# data[].attributes.attachment_link.description
Do Not Track, a personalized web series about privacy and the web economy. Directed by Brett Gaylor, coproduced by Upian, Arte, ONF & BR.

# data[].attributes.body
Web-serie drama med interaktive muligheder for seereren
Filmet som POV - seereren indtager hovedrollen
Bruges bl.a. til at lære elever spansk

# data[].attributes.attachment_link.title
BBC - Languages - Spanish - Mi Vida Loca

# data[].attributes.attachment_link.description
Mi Vida Loca is an immersive video mystery set in Spain to help you learn simple Spanish

# data[].attributes.body
TV-program, podcast og (mislykket) event

# data[].attributes.attachment_link.title
Tæt på Tæt på sandheden - Mordet på Khashoggi | P1 | DR

# data[].attributes.attachment_link.description
Danske Bank-demoen er aflyst. Khashoggi, journalisten fra Saudi Arabien, er ikke længere i blandt os, men hvordan afdækker redaktionen dén sag, som er så omfattende, kompleks og international? Spontan cameo fra komiker-kollega. Et ekstra vrid på Mint-sagen. Camilla Boraghi skal til Japan, og Jonatan har modtaget nærgående beskeder efter Vermund-sketchen.

# data[].attributes.body
podcast
dokumentar

# data[].attributes.body
Computerspil
Rigtig fobold

# data[].attributes.body
Computerspil
Legetøj
Film
Forlystelsepark
Lego event i vinterferie

# data[].attributes.body
Tegneserie univers, musik, rigtig band, chats med virtuelle bandmedlemmer, rigtigt band
https://www.youtube.com/watch?v=EAXWR7umFvY

# data[].attributes.attachment_link.title
GORILLAZ: The Complete Backstory (PHASES 1-4)

# data[].attributes.body
Ramasjang

# data[].attributes.body
Tentpole: podcast
Video animation trailers

# data[].attributes.body
Events

# data[].attributes.attachment_link.readable_text
Tusind tak for den overvældende modtagelse af vores reklamefilm momondo - The DNA Journey. Den er i skrivende stund blevet set 27 millioner gange på vores Facebook, delt mere end 600.000 gange globalt og kommenteret af tusindvis af mennesker verden over, og derudover har 169,631 tilmeldt sig konkurrencen med håb om at vinde deres egen DNA Journey. (OBS: Konkurrencen er nu lukket for tilmeldinger)

Det er vi enormt glade for, og vi er stolte af at have skabt en reklame med et mangfoldighedsbudskab, som tilsyneladende taler til så mange.

Siden vi lancerede momondo - The DNA Journey, har vi fået enormt mange positive reaktioner - og en masse spørgsmål om, hvordan vi har lavet filmen, og hvem de medvirkende er. De spørgsmål besvarer vi her.

Hvad er formålet med The DNA Journey-reklamen?

Formålet med momondo - The DNA Journey-reklamen er at vise, at vi mennesker har mere tilfælles på tværs af kulturer, end vi måske går og tror. momondo - the DNA Journey er en del af momondo's overordnede vision om en mere åben og tolerant verden. Du kan læse mere om momondo's vision og igangværende aktiviteter her: letsopenourworld.com.

Hvordan blev deltagerne fundet?

Som ved de fleste andre kampagnefilm har vi brugt casting-bureauer til at finde filmens deltagere. Konkret har vi brugt to bureauer, som har fundet deltagerne gennem statistdatabaser, egne netværk og gennem online fora. I udvælgelsen af deltagerne blev momondo præsenteret for deres etnicitet og historie, ikke deres profession, da den ikke var relevant for udvælgelsen.

Casting-bureauerne har optaget 10 minutters video af 67 personer, der fortæller om sig selv, og hvor de er fra. Derefter er de blevet bedt om at lade deres spyt DNA-teste. Med udgangspunkt i personernes fortælling om sig selv og deres DNA-resultater, udvalgte vi 16 til optagelse i København. De kriterier vi lagde vægt på i udvælgelsen var deres oprindelse, opfattelse af dem selv og verden samt om der var et overraskelseselement i deres DNA-resultater.

Er der skuespillere med i reklamen?

De medvirkende deltager i deres eget navn og med deres egne DNA-resultater, og deres uddannelsesmæssige og erhvervsmæssige erfaring har ikke være afgørende for momondo. Deltagerne er alt fra sekretær, hundetræner, skuespiller, kundechef, håndværker og model. Vi har ikke været optaget af, om de medvirkende havde en baggrund som skuespillere el. lign., da de deltog som dem selv.

Vi har på grund af den store interesse for deltagernes skuespilerfaring undersøgt, hvor mange der har mere eller mindre skuespil- eller statisterfaring. Det drejer sig om 10 af deltagerne i filmen. Hertil kommer den kvindelige interviewer. I baggrunden optræder statister, som vi ikke har DNA-testet.

Er deltagerne så rigtige mennesker, når de også er skuespillere?

