Proceedings of the URECA@NTU 2012-13
Independent Movie Marketing Chin Li Zhi School of Art, Design and Media
Asst Prof Ina Conradi Chavez School of Art, Design and Media
Abstract - Through the use of a non-traditional experimental animation, this project seeks to determine the viability of internet-based media publishing platforms as a means of self-publication for independent artists and filmmakers to gain exposure in the international market for an otherwise niche category of media.
The responses will then be collected and charted to determine whether the use of online publishing platforms is a viable workflow for effective and successful self publication based on the criteria of time involved, costs incurred, acceptability rates and ease of use.
3 LITERATURE REVIEW / BACKGROUND
Keywords - independent films, movie marketing, distribution, publication
The independent film community has historically faced many problems, ranging from financial problems to marketing and distribution problems. However, as filmmaker Ted Hope, Executive Director of the San Francisco Film Society states, the main problem that most independent filmmakers face is that of marketing. Instead of "reinventing the wheel" for each film and sourcing an entirely new target audience, independent filmmakers should seek to maintain an ongoing relationship with their communities [1]. Nevertheless, even if independent filmmakers manage to strike an ongoing conversation with their audience, they face another more pressing problem with their industry - that of finance.
1 INTRODUCTION Independent artists face an uphill task to market and promote their work, often facing problems regarding distribution channels and financial viability. However, the rise of the Internet has democratized the flow of information worldwide, with consumers now given the ability to become content creators themselves. With this change in the content publishing landscape, independent artists can now leverage the global reach of the Internet to effectively self publish their work, circumventing the institutions and systems that once restricted their practice.
In the independent film community, finance is almost synonymous with survival, and often ranked as the topmost priority, which inevitably causes the content and art to suffer [1].
This project will be focusing on a non-linear experimental animation, because it exists in a genre that traditionally does not perform well in the market and hence has historically only flourished in underground cinemas. Through the use of online media publishing platforms, we seek to determine whether the extended reach of the internet can increase the exposure and distribution of the experimental animation to the mainstream market, and hence establishing the viability of online platforms as a tool for independent artists to self publish and market their work.
However, even for independent filmmakers who are successful in the market, the issue of finance can be a surprisingly complex problem to navigate. A good case study of this would be that of This is That Corporation, arguably one of the most successful independent production companies in America. Their film The American was #1 in the American Box Office in 2010 and the first film to be sold at the Toronto International Film Festival. Yet, in the exact same year they were forced to close down. Independent filmmaking, as Hope says, is an unsustainable business model. [1] The costs of making a film, from the preproduction to the postproduction stages, not to mention the marketing, promotion and distribution costs, simply cannot be sustained without the multimillion dollar budgets that Hollywood has.
2 AIMS / OBJECTIVES Online media publishing platforms now give content creators powerful tools to maximize exposure and distribution of their content worldwide, circumventing traditional obstacles such as marketing budgets and distribution rights and channels. The goal of this project therefore will be to use a nonlinear experimental animation (traditionally considered fringe media without mass market appeal) and self publish it through three selected online media publishing platforms: Withoutabox (WAB), Shortfilmdepot (SFD) and Reelport (RP) to film festivals worldwide.
Adding to the already seemingly insurmountable problems that independent filmmakers face is the issue of content. Independent filmmakers, with their already stretched budgets and focus on survival, face the problem of not being able to generate content that is original, and even if they are able to come up with
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original content, aren't able to attract audiences or differentiate themselves in the marketplace. [1]
The Internet as a powerful platform for self publishing is ripe for independent filmmakers to harness, and through this research project we seek to determine the cost, efficiency and effectiveness of using online media publishing platforms as a means of self publishing for independent artists and filmmakers.
These content issues become a problem when it comes to experimental films, which historically do not perform well in the market. Experimental films, or Art films, are categorized as films that alter recognizable images into something that no longer evoke the same response as the base images, or films that render everything unrecognizable to the point of making it more of a meditative encounter than a narrative one [2], traditionally do not perform well in the market.
