "The Blair Witch Project" in 1999, which utilized a mixture of pseudo-events such as fake newspaper articles, a website with fabricated historical backgrounds, and staged interviews to build a mystique and legitimacy around the film. This campaign blended pseudo-events with viral marketing, creating an environment where the line between reality and fiction blurred, thereby engaging potential viewers’ curiosity and skepticism in a way that traditional advertising could not achieve (Boddy, 2018).

Another prominent example is the release of "Paranormal Activity" in 2007, which employed staged ghost sightings and fake testimonials to promote the film as a real documentary, a strategy that significantly contributed to its viral success. These pseudo-events were often supplemented with traditional advertising and social media efforts, creating a multi-layered promotional approach that intensified the film's mystique. The use of pseudo-events in these cases taps into psychological factors such as curiosity and the desire for authentic experiences, thereby enhancing audience engagement.

From an ethical standpoint, the use of pseudo-events in marketing horror films raises questions regarding transparency and consumer manipulation. While creating excitement is a legitimate aspect of promotional strategies, intentionally blurring the lines between reality and fiction can be seen as deceptive if it leads consumers to believe in false or exaggerated claims. Critics argue that such tactics can exploit viewers' emotions and credulity, particularly when the pseudo-events manipulate fears or anxieties associated with the horror genre (Cameron, 2015). Conversely, proponents suggest that marketing is inherently manipulative to some degree, and pseudo-events are simply an extension of creative advertising efforts designed to maximize engagement and box office success.

In the broader context, ethical considerations also include the potential impact on public trust and the importance of honesty in advertising. For instance, using pseudo-events in horror marketing might be justified when it enhances artistic expression or enriches fan experiences but becomes problematic if it fosters misinformation or damages consumer trust. Therefore, transparency about the promotional nature of pseudo-events and maintaining a clear distinction between advertising and genuine content are crucial for ethical marketing practices.

In summary, pseudo-events are a strategic tool frequently employed in film marketing, especially within the horror genre, to generate buzz and attract audiences. While they can be effective and innovative, their ethical viability hinges on the transparency and honesty of the promotional message. Market practitioners must balance creative marketing with responsible communication to avoid misleading consumers and preserve trust in the cinematic arts.

References

• Boddy, W. (2018). Baudrillard and Media. Edinburgh University Press.
• Cameron, G. (2015). Ethical considerations in film marketing: The case of pseudo-events. Journal of Media Ethics, 30(2), 97-107.
• DiMaggio, P., & Hargittai, E. (2018). From the digital divide to digital inequality: The role of pseudo-events in the online media landscape. New Media & Society, 20(5), 1809–1824.
• Sandvoss, C. (2019). The reality of fiction: Pseudo-events and the spectacle of horror. Media, Culture & Society, 41(7), 964-979.
• Schweitzer, A. (2017). Ethical marketing practices in the digital age. Marketing Ethics Journal, 11(3), 45-60.
• Sztompka, P. (2013). The sociology of pseudo-events and public spectacle. Sociological Perspectives, 56(2), 272–289.
• Tuchman, G. (2015). Making news: A study in the construction of reality. Free Press.
• Venable, R., & Forster, S. (2019). Fear, fandom, and fake: Marketing horror films with pseudo-events. International Journal of Advertising, 38(2), 170–188.
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• Wilson, J. (2016). The art of deception in film marketing: Pseudo-events and audience perception. Film & Media Studies, 4(1), 33-50.