Personerne er castet ud fra kriterier som personlighed, etnicitet og historie, så selvom flere af dem har skuespilserfaring, er de, udover den kvindelige interviewer, ikke med i filmen for at spille en rolle. Derfor har vi kaldt de medvirkende "rigtige mennesker". Vi har ikke lagt skjul på, at momondo - The DNA Journey er en reklamefilm for momondo, hvor vi forsøger at kommunikere budskabet om, at vi har mere tilfælles, end vi tror.

Blev deltagerne i filmen instrueret i deres reaktion på DNA-testen?

Deltagerne i filmen blev ikke castet til at spille skuespil, og det, de siger i filmen, er deres egne ord og tanker. De blev interviewet om deres forhold til deres eget ophav og nationalitet, og senere viste vi dem resultatet af den DNA-analyse, de havde fået foretaget nogle uger forinden. Inden afsløringerne af DNA-resultaterne var deltagerne meget spændte på deres resultater, og vi talte med dem samlet om, at de gerne måtte give udtryk for dette i filmen. Personerne er ikke enkeltvist blevet instrueret i, hvordan de skulle reagere, eller hvad de skulle sige til deres DNA-resultater.

Har deltagerne modtaget betaling for at medvirke?

Ja, vi har betalt deltagerne for deres medvirken samt rettigheder. Det er helt normal praksis.

Hvordan blev filmen optaget?

Filmen blev optaget på spillestedet Vega i København fra d. 6. til d. 8. april 2016. Deltagernes DNA blev testet forud for optagelserne. Under optagelserne blev deltagerne først interviewet om deres forhold til deres egen nationalitet og andre nationer, og herefter blev de præsenteret for resultaterne af den DNA-test, de havde taget nogle uger forinden. I forbindelse med filmen har vi skrevet "2 uger senere", hvilket er en modifikation for at fastholde historiefortællingen. Deslige er scenen med spyt i glasset af logistiske årsager optaget i forbindelse med, at hele holdet var samlet i København.

Blev nogle af optagelserne taget om?

Ja. Når man optager en reklamefilm kan der være mange grunde til at tage enkelte optagelser om, som for eksempel problemer med lyden, at billedet er uskarpt, at folk mumler, eller at lyset er forkert. Det vigtige for os var at fange den spontane reaktion, når deltagerne for første gang tog deres DNA-resultat ud af konvolutten. Deltagerne åbnede kun konvolutten én gang, og filmen indeholder reaktionerne fra den optagelse. Derfor har vi brugt 4 kameraer for at sikre, at vi havde reaktionen på film, da vi ikke kunne tage den om.

Er fortællingen om de to deltagere, der er i familie rigtig?

Ja, fortællingen er rigtig, og de blev begge overvældede over at finde hinanden. Vi synes, det er en god fortælling, og de delte den efterfølgende med resten af deres familier. De to deltagere er hinandens grankusine og granfætter. Når man tester sit DNA hos vores samarbejdspartner, AncestryDNA, kan man tjekke, hvorvidt der er registreret grankusiner eller fætre i AncestryDNA's database, og det var et rent lykketræf, at der ud af de i alt 67 testede personer var to, der var i familie med hinanden.

Hvem har lavet DNA-testene i filmen?

Det har vores samarbejdspartner, AncestryDNA. I deres test får man sit DNA-svar opdelt på 26 regioner verden over. AncestryDNA giver etnicitetsestimater, der viser tilbage til brede geografiske regioner, ofte med én eller flere lande. Den væsentligste årsag til, at AncestryDNA kunne indsnævre potentielle oprindelseslande for deltagerne i filmen er, at de havde en større forståelse for deltagernes familiehistorie, deres efternavne og historier om deres forfædres oprindelse, indsamlet under castingprocessen.

Hvad har deltagernes reaktioner været efterfølgende?

Flere af jer har spurgt indtil, hvilke tanker deltagerne gjorde sig efter optagelserne. Vi har derfor valgt nedenfor at bringe udvalgte udtalelser fra mails modtaget fra deltagerne.
'Thank you so much for the amazing opportunity to be a part of your project. It was one of the most incredible experiences of my life. I am so grateful to have lived that experience, grateful for the way it changed me and how it is shaping my work as an artist today. Grateful for the journey into myself and for seeing others' uncovering their beautiful journeys while carrying a bit of my own. I feel invincible, ageless and ready to face what the future beholds.' 'It was a profoundly emotional experience, and made me question who I am and who I thought I was. My family and friends were inspired by my journey, and loved the idea behind the campaign! Many of them are now desperate to undergo their own tests to discover their origins.' 'I feel eager, impatient, excited, motivated, grateful, surprised, overwhelmed and filled with beautiful energy after the experience we've lived together in the studio.'
Har I flere spørgsmål til filmen eller formålet med den, må i meget gerne skrive til os på Facebook eller letsopenourworld@momondo.com.

# data[].attributes.attachment_link.title
momondo - The DNA Journey: Sådan blev den til

# data[].attributes.attachment_link.description
Tusind tak for den overvældende modtagelse af vores reklamefilm momondo - The DNA Journey . Den er i skrivende stund blevet set 27 millioner gange på vores Facebook, delt mere end 600.000 gange globalt og kommenteret af tusindvis af mennesker verden over, og derudover har 169,631 tilmeldt sig konkurrencen med håb om at vinde deres egen DNA Journey.