4 METHODOLOGY AND/OR THEORETICAL APPROACH The film used as a case study was Elysian Fields. It is an experimental animation film that incorporates nonlinear narrative and visuals that seek to evoke emotions through its visuals and sound. Using surround sound effects and visuals that can be enhanced with immersive 3D stereoscopy (requires a 3D theatre), the film is a fusion of fine art and animation, existing outside of common traditional categories and mass market appeal, aligning itself more towards an experimental field.
While these films strive to stretch the boundaries of cinema, reception by mainstream audiences is often lackluster, as popular Bollywood actress Bipasha Basu comments on the Express Tribune [3]. This is also evident by the fact that art and experimental films continually exists only in film festivals and very rarely do they make it to mainstream cinemas and box offices. As marketers and distributors perceive them as having little to no crossover appeal and hence exacerbating their obscurity and exposure [4], while audiences find them lacking entertainment value [6].
In this research project used were 3 different new media publishing platforms to publicize, market and distribute this experimental animation to film festivals worldwide, in the attempt to establish whether new media platforms can be a viable avenue for independent filmmakers to self publish their films. For this project, we have chosen three platforms, namely: Withoutabox (WAB), Shortfilmdepot (SFD) and Reelport (RP). As a sponsor, gallery or studio does not support our film, this project will also determine whether it is cost effective enough for an independent filmmaker to self-market and distribute a film worldwide as compared to traditional marketing departments and distribution channels.
How then can independent filmmakers solve the marketing, financial and distribution problems? The answer may lie in the rise of the Internet as a tool for cost effective and efficient self-publication. Back in 2011, Kevin Smith, American filmmaker and director, announced at the Sundance Film Festival that he was self-publishing his new film Red State instead of going the traditional route of selling it a film company [5].
For WAB we submitted our film Elysian Fields to 36 film festivals, they are as follows:
While he might have earned a modest return on investment if he sold the film, by self publishing Kevin would be able to keep the profits himself while relying on his own networks for marketing and distributing, spending money only when it was confirmed for screening and not on marketing and promotion.
The rise of self publishing and distribution of films has steadily gained ground, with films like Sons of Perdition, selected by the Oprah Winfrey Network as part of their documentary club, as well as Killer at Large by filmmaker and write Bryan Young spearheading the self-publishing movement [5]. With the Internet, independent filmmakers now possess the ability to create their own target audiences and market their film for next to nothing. Online publishing platforms allow films to reach out to audiences worldwide, as well as submit to film festivals electronically at rates far lower than mailing physical screeners to festivals. Companies like CreateSpace now allow independent filmmakers to distribute physical copies of their works without having to actually spend the money on sourcing for distribution channels.
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Brooklyn Film Festival Beverly Hills Film Festival Canada International Film Festival Austin Film Festival New York City International Film Festival Columbia Gorge International Film Festival Oregon Independent Film Festival Maine International Film Festival Big Bear Lake International Film Festival 22nd Arizona International Film Festival Illinois International Film Festival The British Animation Film Festival International Film Awards Berlin Julien Dubuque International Film Festival Intendence Film Festival Los Angeles Film Festival Los Angeles Arthouse Film Festival Melbourne International Film Festival United Film Festival - Los Angeles Oaxaca FilmFest United Film Festival - London Best Shorts Competition Los Angeles Movie Awards
Proceedings of the URECA@NTU 2012-13
Edinburgh International Film Festival Hollywood Reel Independent Film Festival Toronto Animation Arts Festival International (TAAFI) Los Angeles Lift-Off Film Festival New Media Film Festival Leeds International Film Festival HollyShorts Film Festival 2013 SF Shorts: San Francisco International Festival of Short Films Creative Arts Film Festival Hollywood Film Festival® Savannah Film Festival Berlin Independent Film Festival Phenom Film Festival
These film festivals were chosen based on specific criterions like prestige, exposure, deadlines, relevant genre and probability of acceptance and the "carry-on" ability, meaning that if the film was accepted in a film festival, it would automatically be accepted in multiple affiliated film festivals as well. WAB structure allowed to refine the criterions due to its almost 3000 film festivals logged into its database as well as a robust filter system. These criterions are not applicable to the two other platforms SFD and RP due to their smaller selection of film festivals, which are pre-filtered to display only the relevant genres and deadlines of the film submitted.
