CCR2

 

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DISTRIBUTING MY FILM

 Slide 1 : Research into a distribution campaign by a Hollywood major 

When I researched how a Hollywood major distributed a film I noticed several strands that I could replicate with my budget:. E.g.  digital posters on social media, social media (Facebook, Instagram and twitter). Facebook reaches a different target audience. Traction on radio/newspapers. Film website. Film post card (social media links, phone image, details, contact details) - can be distributed to 

Slide 2 : How a successful independent low budget film presented itself. 

E.g. Bait. Take it to festivals ideally London film festival - (try to get a screening at the BFI) and apply for potential funding , screenings listed (urging for audiences to ask independent cinemas). Film post card (social media links, phone image, details, contact details) - can be distributed to raise awareness for film.

(insert images of Bait - screenshot of festivals page and digital poster)

Tortoise In Love was picked up by the BFI who created a distribution strategy for it which was enormously successful. They paid for posters, assistance to get it screened in small venues across the country (e.g. village halls, schools), a premier/red carpet in Leister Square. 

3 :  Film website like Sorry We Missed You lists screenings and makes it easy for audiences to find screenings; other strategies like viral marketing. Lists screenings online as opposed to high budget posters - easily accessible to old and not as expensive as a huge marketing campaign. Straightforward distribution method. #sorrywemissedyou - links to social marketing on website all helps. 

 4. By looking at the FDA website I have understood that the process of distribution is all about connecting films and audiences.

I learnt from Mark Batey’s (FDA head until 2019) presentation on distribution strategies that I have to identify what genre my film is and what its unique selling point (USP) is.

I understand the important considerations to take when distributing and targeting audiences, such as:

-          What is the film (are there any comparable films and how have they performed/what factors influenced this – work out a positioning for the film and ‘how it will play’)

-          When is it released (important due to the extremely conjected market place *insert statistic pf how many films released per year* so need a good date)

-          How is it released (distribution strategies e.g. posters, social media – how much can we afford to spend on promotion)

-          Who is the target audience?

5. Kezia Williams outlines how useful it is to make a 'comp list' of comparable films to identify the target audience and what will appeal to them and investigate them to understand the target audience as well as adding a new USP that makes audiences specifically want to see that film, more than those similar. Three films that are comparable to ours are:

YOU: psychological thriller/crime

Greta: psychological thriller/horror

Secret Obsession: psychological thriller

6.   The Distribution Process:

I understand that, in the world of independent film, distribution companies tend to work on a territory by territory basis. Meaning that a UK distributor will by the film for the UK and the right to arrange for distribution in all media (cinemas, DVD, video-on-demand, television, airlines, etc.) in the UK only. A French company will buy the film for France. A German company will buy for Germany. This continues for all the territories around the world. The distributor makes decisions as to when and how it will release the film, what sort of marketing campaign it will create and how much it will pay for marketing expenses, which are known as P&A (for prints and ads) in the case of territory distribution. The distributor is responsible for the financial success of the film in its territory.

7. UK Film Distributers: Verve and Warp

When distributing our film, we will pick a UK film distributor to connect our film with audiences. Ideally, we might like to be distributed by…

1.    8. Audience Research: conducted via a questionnaire

I designed and distributed an audience questionnaire via google forms to further investigate my target audience. My aim was to better understand their preferences, in order to help my production team and I effectively market and distribute our film according to what our target audience needs and enjoys. Through the use of Google Forms, I was able to collect data that I will be able to present in both graphical forms and words, as I asked questions that yielded both quantitative and qualitative data. I also tailored my questionnaire to fit the kind of film my production team are planning on creating, so asked questions unique to the genre we are developing: psychological thriller/horror. When I received my results, I was able to then utilise the insights I had gained to unsure our film was able to meet the needs of our target audience and therefore be as successful as possible.

1.      

SEMIOTICS

 Semiotics

A brief summary of what I learnt in the Roland Barthes Media Theory Semiotics Analysis video.

Semiotics: the study of the meaning of signs and the way we make sense of everything around us.

Semiotics are all about understanding different signs that area used, decoding what they mean, and understanding why a producer has decided to use them. 

Signs: are something that we can infer meaning from - a signifier, (e.g. symbols, colours and camera angles). There are two types of meaning that can come from signs: 

Denotation: literal meaning of signs

Connotation: signified/associated meaning of signs 

For example, the apple technology company logo's could be denoted as its literal meaning - a large apple with a bite out of it. However, most people will associate the logo with connotations of the multinational company (mass-consumerism, high-technology equipment, or our own iPhones).

How we understand meaning depends on our ideology, background and culture. Signs are polysemic, they have multiple meanings. Therefore, people can read signs in different ways. 

Signs in moving image:

Language is where we infer most of our meaning from in media texts but we can still understand texts through other signs within...

The video illustrates this with an example from the film 'Terror for Tokyo', which is in Japanese and therefore audiences are pushed to use other signs to understand the plot. Mise-en-Scene, Editing, Camerawork and the use of sound all help to express clear signs. For example, narrow corridors and bare walls create a claustrophobic, yet exposed atmosphere, heightening the terror felt by the innocent girl, which audiences empathise with. Complimenting this, the camera angles of the scene include many wide-shots and fish eye shots, which work to disorientate the audience, exaggerating the panic felt in the scene, as well as emphasising how small and vulnerable the girl is. Extended shots hold tension and anticipation for the audience. Editing also helps to create meaning through motivated edits from the girls terrified eyes to the door, implying the threat behind. Finally, the use of sound also contributes to creating meaning through tone and expression held in the voice on the other side of the door. This means that despite not understanding the language, the audience can easily infer the sense of aggression and danger that comes from the voice. 

