Media, Outdoor, Promo, Direct Marketing, PR Tortrix
This project helps to end with a practice known as “address discrimination”. This means that many companies in the country does not employ people from a large neighborhood of the city because they consider they may have ties to the gangs that dominate the area
Escolha. Algo inerente a todo ser humano, cujas vidas são formadas por uma imensa amálgama de decisões de todos os tamanhos e repercussões. Algo capaz de nos transformar nos maiores heróis, nos piores vilões ou, na maioria dos casos, em membros de uma sociedade que, como reflexo de seus integrantes, também escolhe. E também erra, trazendo desgraça e dor.
Entretanto, encontramos esperança naqueles momentos, tão ímpares quanto sublimes, de acerto e avanço. Há tantas leituras quanto possíveis mutações para o conceito dos X-Men. Sempre foi assim. A saga dos mutantes no cinema veio para reforçar as mais fundamentais. Com “X-Men: Dias De Um Futuro Esquecido”, a santa trindade volta à baila com força, emoção e eficácia extrema: confiança, escolha e esperança.
O sucesso e a qualidade de “X-Men: Primeira Classe” são indiscutíveis. A revitalização da temática, o novo elenco e uma visão mais independente dos quadrinhos em relação aos primeiros filmes deram um passo evolutivo extremo na mitologia dos mutantes na telona.
O que foi bom, afinal, a Marvel está dominando o mercado com o conceito dos universos complexos e a Fox não podia ficar se contentando com uma franquia defasada – especialmente depois da inconsistência dos filmes de Wolverine –, logo, tudo mudou com o filme de Matthew Vaughn. E para melhor, pois foi o fôlego de “Primeira Classe” que permitiu o salto – sem paraquedas e sem volta – na mitologia da maior, e mais dramática, saga dos X-Men.
Bryan Singer no set
“Dias do Um Futuro Esquecido” envolve tragédias, sacrifícios, muito drama e, claro, escolhas. Muito graças à dinâmica entre as versões sexagenárias de Professor X e Magneto, num clara referência à fé numa segunda chance e ao poder da amizade reconstruída por conta da experiência. É difícil torcer por Magneto – contanto que você não tenha tendências assassinas, claro –, mas, dessa vez, o roteiro permite que Ian McKellen redima o personagem e nos faça sentir com ele.
Os quadrinhos já discutiram praticamente todos os temas possíveis, mas quem escolhe os assuntos a serem tratados pelos filmes é o momento. Quais aspectos vão fazer sentido para quem nunca leu uma página? Como manter a crítica social e política sempre presente?
Curiosamente, “Man of Steel”, “Capitão América: O Soldado Invernal” e “X-Men: Dias de Um Futuro Esquecido” entenderam a demanda atual e bateram forte na repressão, no medo do controle do Estado e nas ameaças que a alta tecnologia (em referência aos drones de combate) podem trazer contra os “inimigos”.
Aí entram as Sentinelas, muito mais próximas do visual do Destruidor, de “Thor”, do que dos quadrinhos, elas incorporam todos esses medos e conceitos. Isso permite que o filme vá além da mensagem constante da coexistência, sempre presente em X-Men, e discuta também a liberdade, os limites da sociedade e a importância da individualidade.
Singer mostra que é possível abordar temáticas sérias e ser socialmente relevante sem “Nolanizar” um filme de super-herói
Individualidade essa que, inevitavelmente, pode definir o futuro de milhões, afinal, Tio Ben precisa ser evocado. E, se com grandes poderes vem grandes responsabilidades, um ato impensado ou equivocado pode transformar o planeta. Isaac Asimov brincou com isso em “A Fundação”, quando, mesmo protegido por uma armada toda-poderosa e exércitos invencíveis, o Imperador Creonte é morto pela mais improvável das razões e a Galáxia segue um novo rumo.
As analogias não tem fim, afinal, escolher é nossa grande força. E nossa ruína, afinal, pode haver um oceano sem fim entre um sim e um não. Nesse ponto, Bryan Singer – de volta à franquia “boba” que ele elevou ao nível da seriedade e relevância cinematográfica – soube trabalhar muito bem o distanciamento dos personagens, preservando suas razões e convicções, sem ignorar a lógica e a história. Ou seja, nada de reviravoltas descartáveis só para satisfazer o roteiro.
“X-Men: Dias do Futuro Esquecido” mostra que é possível abordar temáticas sérias, colocar tudo em risco e ser socialmente relevante sem “Nolanizar” um filme de super-herói. E isso o diferencia brutalmente de “Capitão América: O Soldado Invernal” (o que não invalida o filme, claro; revi uma segunda vez e continua bastante interessante) ao apostar em estruturas próprias e igualmente efetivas. Há um diferencial, porém.
