Our target audience – This film harbours a range of different feeling and emotions. It is a delicate narrative which deals with death, illness and manipulation. Along with all this it also has a lot of strong language, making this film not suitable for children. I recently visited the British board of film classification site (BBFC) and their take on strong language for the category of a 15 rated film was ‘There may be strong language. Very strong language may be permitted, depending on the manner in which it is used, who is using the language, its frequency within the work as a whole and any special contextual justification‘ (BBFC 2016). Taking this into consideration along with a few other factors within the guideline I feel the rating which best suits my film ‘A bit about Angie’ is a 15 classification. Although my film falls into the category of a 15 I do feel it may still be slightly too harsh for a viewer of that age, therefore we will aim to target potential consumers who are 18 and over. Our main bracket is from 18 – 40 which is a relatively large demographic although this is because we have very strong characters in the film who range from teens to adults. For example Daniel is 19 whereas Angie is in her 40’s. Both characters are very relatable to their relevant age groups within our target bracket. The football theme which runs throughout our film will naturally bring a male audience, although this will be balanced out by the title of the film now being called ‘A bit about Angie’ which will relate more to a female audience, especially a matured one. There is also a comedic element to our film which we will advertise and show through the younger cast members like ‘Billy’, ‘Daniel’ and ‘Taylor’. I want our audience to understand the characters and the different dimensions they possess even though it is a short. ‘The way that audiences make sense of the media depends, then, not only on obvious attributes of collective identity, but also on the idiosyncratic factors that influence the contextualized experience of these identities’ (Andy Ruddock 2000: 133). It’s enivatble that our audience will respond to our film in various different ways because every bodies identity is peculiar, even if we try to second guess what our audience want to see in the way of posters and promotional content we will get it wrong for a portion of the demographic. As our target bracket is quite broad the similar texts which our target audience will potentially consume will also be broad. This will be anything ranging from shows like Waterloo road (2006), Youngers (2014), to films like The Suffragettes (2015), This is England (2007), Cass (2008), Green Street (2005), Made in Dagenham (2010), Adulthood (2008) and so fourth. Having a wide target audience will also mean we will have to focus on reaching each demographic separately as well as collaboratively. ‘Segmenting your market should enable you to identify the similarities between your different customer groups – and the differences. You will be able to more clearly understand what aspects of your offer appeal to each of the groups and adapt your product or service to more closely match their requirements’ (‘Marketing Strategy’ 2016). This will make it easier to isolate every bodies needs. In the next post I speak about our different posters which aim to target our different demographics, as well as other method in which we will do so.
USP’s – The main thing which make my film unique is the huge connection it has with West ham F.C. I feel like if we market this film correctly we can really tap into this scene. Especially as the majority of the film is shot outside the stadium. We also have pretty strong connections with the club and their learning zone which can potentially help us on the marketing front. If we could potentially get the members of the staff to watch our film, along with the footballers this would really help our push to give the film the recognition that it needs. The issue of men neglecting their health also plays a key role in the film like mentioned in my previous post. This could also help with marketing as we are highlighting moral, and medical issues which can attract an audience it’s self. Even though this is predominantly a drama it also has elements of comedy within which also makes this film very unique and more of a hybrid then any one set genre. ‘Outside the notion of a closed world of film genres media industries have engaged with other media genres to gain marketing leverage. This has been done by identifying the key market for a product and targeting it’ (‘Genre / Marketing Strategies’ 2007). This is something I will look to implement in my film.
Online presence – Currently we have a fairly measured online presence considering the size of the film and the budget we have at our disposal. In my next I go into further detail about this.
Distribution – I have been looking into how I would like to distribute ‘A bit about Angie’ thoroughly. Although we do have a very tight budget of roughly £200. Even though I completely believe in this project I am not oblivious to the series of issues we have come across throughout the production of this film. Just to recap we lost our main actor and narrator, we were unable to reshoot older scenes, we had to rush scenes, this was not suppose to be our FMP in the first place, continuity depreciated various times and our extremely tight budget did not help in proceedings. Taking all of this into consideration we will still go out of way to make this film a success in terms of it’s critical praise and the number of hits it recieves. In preparation for the final edit I have begun to research and explore different methods of distribution mainly through a site which I stubbled across called Brolik (‘Marketing’ 2010) which has pointed me in a positive direction, it has links to various sites which deal with distribution. FlickrRocket is a site where you can set-up a fully branded movie shop which you can then sell on. Bellow is a screen shot of their price list.
Setting up a site like this means we can sell our product to anyone around the world, the site also enables you to set your own prices and allows you to put promotional content to go along with the film. The only drawback for me is that selling our product online will cost a relatively large sum of money, meaning we will have to sell a large amount of copies before we make any sort of profit especially if we go for the silver or gold package. This looks like a decent method of distribution. My initial rating 7/10.
