ies remains extremely authoritative in establishing interpretive strategies for increasing audience acceptance and influencing their view of a masterpiece film.
In exploring cultural construction of masterpiece films, Luckett critically evaluated Fantasia during its original release and reissues by examining the film’s publicity, reviews, and marketing. According to Luckett’s analysis, the film produced by Disney starred mainly due to its open publicity in road shows, use of modern technology including home theater appliances, and its receptions based on culture. For instance, based on application of new technologies, Disney decided to help the audience construct a home culture by establishing home theatre systems and video libraries as opposed to watching films in cinema theatres (Luckett 233). It is indispensable to note that the technique increased sales (Luckett 231).
There exists an imperative culture and social context behind acceptance of a new film by audience. Reception studies remains authoritative in understanding particular social and historical aspects associated with audience interpretation and consequent response to a film. In publication and review of a film, it is domineering for a production company to establish public culture in relation to their interpretation and understanding of films. Representing audience interests in relation to gender questions, culture, and social expectations is imperative in construction a public culture that would assist in making a film masterpiece. Therefore, does publicity and review of a film inherently a film affect its consequent audience