O Capitão é só um, enquanto os X-Men sobram em número e em níveis emocionais. Patrick Stewart e Ian McKellen brilham como nunca; James McAvoy e Michael Fassbender são duas forças descomunais; e Hugh Jackman rouba o filme de maneira tão arrebatadora que faz pensar por que a Fox insiste em roteiros tão mequetrefes para seus filmes solo?
Jackman, sempre simpático e modesto em entrevistas, emociona sem fazer esforço, faz rir nas horas certas e vive um dos maiores arcos dramáticos dessa Era de Ouro dos Heróis no cinema. Tony Stark que me desculpe, mas crise de ansiedade é brincadeira de criança perto do que Wolverine mostra em tela.
Singer e Peter Dinklage
É tudo uma questão de tom. De entender quando é preciso ser leve e quando a coisa é séria. O primeiro ato do filme é brilhantemente garantido por combates e pelo uso cirúrgico de Quicksilver, um dos personagens mais irreverentes dos X-Men no cinema.
A cena dentro do Pentágono é absolutamente fantástica, em todos os aspectos. Efeitos, roteiro, trilha, interpretação, edição, tudo. Em contrapartida, o terceiro ato é de uma melancolia impressionante, com grandes arcos sendo fechados e milhões de vidas em jogo de uma forma bem mais envolvente e crível do que o acidente aéreo previsível de “O Espetacular Homem-Aranha 2”.
O fanboy
Foi difícil não chorar do final do segundo ato até o final. Há uma sensação inexplicável de fim de ciclo, de sacrifício supremo e de dó. Nem todos ganham quando passado, presente e futuro são alterados, mas os poucos presentes que o destino reserva são valiosos demais.
Essa talvez seja a maior força de “X-Men: Dias de Um Futuro Esquecido”: fazer com que o drama supere a roupagem dos super-heróis e envolva por si só. Bryan Singer está irreconhecivelmente aprimorado na melhor direção da carreira e o roteiro de Simon Kinberg (“Sherlock Holmes” e “X-Men: O U?ltimo Conflito”) funciona bem demais. Arrisco dizer que esse é o grande filme da franquia X-Men. É o filme a ser batido.
—– Fábio M. Barreto é jornalista, autor de “Filhos do Fim do Mundo” e é orgulhoso dono do Wolverine #1.
The world might be festooned with ads, but magazine covers had remained largely ad-free until this week, when a tiny Verizon Wireless ad appeared on the cover of Time magazine. The same ad is scheduled to land on the cover of Sports Illustrated on Wednesday.
Consumer magazines have for years flirted with putting ads on their covers, though when it’s happened, the ads have usually shown up as cover wraps, in which an ad literally wraps around the cover, or a sticker that can be removed. But publishers have almost always avoided actually putting ads on their covers, because the real estate is thought of as the editor’s first and best statement to readers, one that should be presented without interference from an ad. The influential American Society of Magazine Editors also advises its members to avoid the practice.
But the line seems to have been breached. And even though Verizon’s ad is tiny enough that many readers might miss it, Time and Sports Illustrated’s parent company, Time Inc., is shopping around ads that appear across the bottom of its other magazines, like Fortune and Money, according to people who have seen mockups of the ad.
Promo, Direct Marketing, Design, PR AfroReggae NGO
“Each day of prejudice is another day without freedom.” Even after doing time, former convicts are still seen with prejudice by the labor market. Each negative response that an ex-convict receives in a job interview makes him feel trapped to his past. There are so many and so frequent stories that it would be possible to fill in a calendar with all of them.
That’s why we created “Freedom Calendar”: 12 ex-convicts, 365 handcrafted marks and testimonials with stories of each one of them that can be watched on the cell phone. 600 units were printed and sent to entrepreneurs, HR Directors and executive officers in general, in São Paulo and Rio de Janeiro. Freedom calendar is part of the campaign that disclosed Segunda Chance Employment Agency, the only employment agency in the world made by ex-convicts to ex-convicts.
L’impression 3D est une des grandes tendances de l’année, elle ne cesse de s’améliorer et créer des produits impressionnants et de plus en plus étonnants. Joshua Harker a travaillé sur une nouvelle technologie d’impression 3D qui repousse les limites de la qualité, et créer des petits bouquets comprenant 10 à 12 pouces de fleurs.
Talvez você já tenha percebido esse comportamento, mas agora os dados comprovam. Segundo uma pesquisa feita pelo IAB em parceria com o instituto de pesquisa GfK, os norte-americanos gastam grande parte do seu tempo online conferindo o Facebook e o Twitter: eles investem em média 37 minutos diários conferindo redes sociais na web, e cerca de 29 minutos por dia organizando seus emails.