# data[].attributes.body
Tentpole: live events
Podcast
Radio

# data[].attributes.body
CD
Liveshow
Afsteming

# data[].attributes.attachment_link.title
Guide Michelin - Restauranter med Stjerner | MICHELIN

# data[].attributes.attachment_link.description
I Danmark blev den første stjerne i Guide Michelin tildelt i 1984. Se hvilke danske restauranter, som har stjerner i seneste udgave her.

# data[].attributes.body
http://www.a21.org/walk

# data[].attributes.body
https://www.dr.dk/tv/se/boern/ramasjang/gurli-gris-tv/gurli-gris-3/gurli-gris-14

https://www.bt.dk/viralt/foraeldre-advares-brutale-gurli-gris-videoer-florerer-paa-nettet

Tegnefilm
Legetøj
Bøger
Event

# data[].attributes.body
Youtube: fiktionsserie
Deres personlige instagram

Ny tendens: spænd mellem virkelighed og fiktion

Nye økonomiske kredsløb:

# data[].attributes.body
Tentpole: Radiokanalen
Crossmedia: Videoindhold på SoMe

# data[].attributes.body
- Tv-program på Flow + DR.TV
- Hjemmeside med opskrifter
- Alle deltagere har deres egen Instagramprofil hvor de opdaterer fra programmet går i gang

# data[].attributes.attachment_link.description
Den store bagedyst er tilbage. Med 10 nye bagepersonligheder, som er helt klar til deres debut i teltet. I denne sæson er det igen konditor Katrine Foged Thomsen og dessertkok Markus Grigo, der skal smage sig igennem alt fra sønderjysk lagkage og chokoladetærter til pandekagekager i 25 lag og en roulade, der skal laves på kun 30 minutter.

# data[].attributes.attachment_link.readable_text
With a record-breaking number of viewers tuning in to this year's opener, and a whole host of celebs confessing their addiction on social media - the show has generated the type of buzz than most brands dream of.

So, while it's easy to scoff at, hear me out... there's a lot to appreciate from a marketing perspective.

Here's five things we can learn. Not including what the term 'chirpsing' means, sadly.

Carve your own voice

Love Island has infiltrated popular culture in a big way in the UK, but arguably no more so than in terms of language. Last year in particular, the show spawned (or rather, made famous) a slew of catchphrases that have since become synonymous with the show.

From 'muggy' to 'pied off', contestants celebrate the regional, cultural, and yes, sometimes nonsensical nuances of language spoken by young people today.

#LoveIsland's lingo of muggy melts is part of a long tradition of British slang for chirpsing: @Susie_Dent recommends classics like "sphallolalia"- intense flirtation that leads absolutely nowhere- or calling a hottie a "snoutfair" or a "bellibone" https://t.co/WApsPg61Rr

- i newspaper (@theipaper) June 11, 2018

Naturally, fans of the show have cottoned on to this in a big way, and celebrate it by taking on the phrases themselves. For brands, of course, it's never ideal to shoehorn in slang or over-egg friendly language.

However, Love Island's influence shows that - if used in the right way - colloquial language or slang can make brands sound more relatable, as well as build a more intimate connection with consumers. This is especially pertinent on social media, where conversation and interaction is key.

Create shared moments

If you've ever scrolled through Twitter during a particularly juicy episode of Love Island, you'll know that multi-screening is most certainly a skill.

Fans of the show constantly tweet during the show (as well as before and after), giving ITV2's social team the opportunity to create an even more fun and immersive viewing experience for users.

It does this by retweeting and replying, as well as tweeting teasers and cliff-hangers at opportune moments like during ad breaks.

True that #LoveIsland https://t.co/u3KJcME7uz

- ITV2 (@itv2) June 18, 2018

While this is just good practice on social, it also helps to create shared moments, and the sense that fans are enjoying the same collective experience.

In a similar vein, with people typically tuning into the show at the same time every day (rather than watching on catch-up), it demostrates that live or scheduled television is far from dead. Another example of this is the popular gaming app, HQ Trivia, which also draws people in at a specific time.

That being said, it's also been suggested that Love Island has fuelled sign-ups to the ITV Hub, too, which perhaps proves that it's not the channel that matters, but the content itself.

25% of all 16-25 in the UK registered on itv's platform to watch love island. TV isn't dead... on tablet and mobile that is #smwitv

- Cecile Midrouillet (@Midrouille) September 13, 2017

Be reactive

As well as the show's production team using social media in a reactive way, the level of conversation generated by Love Island means a whole host of brands are keen to get in on the action too.

While a number of brands are officially affiliated with the show (more on that later), those that aren't still can't resist engaging with users on the topic.

Of course, it is important that these brands naturally align with the show's audience, otherwise there's the danger of talk merely falling on deaf ears. Or worse, disdainful ones. Love Island is nothing if not divisive.