All three platforms allowed "Online Screeners", which means that we do not need to mail DVD screeners to the film festivals, as we can simply upload our films to the platforms themselves. This drastically reduces the complexity and cost of submitting for film festivals as DVD screeners traditionally have issues with international film festivals due to the different region codes and formats required for screening. However, for certain film festivals registered through WAB, DVD screeners are specifically requested. This is not the case for SFD and RP, which allow for full online transactions.
For SFD, here is the list of the film festival that Elysian Fields was submitted to:
Mecal International Short Film Festival Of Barcelona 2013 Sedicicorto International Film Festival Forli Curtocircuito International Short Film Festival Manlleu Short Film Festival Uppsala International Short Film Festival Interfilm International Short Film Festival Berlin
For online screeners, WAB requires film maker to upload the film to IMDb, which could have certain restrictions on film size and aspect ratios. Elysian Fields film was created in 16:9 widescreen but IMDb currently only allows for 4:3 standard screen. On the contrary to what was on IMDb's upload page, they do not resize the uploaded film accordingly and instead, stretch the film to fit the aspect ratio of 4:3. To circumvent this, Elysian Fields film was transcoded to maintain the 16:9 aspect ratio by adding black bars on top and below the film.
In addition, for RP, the list of film festivals Elysian Fields film was submitted is as follows:
XXIII International Documentary, Short, Animated and Experimental Film Festival MESSAGE TO MAN MOBILE SIFF - Shanghai International Film Festival 2013 16th Brussels Short Film Festival 2013 International Competition 16th Brussels Short Film Festival 2013 Student Competition Kinodot - the festival of creative short film Encounters Short Film and Animation Festival 2013 28th Odense International Film Festival 8th International Short Film Festival “Vilnius Film Shorts“ 2013 Exground Filmfest 26 17th International Short Film Festival Winterthur 11th Shnit International Short Film Festival 2013
11th International Festival Signes de Nuit / Paris 2013 Emmentaler Filmtage 2013 11th Annual Shortfilm Contest - Cinefiesta 2013 12th Concorto Film Festival 2013 29th Hamburg International Short Film Festival International Short Film Festival Detmold 2013 Kaliber35 - Munich International Short Film Festival 2013 59th International Short Film Festival Oberhausen 10th VIS Vienna Independent Shorts 2013 2nd MAshrome Film Festival 2013
Uploading was much simpler for SFD and RP, as they allowed filmmakers to upload directly to the platform and automatically detected the aspect ratios and resolution such as HD quality (720p). Full HD (1080p) due to file size restrictions is not possible to upload. For notifications, all three platforms allowed film festivals to directly contact us through email in the event of acceptance or rejection, as well as any other information regarding the film festival submission. However, for WAB certain messages are displayed only in WAB and not forwarded through email, thus requiring constant checking of the platform to stay updated.
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In addition Elysian Fields film was registered for three other individual film festivals:
Proposals have also been drafted to Art Gallery Siggraph Asia Hong Kong 2013 and other galleries abroad to host the film.
Prix Ars Electronica 2013 Melbourne International Animation Festival Annecy Animation Festival
6 DISCUSSION While the film has gathered a few nominations and screening opportunities, the rejections outnumber the acceptances by almost three times. While this is but a fraction of the total number of animation film festivals that the film was submitted to, the results support the stance that films of this category tend to not perform well to traditional animation audiences, as they exist outside the norm. However, the few nominations do show that live action and CGI short and documentary film festivals have audiences that appreciate experimental films.
These three film festivals require physical DVD screeners, as they are not part of the three major platforms utilized.
5 RESULTS As of 1st June 2013, Elysian Fields film has been awarded by three film festivals:
The Canada International Film Festival for the Rising Star Award The Los Angeles Movie Awards for the Award of Excellence New Media Film Festival for which the award will be announced at a later date
Cost wise, a total expenditure for festival and marketing of $5000 SGD can be considered minute as compared to the millions spent to market Hollywood films. This supports what Kevin Smith believed, that selfpublishing allows the independent filmmaker to leverage his/her connections to drive marketing costs down.
