I’m Turning it Loose, Footloose

Paper by Shayla M. Ousey-Aguirre.

The high-concept films that emerged in America in the 1980’s introduced marketing and merchandising tactics that the world of cinema had never seen before. Many scholars and film critics universally claim that this specific method is one that has given many films the extreme success they earn. Through the film Footloose, the high-concept method demonstrated vast success and that this method works in spectacular ways, in addition to contributing to society and its culture as a whole. This method is relevant to filmmakers and audiences today as it can truly assist in far better success than without utilizing it. In order to prove my statement to be valid I have provided a wide variety of evidence that establishes a relationship between high concept films and their ultimate accomplishments.

High concept films are defined as films that are simple and often striking an idea or premise that lends itself to easy promotion and marketing. Extreme high concept films generally have a title that indicates their entire premise merely in the wording of the title. The title gives away a main part of the film in order to attract consumers to see the specific film. These high-concept films were generally more formulaic and less original than films that were made in the previous decades, like 1970’s Vietnam, cult, and documentary films. There were about two or three big-budget films per year per studio and at the time Paramount Pictures and Warner Bros. studios were the largest and were periods of unprecedented success, while Disney studios was on the rise (Smith, 52). For example, around the time that this film was released by Paramount Pictures, additional films released were: Indiana Jones and the Temple of Doom, Friday the 13th: The Final Chapter, and Star Trek 3: The Search for Spock (Paramount Pictures [US]). The major difference of this film compared to those of the early 1970’s is that it is very formulaic and has less originality, particularly those considered auteur films. According to Williams and Hammond from the course textbook, during the 1980’s, film production costs generally rose and audience attendance went down due to technological advances of the time and capability of having access to VHS generally soon after the release of a film (115).

It is obvious that Footloose is an extremely well known and respected classic movie and is sought after to be a hallmark in America’s cinematic history. Some example of similar films to this one that were offered to view for the same week of course responses are among, but are not limited to: Flashdance, Beverly Hills Cop, Top Gun, Days of Thunder, and Jaws. Although I did not personally watch any of these films, they are great examples of how high concept films can turn out to be huge sensations. As for one example, Jaws won three Oscars, is in the top films of all-time lists unanimously, and most importantly has a current gross amount of $260,000,000 (Jaws). As noted in the online reading, there is a certain mentality called the bottom line mentality and it basically states that, “highly expensive events or films could lead to immensely lucrative profits” and the bottom line determines how much profit will actually be received (Manning). As mentioned, I am confident that the 1984 film, Footloose, is an appropriate and stellar example in validating the fit for a high concept film. To introduce some background on this film including the content and relevant themes, a brief synopsis is provided.

To begin to highlight this incredible film, one should note that it is a classic account of teenage rebellion and all that comes with being this age and the general experiences that they have. This dramatic and romantic musical is based on a teenager named Ren, that moves to a new small town where dancing is forbidden, coming from the big city of Chicago. With this surprising restriction, Ren refuses to give up the one thing he loves most and experiences quite the culture shock. Through this, he has a difficult time not only being a new addition to the local cliquey high school, but also having a talent and passion for something that is illegal in this town. However, there is a spark of hope when he starts to fall for a sweet and beautiful girl named Ariel, who is in a troubling relationship with her arrogant and jealous boyfriend. In addition to this roadblock, her father is a local minister who is the headmaster in enforcing this law to stay strong and restrict dancing due to a past event that killed his own son in relation to dancing. Eventually Ren forms a group of students who want to put an end to the restriction in time for their senior prom, even though Ren is the only one who has takes initiative to fight the battle of revoking the ban. As the film progresses, the ending is happy and there is a solution to the unfortunate issue of the ban on dancing in the town.

Throughout the film there are a variety of scenes that incorporate the high concept model. There are many scenes related to sex, nudity, violence, profanity, alcohol, drugs, smoking, and other intense scenes that give this film an R rated certificate (Footloose). The film insinuates some deeper themes, such as religious views and social conformity in an effort to not allow dancing. It also introduced the two very different family structures between Ren and his family and Ariel and her Christian family. It also resulted in portraying the importance of good attitude and how polite and respectful conversations can eventually lead to the removal of a certain ban: which is what happened in this film. Footloose encompasses a selection of themes and symbolism within that speaks alongside the title and main theme of the film.