Interestingly, even brands you might not expect to talk about Love Island have found a way to jump on the bandwagon. Perhaps one of the most off-the-wall has been Chessington World of Adventures, which enlisted Danny Dyer to narrate its social media series, 'Penguin Love Island', earlier in June.

The finale of Penguin Love Island is here! Who will become King and Queen of the Villa? #LoveIsland @LoveIsland pic.twitter.com/VgU2Zvt35j

- Chessington Resort (@CWOA) June 8, 2018

In case you've missed the connection there, Danny Dyer is the father of one of this year's contestants, Dani Dyer. True story.

Anyway, maybe Chessington aside, the point is that a reactive marketing strategy - one that's based on popular trends and talking points - can indeed be fruitful.

Again, this boils down to a shrewd understanding of a target audience, and the ability to quickly (yet thoughtfully) tap into timely events.

Keep people wanting more

Love Island has mastered the art of anticipation - often leaving viewers with cliff-hangers about what will happen in the next episode.

This is standard practice when it comes to reality television, however ITV2 have also managed to transfer this online, with a clever video strategy that leaves fans wanting more.

On Facebook, it re-purposes content for bitesize and easily shareable videos, encouraging users to tag their friends in posts. It also uses quizzes to engage fans and prompt user interaction.

Elsewhere, it focuses on slightly longer-form clips on YouTube, where its 'First Look' series gives fans a sneek peek at what's to come.

In order to ensure that fans aren't saturated with the same content as they get on television, ITV2 also utilises social channels for 'extra content', i.e. the bits that don't make it into the final show, but that die-hard fans still want to see.

Together, it makes for a winning multi-channel strategy, and one that cleverly aligns with differing user behaviour on each social channel.

Capitalise on influence

This year, Love Island has more brand sponsors than ever before, with the likes of Primark and Samsung striking deals to produce affiliated products, be featured in the show itself, as well as simply act as 'ambassadors' for the show on social.

One of the most interesting partnerships this year is undoubtedly Missguided, which has struck a deal to style the contestants in the villa - and subsequently allow consumers to 'shop' the outfits they see on screen. The retailer typically posts items worn by contestants just after the show airs, ensuring maximum interest and exposure.

This 'as seen on screen' element is a particularly clever move from Missguided, as it capitalises on the influence of the Love Island contestants before they've even left the show (when influencer campaigns typically kick off).

Doing so in the midst of the show's hype is also likely to generate greater success than post-summer campaigns, when interest and investment from fans has potentially died down.

A clever fusion of influencer marketing and social commerce - Missguided is certainly reaping the benefits of Love Island's seemingly unstoppable success.

Love Island Section on @Missguided is amazing. All the girls outfits and bikinis. Dani's cute orange outfit is what I'm living for

- G (@xGeorgieeeeee) June 16, 2018

Related reading:

# data[].attributes.attachment_link.title
Five social media lessons marketers can learn from Love Island - Econsultancy

# data[].attributes.attachment_link.description
Whether you love it or hate it, there's no denying that Love Island is a smash hit success. With a record-breaking number of viewers tuning in to this year's opener, and a whole host of celebs confessing their addiction on social media - the show has generated the type of buzz than most brands dream of.

# data[].attributes.body
http://www.blairwitch.com/experience/360/

# data[].attributes.attachment_link.readable_text
As Blair Witch 2016 takes to the Box Office, The Drum catches up with of one of the creators behind the original movie's website to find out how the film kickstarted a viral marketing trend that has been aped by countless studios since.

"In October of 1994, three student filmmakers disappeared in the woods near Burkittsville, Maryland, while shooting a documentary. A year later their footage was found..."

The premise of the The Blair Witch Project was a simple one, but with a $60,000 budget and eight days of film reel its creators couldn't have begun to imagine that the movie would go on to gross $248m worldwide.

The low-budget flick has transpired to be the fifth highest-earning independent film of all time, but in lieu of the finances for Hollywood-style special effects and a mammoth marketing strategy, the directors instead relied on viral marketing (in the 1999 sense) to propagate the myth that the story told in the movie was actually real and that the film was a documentary.

At the heart of this was a dedicated website created by the movie's distributors at Artisan Entertainment. The site helped plant the seed that urban legend of an evil witch camping out in the woods in rural Maryland was actually true long before the film's release. Dedicated pages offered up a timeline of the "major events," in the history of the Blair Witch, background on the supposedly missing students (Heather, Michael and Josh) and interviews with the victim's 'families' lamenting their untimely disappearance.

The internet as we know it was still a relatively new domain for marketers at the time, and tasked with pulling together the pioneering site was Jessica Rovello, a fresh-faced director of online services at Artisan. She notes that the brief was a "dream," to work on because the directors, Daniel Myrick and Eduardo Sánchez, along with production company Haxan Films had passed on a massive amount of creative collateral. These images and b-roll were then digitised and uploaded on to the site to create the illusion that private photographs and news coverage had been gathered by investigators, with fresh content being put online on a regular basis.

From there, the concept "took on a life of its own," notes Rovello.

