From posters to participation: How digital changed movie marketing

Every decade of Indian cinema has its signature. By tracing how films were sold to audiences over the decades, you can observe the evolution of marketing itself.

In the 1970s, marketing was virtually non-existent, as the stars themselves handled the promotion. Raj Kapoor made a generation believe in romance with Bobby. Rishi Kapoor became the face of young love. Amitabh Bachchan arrived as the "Angry Young Man", and writers like Salim-Javed proved that a strong enough story doesn't need a campaign; it becomes one.

The '80s was when going to the movies became an event in itself. People queued for hours, tickets were scalped at absurd prices, and catching the first-day-first-show was practically a badge of honour. Mr. India, Tezaab, Maine Pyar Kia, these films didn't travel because of posters or press. They travelled because people wouldn't stop talking about them. Word of mouth wasn't a "strategy"; it was simply how a film lived or died.

The '90s brought romance to the centre of it all. Shah Rukh Khan taught an entire generation how to fall in love. Salman Khan became the original mass hero. Aamir Khan showed that every film could have its own personality instead of following a formula. Dilwale Dulhania Le Jayenge, Hum Aapke Hain Koun..!, Kuch Kuch Hota Hai, Dil To Pagal Hai became part of how people talked about love, family, and friendship for years after.

The early 2000s introduced a new kind of superstardom. Hrithik Roshan's debut in Kaho Naa... Pyaar Hai became a phenomenon unlike anything Bollywood had seen. Music launches became national events. Television appearances became a staple. Cast tours, mall activations, and behind-the-scenes content became an essential part of every film's promotional calendar. Marketing had started evolving beyond the poster.

Suddenly, audiences weren't waiting for Friday anymore. They were reacting to first looks within minutes. Decoding teasers frame by frame. Turning dialogues into memes. They created fan edits even before the trailer had reached a million views.

Its job was no longer to tell people a film was releasing.

Its job became making people want to be a part of the story.

Perhaps no one understood the concept better than Marvel.

The Marvel Cinematic Universe didn't just market individual films. It marketed an entire world. Every post-credit scene became a conversation starter. Every announcement became a puzzle.

Every new release felt like another chapter in a story audiences had already invested years in. Fans weren't just buying tickets. They were tracking timelines, building theories, debating Easter eggs, and eagerly waiting for what came next.

Marvel proved that when audiences become emotionally invested in a universe, every film markets the next one. It shifted the focus from promoting a release to nurturing a fandom. Today, that philosophy has found its way into entertainment marketing across the world, including India.

Take Dhurandhar. Every teaser, character reveal, and visual detail fuelled fan theories and online discussions. Each asset gave audiences something to decode, discuss, and share. The campaign wasn't just releasing content. It was inviting participation.

The Main Vapas Aaunga campaign built on the film's strongest asset: genuine audience love. After a modest opening, it encouraged viewers to return to theatres with someone who hadn't experienced the film yet, turning positive word of mouth into repeat footfalls.

Similarly, Tu Ya Main extended the campaign beyond traditional media by collaborating with youth-centric spaces like Mokai, Bonkers, and Croffle Guys. Instead of asking audiences to come to the film, the film showed up where audiences already were, proving that culture itself can become a powerful marketing medium.

It's less about speaking to audiences and more about giving them something to speak about.

Technology has accelerated this evolution. AI can generate ideas faster, personalise communication, and reduce production timelines. Social listening helps marketers respond in real time. Trends emerge overnight and disappear just as quickly.

But even in an AI-first world, one thing remains impossible to automate.

No algorithm can predict the next fan theory, the next inside joke, or the next dialogue that becomes part of everyday conversation. Those moments still come from understanding people, not platforms.

Movie marketing has travelled a long way from hand-painted posters outside single-screen theatres.

Today, the audience isn't sitting in front of the campaign.

They're experienced, discussed, debated, and carried forward by the very people they were made for.

This article was first published in afaqs!. Read the original.