The Hunger Games films narrative campaigns include many elements such as setting, genre, flashbacks, allusions, protagonist Katniss Everdeen, theme and conflict. The storyline begins with the main character Katniss Everdeen getting into a deadly game in which the character survives and becomes the leader of the struggle for freedom and independence. The narration is expanded through character and story development and transition elements. Transmedia uses migratory cues through references to past and future films and their elements.
The plot of The Hunger Games takes place in a future without specific dates in a post-apocalyptic world in which the nation of Panem lives. There are thirteen districts in which people live, but all are ruled by the Capitol City. This is a fictional story and all the characters and events do not exist in the real world. The Capitol City is located centrally and is surrounded by 13, and further only 12 other districts. The story is expanded and includes many characters, which allows for the development of the plot both based on the characters and plot twist.
Main characters include Katniss Everdeen, Peeta Mellark, Gale Hawthorne, Haymitch Abernathy, Primrose Everdeen, and Coriolanus Snow. The supporting characters are Rue, Cinna and others who appear and change over the course of the film series. The most recent spin off is The Ballad of Songbirds and Snakes book by Suzanne Collins published in 2020. An imaginary futuristic world is one of the main characters in the films, tracked throughout the entire series. The audience is involved and sometimes the characters speak directly to them, but at the same time the opinion of the audience has no influence on the plot.
The story is being broadcast through books and films, as well as a number of online platforms. Social networks including YouTube, Twitter, Facebook and Instagram are involved, and games have been released on the topic. Movies are meant to be viewed on large screens in cinemas, TV, computers, tablets and phones. Each of the display options has its own target audience. Additionally, each of the platforms brings profit to the project through a paid license for display and advertising. The rollout strategies which are important for the project design according to Gambarato include prior-to-release advertisement through various platforms, cinema broadcast and post-release-view publishing on numerous platforms (92). The Hunger Games films are based on the thriller, adventure, science fiction and action genres.
The Hunger Games viewers are not directly involved in the plot. The viewer in this case acts as an observer. Films do not have the goal of influencing the viewers’ point of view, but provide an opportunity to independently form an opinion. The presence of a unique atmosphere and variation of characters allows everyone to choose their own preference. The showmen of the games sometimes speak through the screen, and it seems that questions or statements are directed directly to the viewer. The film franchise has an official Instagram account, in which there is an interaction with the audience through polls and posts of user-generated content. Through a series of films and advertisements, the viewer is fully immersed in the picture, begins to emphasize certain characters, and builds his own point of view. The extrapolation of content from books in the films and additional materials is tracked. Films and campaigns are made commercially and the main goal is profit.
The movies feature a combination of video footage and graphics that creates fictional elements and visuals. The films look like the real world that takes place in the future. The Hunger Games films have a similar style of gradually developing events and there are repetitive elements, such as the mockingjay in different variations. The movies use a combination of music and audio elements, with music serving as symbolic when it is sung by the characters themselves in the form of songs or played at key moments in events.
Work Cited
Gambarato, Renira Rampazzo. “Transmedia Project Design: Theoretical and Analytical Considerations” Baltic Screen Media Review, vol.1, no.1, 2015, pp.80-100. Web.