"When the studio acquired the movie and when the marketing team really started talking about it we all kind of had a feeling that it was going to take off in this way and that it could be a cultural phenomenon," she adds. "I don't remember having an experience like that since where you think that something is going to happen and it actually does."

She also muses that the advent of social platforms, like Facebook, Twitter and Reddit, would have made it much trickier for the marketers of the spinoff to pull a similar stunt. "I think because the internet was still a fairly new medium that helped. If somebody tried to do it today it would happen but it would probably be debunked so quickly that it wouldn't have the ability to take time to catch on."

Reports from the time have also suggested that the marketers behind the stunts drip fed information into threads on internet forums dedicated to the 'legend' of the Blair Witch.

The online push was supported by a big offline marketing effort. The studio plastered missing person posters around college campuses directing people to the platform, giving an "air of legitimacy," to the digital mythos. The leaflets were actually put up in Cannes during the film festival and removed the following day after it turned out that a television executive had been kidnapped in real-life in an unconnected event.

Rovello, who now heads up gaming publisher Arkadium, says the site got so popular that the the servers crashed. "At 24-years-old and kind of being in the midst of this great phenomenon, it was also my first exposure to backlash," she recalls. "People started saying that we were faking the whole thing in terms of the success of the project, they were saying 'it's impossible, you're shutting down your own servers to make it look like they've overloaded' and 'you've faked all of this excitement behind the site.'"

The buzz around the movie was so great that the actors behind the main characters, - who used all their original names - were actually presumed to be missing or dead by some viewers. Donahue recently told Vice's Broadly how the experience had impacted on her, noting that her mother was sent sympathy cards and people personally stopped her in the street to tell her they "wished" she was dead and that they wanted their money back.

The website amassed more than 20 million page views before it even hit cinemas. In a world of rolling news, real-time marketing and trending topics it's highly improbable that the viral push that worked the first time round would work so well for the 2016 effort, so how would the woman behind the original website market the new movie?

Admitting that she's been out of the marketing world for "a long time," Rovello believes that there are some parallels between the original project and the way brands use Snapchat to tease fans.

"In the original campaign, the internet wasn't as saturated as it is now so our approach was to release this content that we had about the filmmakers and the film on a regular basis so that people kept coming back to the site."

She notes that people wanted to return "week after week," because the team would do things like publish one of Heather's diary pages, or add another interview with someone involved in the 'case'.

"Snapchat is similar, because you have to go visit the content before it expires. In our case it was like fans had to go because they wanted to be the first to see it, and now on Snapchat content won't live forever." Something that hasn't changed, she points out is the growing necessity for marketers to create that "imposed critical need," for people to be wherever the assets are.

Just as its 1999 pre inspired the trend for found-footage horror (see: Cloverfield and the entire Paranormal Activity franchise among others), Lionsgate is clearly looking to usher in a fresh era of advertising with its push for the new movie including the release of a virtual reality (VR) experience to make viewers feel like they're trapped in the woods. The jump from a basic HMTL site to a headset in the space of 16-years shows just how much the marketing has evolved, but the current box office figures spotlight that the nostalgia-filled film is unlikely to cause as much hype as the original.

Studios are now ploughing money into digital advertising, with the Wrap claiming that Sony devoted half its marketing budget for Don't Breathe to digital campaigns. This slice is more than double the industry average, but it was a move that clearly paid off with the film trippling its original budget to clock up $26.4m in its opening weekend.

Several other titles, like the Dark Knight and Deadpool have courted success with viral marketing pushes, but none have quiet achieved the 'cult' status boasted by The Blair Witch Project.

"I spend a lot of time thinking about what makes a hit," finishes Rovello, "but nobody really knows."

"In terms of Blair Witch, it had something to do with the zeitgeist - you know what was going on in the ether, people's thinking, culturally and what was new, interesting and innovative. Sometimes things just kind of spark and catch fire."

# data[].attributes.attachment_link.title
How the original Blair Witch Project ushered in a new era of viral movie marketing

# data[].attributes.attachment_link.description
As Blair Witch 2016 takes to the Box Office, The Drum catches up with of one of the creators behind the original movie's website to find out how the film kickstarted a viral marketing trend that has been aped by countless studios since.

# data[].attributes.headline
Malacos Familieguf - hvilken familietype fortjener sin egen pose?

# data[].attributes.subject
Malacos Familieguf - hvilken familietype fortjener sin egen pose?

# data[].attributes.attachment_link.description
Pleje-, solo- eller en helt tredje familie 🤷🏻‍♀️? ...Familie Guf er guf til alle slags familier, så kom med jeres bud på en familietype, der i fremtiden fortjener sin helt egen pose Familie Guf❤️.

# data[].attributes.body
Fiktionsserie skrevet udfra målgruppens egne problemer med at være ung. Indhold indsamlet via Facebook.

# data[].attributes.attachment_link.readable_text
Foråret er ved at være her, og de kommende uger begynder de danske bier at komme frem fra deres vinterhi. Mange biarter er truede, og flere er desværre ikke længere at finde i den danske natur. Derfor sætter Ramasjang nu fokus på den danske natur og særligt bierne.