It was also screened at the Edinburgh International Film Festival. Elysian Fields film was rejected by nine film festivals, which are as follows:
The support and sponsorship of IMI for the premiere and cine-installation held in Singapore, as well as the interests shown by galleries in Asia, demonstrate the results of gaining exposure on the international stage. While historically experimental or art films have languished in obscurity, this findings has partially demonstrated the effects of online publishing platforms in garnering international attention on niche films and translating that attention into opportunities for independent filmmakers.
The British Animation Film Festival Julien Dubuque International Film Festival Los Angeles Film Festival Toronto Animation Arts Festival International (TAAFI) 29th Hamburg International Short Film Festival 10th VIS Vienna Independent Shorts 2013 16th Brussels Short Film Festival 2013 International Competition Melbourne International Animation Festival Annecy Animation Festival
7 CONCLUSION Online publishing platforms represent the future of selfpublication for the independent filmmaker, allowing them to circumvent the traditional media institutions and issues related to film marketing and distribution.
Besides the film festivals listed above, the remaining film festivals have nomination dates that are after the end of this research project's current deadline.
As our research has shown, online platforms do not increase acceptability rates, but they do improve efficiency in distributing the film to a variety of film festivals worldwide, and at the same time being a cost effective way of self-publication. The exposure gained by international film festivals can also translate to sponsorships and film premieres, as well as commercial gallery exhibits.
Spent was approximately $2000 SGD on registration and submission of films to the various film festivals worldwide, with film paraphernalia production such as posters, postcards, and manpower of designers and animators to assist in DVD/Bluray copies and DCP screeners adn Fed ex bills for short deadlinesamounting to over $5000 SGD total (including the $2000 SGD registration costs).
Online platforms have been shown to effectively mitigate the marketing costs involved in marketing a film, as well as increasing the exposure and opportunities available to the independent filmmaker, it is now up to the independent filmmaker to choose his target audience and craft the content of his film accordingly. The future of this research would be into premises of Digital and Social Media and outside festival and alternative ways of promoting the film using social media.
The exposure provided by the Film Festival nominations enabled to have continuing the support of the Institute of Media Innovation (IMI) in Nanyang Technological University, Singapore. This allowed for the film’s premiere in Singapore at the Filmgarde cinema, as well as a cine-installation held at The Substation Gallery, all of which were sponsored by the IMI and Ministry of Education AcRF Tier 1 grant.
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ACKNOWLEDGEMENT Asst Prof Ina Conradi Chavez from School of Art, Design and Media. We wish to acknowledge the funding support for this project from Nanyang Technological University under the Undergraduate Research Experience on Campus (URECA) programme.
REFERENCES [1] Hope, T. (26, October). What are the biggest 3 problems in the indie film community today? | Truly Free Film. Retrieved June 7, 2013, from http://trulyfreefilm.hopeforfilm.com/2010/10/what -are-the-biggest-3-problems-in-the-indie-filmcommunity-today.html [2] Experimental Film and its Continuous LIfe Within the Underground | FilmSlateMagazine.com. (n.d.). Retrieved from http://www.filmslatemagazine.com/blog/experime ntal-film-and-its-continuous-life-within-theunderground [3] Ians (2013, March 12). Bipasha says nobody watches art films – The Express Tribune. Retrieved from http://tribune.com.pk/story/519672/bipasha-saysnobody-watches-art-films/ [4] The New York Times (2012, December 23). ‘Decasia,’ Celebration of Decay, From Icarus Films - NYTimes.com. Retrieved from http://www.nytimes.com/2012/12/23/movies/hom evideo/decasia-celebration-of-decay-from-icarusfilms.html?pagewanted=all&_r=0 [5] Young, B. (2011, February 28). Bryan Young: We Can Self-Publish Books, Why Not More Films?. Retrieved from http://www.huffingtonpost.com/bryan-young/wecan-self-publish-books_b_829490.html [6] No takers for experimental films – Afternoon Voice :: Views and Vision of City : Latest and Breaking Mumbai News. (2013, May 29). Retrieved from http://www.afternoonvoice.com/no-takers-forexperimental-films.html
ADDENDUM Since this paper was last written in June'13 film won over 11 international awards and qualified for Oscar competition screening for Academy in Los Angeles and one week later in New York. (October 2013).
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