One specific scene that I chose to examine was the aggressive and passionate scene of Ren dancing in the warehouse by himself. He was furious at the previous event and sped over the warehouse in his Volkswagen vehicle while smoking and drinking and driving. During this time period, drinking was legal for those under twenty-one years of age and his drinking while driving is part of the rebellious characteristic he embodies as I mentioned earlier (Editorial Staff). He dances with much character and it is apparent that he is extremely frustrated. This has to be one of the most incredible scenes in a film I have scene because it makes the viewer feel the same emotions that he does. I researched if it was truly Kevin Bacon, the man who played Ren, that performed this incredible routine. In fact, Kevin Bacon did have a double that danced in this scene, from all the leaps to the jumps and more. This scene was definitely important and vital to this film’s namesake.

Another scene I chose to analyze was the praised and extremely famous car scene. This introductory scene truly embodies the teenage stupidity and ignorance of reality, where most teenagers believe that they are invincible. This is where Ariel and all of her other friends are driving on a county road and Ariel does an extreme dare and Ariel’s boyfriend is driving in a pickup truck. As Ariel attempts to enter the pickup truck alongside the car she is currently in, she is hanging between the two car windows and is taking her time to enter the truck through the passenger side window. There is a huge semi-truck that is driving quickly in their direction and the boy in the pickup truck pulls her in the car and steers off the side of the road out of the oncoming truck’s direction. This is a scary and intense scene that keeps the viewer at the edge of their seat. This scene truly sets the tone for the rest of the film and introduces that there are more intense and dramatic scenes to follow. Herbert Ross, the director of Footloose, does a phenomenal job at ensuring that the audience lives in full effect of the story he is attempting to portray.

I have much evidence and confidence that this film is a high-concept film and a great example of it as well. In order to reach a larger audience, Footloose, like with Flashdance, utilized horizontal integration that allowed for cross-promotion of film in multiple ancillaries and had licensed film-related products and merchandise (Horizontal Integration). By utilizing MTV as well to gain attention, they used the same target audience as they did with the theatre promotion. Some major advantages of horizontal integration are that there was increased market power over suppliers and channel members that distributed the film and it reduced the cost of international trade by operating factories in foreign markets (Horizontal Integration). Additional benefits for these achieving films include economies by scale, which sells more of the same product, and sharing resources common to different products (Horizontal Integration). The economies of scope, as mentioned, selling of more products are also called synergies. Herbert Ross, the primary director of Footloose ensured that this film had all the characteristics that a high-concept film holds.

This film could definitely be considered a high-concept film because as noted in the reading, it is easily described, understood, and very marketable. In addition, this film was designed and packaged for a massive audience, which it ended up having and made huge profits as a result. I also believe it is a high concept film because it had the “look, hook and book” guidelines that high-concept films have. For example, the look is how visually appealing to the public, usually before its release. The hook is trying to sell to the target audience at hand and lastly, the book is all the merchandise that helps to promote the film. This can be t-shirts, CD’s, VHS’s, or any other personalized items by the film that helped its overall success. Lastly, this specific film was a high-concept film because of extreme merchandising and marketing due to its major music presence throughout and revolutionary styles of the characters.