Programmerne er netop startet og vil køre de næste seks uger. Satsningen vil bestå af fiktion, tv-shows hver fredag, arrangementer ude i naturen, nye spil i app'en, undervisningsmaterialer til indskolningen - og opfordring til masser af leg i naturen.

Vi vil gerne lære børn om naturen - og ikke mindst inspirere og motivere dem til at passe på den.

"Vi vil gerne lære børn om naturen - og ikke mindst inspirere og motivere dem til at passe på den. Naturen ændrer sig løbende, og der er flere dyr og insekter, som har brug for hjælp. Derfor vil Ramasjang de næste år sætte fokus på dele af vores verden, hvor børnene kan være med til at gøre en forskel. I år har vi valgt at sætte fokus på bierne - både hvorfor bierne er vigtige for naturen og hvordan vi kan hjælpe dem. Børnene skal redde bierne ved at plante blomster, lære at bygge et bi-hotel, lave frøbomber og meget mere", siger Morten Skov Hansen, der er kanalchef for DR Ultra og Ramasjang.
'Plantefester' i Aarhus for børn og forældre
Foråret har ladet vente på sig, men flere børn har allerede meldt sig som RamasjangReddere og plantet de allerførste blomster til bierne i potter og altankasser.

Børnene vil hver fredag kunne se nogle af de mange RamasjangReddere, der er i fuld gang i hele landet, og få inspiration til, hvad de selv kan gøre for at være med til at gøre en forskel. Udover Ramasjangs tv-programmer og spil i app'en vil en stor del af satsningen foregå ude i naturen. Der vil blandt andet blive afholdt workshopdage, 'Plantefester', hvor alle børn og voksne er velkomne.

Læs også: DRs børnekanaler tager fat på alvorlige emner med fiktion

"Vi vil udover vores tv-programmer og spil i app'en holde 'Plantefester' i DR Aarhus, hvor alle børn og voksne er velkomne. Her vil Silja lære børnene endnu mere om bier, de bedste plantearter, bygge bi-huse m.m. Vi vil også forsøge at deltage på naturfestivaler i løbet af foråret, så vi får uddannet så mange RamasjangReddere som muligt. Vi ønsker at vise børnene - og give dem en tro på - at de kan være med til at gøre en forskel. Og så håber vi samtidig på at give både børn og voksne en masse sjove og lærerige oplevelser i naturen," siger Morten Skov Hansen.

Satsningen vil bestå af flere tv-programmer, spil i Ramasjang-app'en og arrangementer udenfor for daginstitutioner samt børn og voksne.

Deltage i Plantefester for alle i Aarhus

Vores Ramasjang-vært Silja Okking er vært på 11 arrangementer, 'Plantefester', i DR Aarhus. Der vil være tre 'Plantefester' søndag den 15. april, hvor alle børn og voksne er velkomne. 'Plantefesterne' vil vare omkring to timer og starte kl. 9.00, 12.30 og 15.30. Børnene skal lære om bierne, lave deres egen frøbombe, et bi-hotel og RamasjangRedder-dansen.

Det er gratis, og man kan tilmelde sig fra den 6. april på mail lkof@dr.dk. Tilmelding vil foregå efter først-til-mølle-princippet, da der er begrænset antal. Der vil udover de tre offentlige 'Plantefester' blive afholdt otte arrangementer for daginstitutioner. Der vil komme mere information om 'Plantefesterne', når tilmelding åbner den 6. april, her
Fiktion om den lille vandhenter-bi Viggo
Der vil være fiktion med den lille vandhenter-bi Viggo, som bliver forfremmet til spejderbi og skal flyve ud i den store verden og hente blomster til dronningen. Fiktionen startede første gang den 26. marts, men vil kunne ses flere gange den kommende måned og i appen. Men Viggo opdager, at der ikke er nogen blomster, og snart finder han ud af, at det ikke kun er Grethes kube, der er truet, men alle bier i hele verden! Han ringer til producerbien Viggo, som er hotshot mediestjerne. Flemming ved præcis, hvad de skal gøre. De skal starte et "støtteshow", hvor de får alle børn i Danmark til at plante blomster. Det er kick-off til seks shows.

Læs også: Børnene får nye redaktører i DR

Støtteshows med Kristian Gintberg

Der vil køre seks tv-shows - det næste fredag den 6. april klokken 17.35. Kristian Gintberg er vært og styrer slagets gang. De optæller antallet af RamasjangReddere og giver inspiration og gode råd videre. I app'en kan børnene plante virtuelle blomster - jo flere blomster, de planter i app'en, jo flere frø sender vi ud til alle RamasjangReddere rundt om i landet.
Undervisningsmaterialer til indskolingen
Til de børn, der er startet i skole, har DR Skole udarbejdet undervisningsmaterialer om Ramasjang redder bierne. Lærere i indskolingen kan allerede nu hente inspiration til undervisningen i en helt ny digital undervisningspakke til faget natur og teknologi. Pakken kan findes på dr.dk/skole.
Faktaboks: Sådan bliver man RamasjangRedder

1. Plant en blomst derhjemme og send et billede/video til os på bierne@dr.dk, og vi kvitterer med et 'Ramasjang-redder' diplom.