O consumo de vídeo online, que inclui tanto programas de TV disponíveis na internet, filmes, vídeos amadores ou curtas para plataformas online – aparece na 3ª colocação, abocanhando 23 minutos diários de atenção, seguido pelas buscas (23 minutos), jogos online (19 minutos) e blogs (8 minutos).
O tempo investido na leitura de jornais e revistas online é surpreendentemente baixo – os webspectadores ficam cerca de 5 minutos em sites de jornais digitais e em média 3 minutos lendo algum artigo em revistas online.
O estudo também destacou que o tempo diário gasto com TV sofreu consistentes quedas – saiu de 5:27 minutos em 2010 para 5:03 minutos em 2013 – enquanto a internet têm ganhado cada vez mais atenção, saindo de 24% dos minutos investidos em mídia em 2010 para 28% em 2013.
A campanha ‘Global Selfie’, promovida pela Nasa, convidou pessoas do mundo todo a enviarem uma selfie ao ar livre e oferecendo a sua localização no planeta, em comemoração ao Dia da Terra, celebrado em 22 de maio.
Usando a hashtag #globalselfie, foram postadas mais de 50 mil fotos, advindas de 100 diferentes países. Dentre elas, 36.422 foram escolhidas para fazer parte desse mosaico, que tem 3,2 gigapixels de definição, retratando o planeta Terra.
Grande demais para ser compartilhada nas redes, a imagem foi transformada em uma versão mais acessível, mas quem se interessar pode dar um zoom para ver cada uma das selfies enviadas no site GigaPan.
Memorial Day is not only the unofficial start of summer, but the holiday also starts what is the most important season for beer marketers. Between Memorial Day and Labor Day last year, beer and malt-beverage sales topped $11 billion, according to the Beer Institute. And this summer, more than 38 million American households are expected to buy a cold beer, the trade group says.
Last fall, Jessica Shyba's photos of her son and new puppy napping together went viral. Shyba's blog about life with three kids in NYC, Momma's Gone City, was already fairly popular, and she had a respectable 5,000 Instagram followers. But her #theoandbeau images made her an overnight sensation. Soon she had 450,000 Instagram followers.
The Land of Nod, the retail brand geared to parents of young children, saw the potential in capitalizing on the success of Theo and Beau. So, it reached out to Shyba to commission a photo for the cover of their May catalog. And the result was clearly a win-win.
"The Land of Nod is a brand that fully embraces social media from many facets, whether it be product sneak peeks, behind-the-scenes of corporate life or partnerships with innovative and energetic bloggers," Katie Harrington, a public relations and social media strategist at the company, tells AdFreak. "We were working with Jessica on a bedroom makeover for her boys at the same time we needed a subject for our May catalog cover. We strive for our covers to portray something sentimental, almost encompassing this 'age of innocence' mentality that quite frankly is sometimes hard to capture through produced shoots. We all felt this connection and true love story between Theo and Beau and believed that relationship struck a cord with our catalog needs."
Shyba is also pleased with the partnership. "The neatest part about this collaboration was seeing my friends everywhere posting photos of the catalog on social media and mentioning how nice it was to see Theo and Beau in their mailbox," she says. "It's a professional milestone for me in the greatest way, too, having been commissioned to share my art on the cover of a popular catalog."
The catalog cover is beautiful, and it's a lovely case study for brands establishing relationships with rising stars and their eager followings.
Every weekday, we bring you the Ad Age/iSpot Hot Spots, new and trending TV commercials tracked by iSpot.tv, a company that catalogs, tags and measures activity around TV ads in real time. The New Releases ran on TV for the first time yesterday. The Most Engaging ads are showing sustained social heat, ranked by SpotShare scores reflecting the percent of digital activity associated with each one over the past week. See the methodology here.
Among the new releases, actor/dancer Dul Hill explains why he loves Fandango, New York Rangers goalie Henrik Lundqvist endorses Advil, and The New York Times offers you the chance to “commemorate the occasion” of Memorial Day by subscribing to the paper (and/or the digital version of it) for 50% off for half a year.
As always, you can find out more about the making of the best commercials on TV at Ad Age’s Creativity.
DARE Vancouver has launched an emotionally affecting campaign for BC Children’s Hospital Foundation (BCCHF) entitled “A Sick Child Affects Everyone.”
The camapaign utilizes voiceover narrative and simple scenes to focus on the emotional impact of a sick child on loved ones. It’s hard to imagine someone not being impacted by these spots, which are very relatable and seriously depressing. The campaign is intended to “raise general awareness of the hospital and its great needs” and it certainly doesn’t pull any punches in doing so, putting viewers in the uncomfortable position of a teen who is about to hear that her sister was just in a serious accident, a man whose child has been sick for the past six months, or a man who is in the waiting room while his four-year-old niece undergoes cardiac surgery. These are seriously painful moments that DARE Vancouver utilizes to stress the importance of the cause, and they don’t make for easy viewing.