Create Space is a similar site to the previous one. it enables you to self publish your work to sell through amazon and other sales channels. This site is not as user friendly as the previous or as good for film. The process of setting up your account and page seems a lot harder and confusing. The website is very bland and doesn’t represent the text which it is trying to sell. I will not be using this site. My initial rating for create space is a 4/10.
Eventful is a site which enables you to locate which geographic area is most likely to gravitate to your film based on demand. This site helps to get your film screened as opposed to getting it bought. It is still a decent mode of distribution as it tells you directly who wants your film. This method will still require major promotion along with all the others. The site is much more user friendly than Create space but still lacks the edge which FlickrRocket processes. For this I will it a 6/10.
There are various ways in which I could distribute my film but by the looks of it each method will require a large sum of money. A cheaper and more efficient method of distribution may be placing the film on Vimeo for free focusing on recognition by views and reviews as opposed to profits and attendees. After all making money is great but gaining an audience and exposure is more important and If I can’t manage both for this project, I would rather achieve the latter.
Festivals – Gaining recognition through festivals would be an amazing achievement for us, especially the more prestige festivals like the BFI, the British film festival and Sundance festival. The East end festival in June also appeals to me as my film is also based in this area, so isolating this as one of our potential targets would’ve both logical and financially achievable (£35) although after further reading I have now learnt that the submission date was on the 7th of April. Entering a festival could also help get our film distributed. ‘On a similar note, at a film festival you could meet someone who wants to distribute your film. Especially at larger, well-established festivals like Sundance, distribution is the name of the game’ (‘Film festival basics’ 2013). Although entering festivals are not cheap. The more prestige the festival the more they tend to cost. Understanding what the festival specialises in is also important as it will help you to narrow down your options.
Being a realist is also something I have to be when deciding what competition to enter, if not we will be out of pocket in no time. Entering a festival is one thing but whether the audience will understand or like your text is a completely different issue. ‘Hall postulated that audiences could react in one of three ways to a media text: they could accept the preferred reading; they could accept parts of the text while rejecting others, constructing what he called a negotiated reading; or they could reject what the text was trying to make them think in an oppositional reading’ (Andy Ruddock 2000: 126). This again highlights the importance of picking the right festival to submit too. Some groups of people are more likely to gravitate to your then others. For example my film would probably do better in the East end film festival in comparison to the Abertoir Horror Festival.
All in all I will continue to undergo research into my audience in the aim to be able to reach them in the most efficient and logical way possible.
BBFC (2016) Guidelines. Available at: http://www.bbfc.co.uk/what-classification/guidelines (Accessed: 10 April 2016).
Ruddock, A. (2000) Understanding audiences: Theory and method. 1st edn. London: SAGE Publications. PG 133.
Waterloo Road, 2006. [T.V] Ann McManus, U.K: BBC 1.
Youngers, 2014. [T.V] Anthony Philipson, United Kingdom: E4.
Suffragette. U.K: Film 4, BFI, 2015. film.
This Is England. U.k: Shane Meadows, 2007. film.
Cass, 2008. [FILM] Jon .S. Baird, England: Optimum Releasing .
Green Street, 2005. [FILM] Lexi Alexander, United Kingdom: Universal Pictures.
Made In Dagenham. U.K: Nigel Cole, 2010. film.
Adulthood. U.K: Cipher Films, Limelight, 2008. film.
2016, D. (2016) Your target market. Available at: http://www.marketingdonut.co.uk/marketing/marketing-strategy/your-target-market (Accessed: 10 April 2016).
MMXVI, B. (2007) Genre and multiple marketing strategies, 03/04/07, Kinoeye. Available at: http://blogs.warwick.ac.uk/michaelwalford/entry/genre_and_multiple/ (Accessed: 10 April 2016).
Brewer, J. (2010) Marketing is key to Indie film success: The Brolik Blog. Available at: http://brolik.com/blog/marketing-is-key-to-indie-film-success/ (Accessed: 10 April 2016).
Lüserbinck, T. (2016) Sell videos, downloads, software, pdf, epub and other digital content. Available at: https://www.flickrocket.com/en/ (Accessed: 10 April 2016).
Space, C. (2000) Publish your words, your way. Available at: https://www.createspace.com (Accessed: 10 April 2016).
Hotel, T.B. (2016) Breaking Benjamin. Available at: http://london.eventful.com/events (Accessed: 10 April 2016).
eastendfilmfestival (2016) Submissions. Available at: http://www.eastendfilmfestival.com/submissions (Accessed: 11 April 2016).
Manager, C. and Community (2013) Film festival basics: Five reasons to submit. Available at: https://vimeo.com/blog/post/film-festival-basics-five-reasons-to-submit (Accessed: 10 April 2016).
Ruddock, A. (2000) Understanding audiences: Theory and method. 1st edn. London: SAGE Publications. PG 126.