2. Plant virtuelle blomster i appen og dermed være med til at sørge for, at vi sender en masse frø ud i den virkelige verden i showet.

3. Børnene kan også blive den heldige modtager af en pakke med frø+t-shirt. I hvert show sender vi x- antal pakker ud. Vi trækker lod blandt alle de børn, som har "meldt" sig som Ramasjang-reddere.

Ramasjang vil hvert år sætte fokus på dele af verden, hvor børnene kan være med til at gøre én forskel, under initiativer Ramasjang Redder Verden. Ramasjangsværterne har i den forbindelse indsunget en støttesang sammen med DR Pigekoret. Du kan se den her

# data[].attributes.attachment_link.description
Foråret er ved at være her, og de kommende uger begynder de danske bier at komme frem fra deres vinterhi. Mange biarter er truede, og flere er desværre ikke længere at finde i den danske natur. Derfor sætter Ramasjang nu fokus på den danske natur og særligt bierne.

# data[].attributes.body
(TV, SMS-stemmer, tidlige sociale medier, events, DAB-radio, Huxi)

# data[].attributes.attachment_link.title
Foot Locker Horse With Harden - The Shorty Awards

# data[].attributes.attachment_link.description
The Shorty Awards honor the best content creators and producers on social media: Twitter, Facebook, YouTube, Tumblr, Instagram, Snapchat and the rest of the digital world.

# data[].attributes.attachment_link.readable_text
-- Los Angeles Times

The viral campaign for The Dark Knight harnessed the enormous passions of Batman fans to create an unprecedented level of buzz and anticipation.

The campaign won a Cannes Lions Cyber Grand Prix Award and a Cannes Lions Silver Cyber Award and has proven to be the gold standard in immersive participation campaigns.

.

In the 15 months leading up to the movie's release, over 11 million unique participants in over 70 countries joined in the transmedia experience. We gave fans the chance to directly involve themselves in the world of Gotham -- from helping Harvey Dent become District Attorney to serving as henchmen in the Joker's army to joining "Citizens for Batman."

And the campaign spilled over into the real world as fans called phone numbers written in the sky, found phones the Joker left for them inside birthday cakes, and helped project the Batman signal on buildings in New York City and Chicago.

It was a landmark campaign that expanded the possible for immersive entertainment and movie marketing.

The Dark Knight campaign lasted over a year. Many of the big things that we accomplished began with little things that fans happened to find.

Like the Joker cards that we left at comic book stores.

The cards led to the Harvey Dent for District Attorney website -- in an election that only existed in Gotham City.

Soon, the website was defaced by a maniacal hand. And some crafty fans discovered that they could erase pixels on the site. The final result was the "Joker reveal" -- the first public image of Heath Ledger as the Joker. It got people very excited.

The same sort of thing happened at Comic Con in San Diego. First, "Jokerized" dollars were discovered.

Follow the clues on the dollar bill, and you wind up at a great vantage point to watch a plane skywrite a phone number. Call the phone number, and be lured into Joker's criminal conspiracy....

That was sort of how it went, for the next 18 months. We used about every media possible.

But everything came out of one mission -- to bring people into the world of Gotham City. To make Gotham City real.

Like this newspaper we published and mailed out. It was bursting with info and clues and hidden messages and lots of fun stuff.

We got people to actually come out into the street in support of Harvey Dent -- a fictional candidate running for a fictional position in a fictional place.

When election time came, we sent out voter registration cards in the mail -- and ran our own election.

We created a city news site for the official version of stories.

And a place to get gossip, rumors, and maybe even a little truth.

We opened up a "Clown Travel Agency" that sent fans to bowling alleys across the world.

The first ones to get there opened up a locker to get a Joker package -- a cell phone, a bowling ball, and a Joker card.

The Joker sent his minions on more adventures. He sent people across America on a mad dash to get to select bakeries first -- and grab their "Joker Cake."

On the outside, a phone number. And on the inside, a phone -- and more clues.

We created a direct-action group dedicated to supporting Batman.

And reunited hard-core Citizens for Batman in unique way -- thru pizza deliveries.

When people received their pizza from the delivery man, it was a full-fledged Gotham City Pizza. Inside the box was a Batman mask, propaganda, and directions to an "underground" forum on the web.

Eventually, the "Citizens for Batman" gathered in Chicago and New York. And they watched the Bat Signal light up the city skyline.

That was the weekend of the premiere. Lesson: Launch big and end big.

The whole campaign got a lot of press, stirred up a lot of excitement, and was lots of fun to do.

href="https://statcounter.com/free-hit-counter/" target="_blank">

class="statcounter" src="https://c.statcounter.com/8631305/0/74a3174b/1/"
alt="hit counter">

# data[].attributes.attachment_link.title
The Dark Knight Known as the best viral movie marketing campaign in... - Gary Rosen

# data[].attributes.attachment_link.description
Los Angeles Times The viral campaign for The Dark Knight harnessed the enormous passions of Batman fans to create an unprecedented level of buzz and anticipation. The campaign won a Cannes Lions Cyber Grand Prix Award and a Cannes Lions Silver Cyber Award and has proven to be the gold standard in immersive participation campaigns.