“For a family with a sick child, the struggle can be overwhelming and all consuming, said DARE Vancouver creative director Addie Gillespie. “We wanted to shed light on those moments when everything changes and a family most needs the support of those around them. We also wanted to make the spots relatable – we can all imagine the intense pain these families are feeling and how helpless we might feel in the same situation.”
Stick around for credits after the jump. continued…
Red alert! William Shatner is back as Priceline's Negotiator, delivering the first "online commencement speech for online universities" in this spot from Butler, Shine, Stern & Partners.
"Your diploma isn't just some PDF that you print out and frame," Shatner says, sporting a tasseled cap and hamming it up in his signature style for nearly two minutes. "I know that we've set the bar very high by saving travelers dolla dolla bills on Priceline.com, but I am confident that you can join me in the World Wide Web's Hall of Fame."
The ad was directed by agency creative director Steve Mapp, who tells AdFreak the spot had the perfect setup for Shatner: "The Priceline Negotiator epitomizes Internet greatness, so giving an online commencement speech to celebrate others achieving it was a no brainer, not to mention timely for graduation season. It's always best to go in with a lot of stuff for Shatner to riff off of and make his own. And sometimes its good to throw in lines that are unexpected, like 'dolla dolla bills.'"
There's also a brief Star Trek reference which, Mapp quips, "pays homage to Shatner's second most famous role."
Sure, it's just more of Bill's predictably silly schtick. But that's why he'll always be my captain. I'll never tire of watching him boldly go where he's gone before.
Dara Huang et Lisa Hinderdael de Design Haus Liberty ont récemment créé « The Pour » : une installation de lumières en forme de chandelier très design qui imite la pluie. Elle est exposée à Tribeca, situé à New York. Une très belle sculpture lumineuse à découvrir en images.
Hidden cameras have been used in various PSA campaigns lately to shed light on how people react in public to distressing situations. Notably, there was the Norwegian stunt where a boy sat freezing without a coat at a bus stop in winter.
Now, from Dare London, we get an interesting look at two scenarios of domestic violence—with hidden cameras recording the stark differences in how people nearby respond to the physical violence happening right in front of them.
The spot, directed by Dark Energy director David Stoddart for domestic violence charity ManKind, is meant to provoke—and have the viewer question his or her assumptions about violence in relationships. So, does it do a good job of that?
Warning: The video contains simulated violence and may be upsetting.
(TrendHunter.com) Canadian artist and unabashed comic book lover Darren Rawlings is back with a series of Marvel vs DC drawings. Each illustration features a Marvel superhero alongside their DC equivalent.
This week Havas Media announced the launch of Havas Media Labs, which they state will underline “its commitment to offering a cutting edge, real-time data and content based response to changing client needs.”
Havas Media Labs will be led by Head of Futures, Amy Kean, and will also broker relationships between brands and start-ups. They’ve selected people analytics provider and neuroscience specialist Cognisess as their first partner, whose role will be “to help transform the way it recruits and evaluates its staff.” Havas Media Labs defines its own role as being “to use technology to solve clients’ brand and business problems, adding a future-proofing layer to their consumer understanding and communications,” offering long-term solutions rather than short-term fixes. To accomplish this they will collaborate with Tech City start-ups through a partnership with Three Beards. continued…
Ahead of tomorrow night’s UEFA Champions League final, Lucy Knowles, a business director on the tournament sponsor Heineken account at Starcom MediaVest Group London, shares her tips for a successful brand sponsorship.
Up for grabbing some Arby's? No? Would a 13-hour TV commercial change your mind?
The fast-food chain is cooking up a record-breaking TV buy promoting its Smokehouse Brisket Sandwich, which viewers will be able to watch prepared in real time as the brisket cooks low and slow in a Texas smoker for more than a dozen hours.
The spot will only air on one station in Duluth, Minnesota.
According to The New York Times, the ad begins with the brisket being loaded into a smoker equipped with an internal light. Then it just sits there and cooks. Finally, half a day later, any viewers still tuned in will see the arms of Arby's chef Neville Craw as he removes the brisket, slices it and compiles it into a sandwich with some gouda, fried onions and barbecue sauce.
The ad will reportedly begin at 1 p.m. Central this Saturday on MyNetworkTV affiliate My9, but those of us outside Duluth will also have a one-time-only chance to watch the meaty magic when it's streamed on 13HourBrisket.com from 9 a.m. to 10 p.m. Eastern on Wednesday, May 28.
Once complete, the ad will have secured a Guinness World Record currently held by Nivea, which ran a (now paltry in comparison) 60-minute ad in Switzerland in 2011.
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