Additionally, there were many intelligent marketing tactics that Paramount Pictures utilized in the distribution process around this films’ release. In specificity to Footloose, it greatly followed these guidelines above, in fact proving that it is a high concept film. In regards to the look aspect, the title and cover art of the film on the advertising posters and front of movie covers, implies that this film will have dancing and drama involved. At this time period, the dance craze and teenage rebellion were absolutely apparent and occurring. With an exciting and interesting title and artwork, the film sold itself to fans even before they watched it. For the book aspect of this model, this film had a hugely popular soundtrack with famous artists at the time such as Kenny Loggins, Deniece Williams, Bonnie Tyler, Shalamar, and others (Footloose soundtrack). Additionally, there was much merchandise that was exposed to be Footloose-related and many consumers bought clothing and items alike that reflected the themes from the film. Flannel high tops, red suede boots, solid mid-top sneakers and Keds reveal the classic look as given by the film (Jessica Rae). Also, Levi jeans and jackets were so prominent in the film that consumer began to purchase these items on their own to reflect the films’ usage of these clothing items (Rae). Other products that sold were make-up, the 80’s make-up on artists and actors alike are undeniably one to note, as its distinction is clear (Rae). The make-up worn in this particular film consists of bright colored eye shadow, defined liquid eyeliner, cheeks full of blush, and lastly colored lipstick that molds the ‘80’s look.’ I have clearly reviewed the merchandise and products that went along with this film that helped promote the brand and create brand awareness before and after its release. As for technical details regarding this film, the companies that distributed and produced this film were Paramount Pictures and IndieProd Company Productions (Footloose). To show this film’s vast success, it grossed $80,000,000 in the USA in total on an $8,200,000 budget; on opening weekend alone, February 1984, it grossed $8,556,935 (Footloose). It is obvious that high-concept films perform well in the industry due to its features and proof from the showings and profits over time.
Furthermore, a cinematic scholar by the name of Justin Wyatt points to the high-concept method as the driving force behind creative decision-making of films in Hollywood. In support of my argument, Wyatt claims that, “the high concept film—with its stylistic features and its economic identity—as a marketing phenomenon (Prince and Wyatt, 53). Moreover, Wyatt conveys that the:

High concept filmmaking is a key mode of post-classical Hollywood filmmaking, which is closely tied to the rise of diversified corporate control in the film industry and the importance of ancillary markets. I believe that Grease, Jaws, Star Wars, and Saturday Night Fever are of much greater significance to American film history than the critically and institutionally recognized films of the period such as One Flew Over the Cuckoo’s Nest. (Prince, 53)

This demonstrates that even a professional and imperatively knowledgeable individual in the cinematic world, views my argument to be valid and with much opinion-based support. Justin Wyatt is a true specialist in this area of cinema whose comments should be understood and validated to the fullest.

It is apparent that high concept films are present even in today’s releases of modern films. However, the spark of this model at the turn of the 1980’s was vital in introducing the potential and importance of creating films to have these characteristics so that it can sell at exceeding rates. The high concept model is proven to allow films to be marketed and distributed in a certain manner to allow for a certain profit and viewership expectation. The extensive research that I have conducted proves that this model is held to be effective and that many scholars in the cinematic industry agree that it is effective as well.

Works Cited
Editorial Staff. “The History of Drunk Driving Laws in the U.S. • LifeSafer.” LifeSafer Ignition Interlock. N.p., 22 Jan. 2013. Web. 12 Apr. 2015.
“Footloose.” IMDb. IMDb.com, n.d. Web. 02 Apr. 2015.
“Footloose (soundtrack).” Wikipedia. Wikimedia Foundation, n.d. Web. 07 Apr. 2015.
“Horizontal Integration.” Horizontal Integration. Quickmba.com, n.d. Web. 04 Apr. 2015.
“Jaws.” IMDb. IMDb.com, n.d. Web. 03 Apr. 2015.
Manning, Jason. “Movies of the 1980s.” Movies of the 1980s. N.p., n.d. Web. 12 Apr. 2015.
“Paramount Pictures [US].” IMDb. IMDb.com, n.d. Web. 15 Apr. 2015.
Prince, Stephen, and Justin Wyatt. “Film Quarterly.” High Concept: Movies and Marketing in Hollywood. 3rd ed. Vol. 49. N.p.: U of California, 1996. 53-54. JSTOR. Web. 13 Apr. 2015.
Rae, Jessica. “New Footloose Merchandise, Makeup, Red Boots: Your Complete Guide.” Small Screen Scoop New Footloose Merchandise Makeup Red Boots Your Complete Guide Comments. N.p., n.d. Web. 13 Apr. 2015.
Smith, Roger. “A Specter Is Haunting Hollywood.” Film Comment 51.1 (2015): 52-55. Academic Search Premier. Web. 07 Apr. 2015.
Williams, Linda Ruth., and Michael Hammond. Contemporary American Cinema. London: Open UP, 2006. Print.

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Published:
07.18.15 / 9am
Category:
Academic Papers, DVD, Films