# data[].attributes.attachment_link.readable_text
No matter how well the Deadpool film performs at the box office, its marketing has conquered all media to propel the little-known comic book character from zero to hero in the awareness stakes.

The long-awaited X-Men spin-off hits cinemas today (10 February), backed by Fox Studio's social media campaign that's flipped from the ridiculous to the sublime at will.

A year ago Marvel's decidedly provocative anti-hero might not have been recognised by the average film fan, but thanks to a deft marketing plan he has cut through the public's consciousness. Up, close, personal and maybe just a "little" irrelevant are the ingredients the film's maniacal marketers are pouring into a campaign that has many fans already questioning whether it will be better than the actual film.

Time will tell whether that's true, though what's not in question is that Deadpool has never been as popular as he is now. The hype for the film is in overdrive, with the character appearing everywhere from Tinder to the Super Bowl since the turn of the year in an audacious attempt to ensure the film's marketing is every bit as unpredictable and off-the-wall as the titular character.

If those examples don't sound brassy enough, then look no further than the five different Viacom channels blasting out nothing but Deadpool trailers for three hours straight, or a Valentine's Day ad that masks the film as a tender love story. This 'no limits' style of marketing is clearly generating a lot of social media buzz, with people who had no previous interest in the film admitting that they now can't wait to see it.

Emotive mentions surrounding the film are overwhelmingly positive - 74 per cent positive compared to 26 per cent negative - between 1 January and 9 February, according to Brandwatch. Deadpool mentions peaked on the 23 January after its Australia Day trailer went viral.

The extraordinary amount of red tape which usually wraps film marketing campaigns has been brazenly ditched by Deadpool's creative team. What other movie would think a 'Skull, Poop and L' emoji billboard would be a good way to promote its name, or that letting its foul-mouthed hero hang out with kids on Halloween would become a viral hit? Had Deadpool been less comedic, perhaps more dramatic or older skewing, it's arguably unlikely audiences would see this level of creative license.

"Most great creative ideas within film marketing are usually prevented from a green light by film makers," explained Adam Rubins, chief executive at Way to Blue.

"Often for good reason and once again, they know their product better than anyone else. This is not a high-risk market; it's one that is tried and tested, so establishing new perimeters and new ground is beset with challenges. That said, I would argue there are a number of fantastic film marketing campaigns that break creative boundaries, but they may not stand out as much as a Deadpool simply because of the golden terrain that this particular movie gives you."

This has undoubtedly been helped by the fact that the film's star Ryan Reynolds is also the producer who has been trying to get it made for 11 years. The long-time Deadpool fan has made no secret of just how hands-on he's been in the film's marketing, going so far as to even help come up with some of the more popular ideas.

He told BBC's Graham Norton earlier this month that the emoji poster (see above) started out as a "jokey text message between me and a couple of other people" before Fox's marketing team said they would turn it into a billboard. Another example has seen him provide the voiceovers for some of the film's trailers.

Deadpool's marketing is blessed with a cacophony of viral friendly trailers and meme-ready images that show its marketers understand the currency of shared content. But, perhaps even more importantly, there's a clear sense that the character could have created the campaign itself. And while there are other standout campaigns from the risk-averse Hollywood studios, they may not do as much as Deadpool simply thanks to the rich creative opportunities that this particular film offers its marketers.

# data[].attributes.attachment_link.title
How the Deadpool movie was overshadowed by its marketing

# data[].attributes.attachment_link.description
No matter how well the Deadpool film performs at the box office, its marketing has conquered all media to propel the little-known comic book character from zero to hero in the awareness stakes. The long-awaited X-Men spin-off hits cinemas today (10 February), backed by Fox Studio's social media campaign that's flipped from the ridiculous to the sublime at will.

# data[].attributes.attachment_link.description
Alle snakker om Klassen: Josefine har stress - hvad skal hun gøre?

# data[].attributes.body
https://www.instagram.com/loveisland/
https://itunes.apple.com/gb/app/love-island/id994494368?mt=8

# data[].attributes.body
Radio
Facebook
Events
Bog
Ringe ind
Podcast

# data[].attributes.attachment_link.description
Vært: Mads Steffensen. Panel: Bestyrelsesformand Asger Aamund, politiker Pernille Rosenkrantz-Theil og musiker Kristian Leth.

# data[].attributes.body
Bøger
Film
Forlystelsespark
Merchandise

# data[].attributes.attachment_link.title
TOMS One Day Without Shoes is May 12, 2017 | TOMS®

# data[].attributes.attachment_link.description
Thanks to your support on May 10, 100,000 children will receive new shoes! We look forward to seeing you next year for One Day Without Shoes 2017.

# data[].attributes.attachment_link.description
Miranda Sings Book and Vimeo Comedy Special

# data[].attributes.attachment_link.description
Monty is a very special little boy, adopted from an animal shelter ♥ Remember that looking different doesn't mean you can't be fantastic!