There are 4 categories of signs we look for in film:

1.    1.  Mise en Scene: everything within the scene (set, costume, hair, makeup)

2.     2. Sound: music, sound effects, voice, tone and even a lack of sound all convey meaning

3.     3. Camerawork: framing, composition, angles, movement

4.     4. Editing: use of sequencing, cutting (moving from one shot to another)

 

Signs are selected by media producers to create specific meanings and construct representations. The selection of a particular sign can determine the huge influence it has on audiences. 

When a sign is used consistently, Roland Barthes' theory argues that a sign can become a myth. For example, bulldogs are an accepted sign that symbolise Winston Churchill and Britain.  

A myth: the widely accepted meaning of a sign, accepted dominant connotation.

Naturalisation: the process of establishing myths - media shaping societies ideology through repeated use of signs.

CONSTRUCTION: Recording sound effects

 - recorded ambient sounds (e.g. bird noises)

- branches breaking, snapping

- running through leaves

- brushing past bushes

- footsteps in crunching leaves

PLANNING: Audience Theory

Audience Theory from EllieSmart

PLANNING: My Target Audience

1. Who is my primary target audience? 

 British young males and females from ages 15-25 (young adults and teenagers enjoy thrills more than older generations) who enjoy watching films with thrill and suspense. Might attract a wider female audience due to a female lead.

2. What kind of films and television are they likely to prefer? 

Our target audience are likely to enjoy thrilling television series with strong, gripping narratives. The genre horror might also appeal to them if they enjoy the realism of horror films that are based around real life events rather than a supernatural element. During our further research on films and television series that might interest our target audience, we found that the psychological thriller Netflix series 'You', adapted from the novel by Caroline Kepnes followed a similar narrative we were developing. It follows the story of Joe, a bookstore manager, who upon meeting Guinevere Beck becomes infatuated with her. He feeds his obsession using social media to track her and remove obstacles in their romance. The themes of obsession and stalkers relate extremely well to our film opening through the sense of the victim being unaware of the threat of someone close to them. 

3. What platforms do they choose to watch films and where are they likely to see information about films?

Our target audience are likely to enjoy streaming our film online on sites such as Netflix and Amazon Prime video, as they are easily accessible for younger generations to watch on their phones or electronic devices. Similarly, younger generations are likely to see information about films on social media and therefore we will put an emphasis on social media when we market our films. However, our audience is also likely to enjoy the movie in a cinema, to immerse themselves in the thrill and atmosphere the big screen creates.

4. What brands do they prefer? (food, clothing, media)

Brands which a younger audience would enjoy, for example: Nike, Adidas (also inspired by the element of sports in our film), social media such as Instagram, snapchat and tiktok, clothing brands such as Topshop, Urban outfitters and Zara and fast food brands might also be a preferred food choice due to the younger appeal, for example: Nandos, McDonalds and KFC.

5. What makes my film stand out from the competition? 

Our film encompasses a sense of realism, intensifying the drama, and is a gripping story based on realistic concepts that that could happen in the real world. This is effective in immersing the viewer in the story through provoking emotions of the paranoia and fear our protagonist feels. We are also challenging the stereotypical male stalker and female victim, and instead having a female predator introducing a new element and avoiding the cliché. 

6. Why should my audience watch my film? 

Exposes the reality of being stalked in a thrilling, immersive way, with features from both the genres horror and psychological thriller. The female lead helps to empower women and promote feminism in the film industry.

PLANNING: Treatment

Planning my treatment:

To write my treatment, I initially did research on how to best write one, to clearly convey the narrative of our film opening. Some key findings were:

• Keep it short and concise
• Do not include too much detail, summarise the plot
• Show an active protagonist
• Make it readable and moving, ensure sentences flow 
• Include 2/3 images to spark intrigue 

As part of of my research I have watched a FutureLearn video, presented by Frank Ash - a creative consultant for the BBC. The video was extremely informative in explaining how films are successfully constructed to connect with an audience. 

Frank Ash's video:

In the video I learnt a number of useful questions to consider when constructing my own production in order to attract and intrigue audiences, such as 'what is the big question' and 'what is in it for the audience'. A key concept that I now understand is the use of a 'top-line' to focus the story into a single, impactful sentence. 

Our Treatment:

A story of deception, following a young woman, Sarah, who has a love for lacrosse  and a passion for photography. However, she is unaware that her every move is being tracked and documented through the lens of a camera and her  photos continuously being captured and developed.  From her lacrosse practices to her work as an assistant at a photography company and eventually to the safety of her own bedroom. She starts to notice an unsettling presence in her life, but remains oblivious to the true threat, that is so much closer than she knows. One night, Sarah senses a figure outside her bedroom window, she thinks nothing of it until she notices a sudden flash out of the corner of her eye. She closes her blinds, but not before glimpsing a shrouded figure hiding behind the lens. 

Top Line and Big Question: 

Our Top Line: Deception and deceit mask the true danger that faces a young women, who is unaware every aspect of her life is being captured and documented through the lens of a camera.

Our Big Question: Will she uncover the face behind the camera?