CREATIVE CRITICAL REFLECTION

How does your product use or challenge conventions and how does it represent social groups or issues?

Q1 pt1.How my productions uses or challenges conventions (annotations on film)

Q1pt 2.How my production represents social groups

 To illustrate the different social groups and topics my production will be focusing on, I created a series of Pinterest boards which each give a little bit of information on each topic.  The topics I have chosen to cover were the most relevant and the most interesting in our film. opening. These boards served a further information on how to understand our target maket which is primarily, young females of the occidental world.

My first social group: people suffering from psychosis

In the images I have gathered I show a variety of issues that affect people who are suffering from different types of mental illnesses. There is currently a great deal of interest in teenagers suffering of mental illnesses many which have been suppressed or hidden, going untreated as people are embarrassed or ashamed. Treatment is often through taking drugs and therapy. Some of the issues like that of my protagonist might include bipolarity, depression and schizophrenia. These patients may present with symptoms of:sudden rage,heightened anxiety, suspicion of those around them, resulting in addiction to drugs such as opioids. 

The issues with mental health is that it can cloud judgement of the teenagers which is what we try to show in our film. The sudden moment of rage can be frequent, which means the more it happens the more isolated the person becomes form the outside world, making the judgement a lot less clear.

My second social group:Teenage party goers

people won't notice if someone is on the edge.

When creating a board for our social group being the teenage party goers, I was able to  accumulate different images showing teenagers being in a party environment. Being in such atmosphere almost, if not certainly, changes your persona. Your spirits and moods are lifted as interactions with other people enrapture you in the illusion that you are having a good time. During such situations, it becomes harder for people to realise that someone is in need attention or help as adrenaline is quite high and social awareness quite low.  In our film we represent this social group at its peak as they are interacting with our main protagonist in a party like mise-en-scene.




My third social social group is: Owners of creepy and inanimate dolls
I wanted to target this audience as we see eve feeling attached to her precious doll and  

My fourth social group: Teenagers and the use of social media
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How does your product engage with audiences and how would it be distributed as real media text?

Q2 pt1 My Target Audience & How I Engaged  Them

According to Blumler and Katz, audiences use media to gratify needs (the use and gratifications model of audience behaviour.) Our film opening uses what Barthes call the 'enigma narrative code' in that there is an opening mystery that gradually develops and promises to unfold over the course of the opening and beyond.This mystery involves the audience realising that the protagonist Eve seems to be reliant on opioids and also that she is nursing a deep-seated resentment against her friends. She confides this in her online diary and the audience are intrigued to know what the cause is as well as curious about potential fallout.

Our touches on very topical issues such opioids addictions  which are currently quite a big topic in America. This helps us reach out to our international audience as this is a topic of interest for teenagers in most Transatlantic regions .  There is a lot of interest on the character being this blogger everyday life type of person. The character’s persona gives the audience someone to relate to and to sympathise with throughout the film. This will create an greater bond with the character Eve and further interest in what she is doing.  There is a lot of interest on how someone who seemed to have their life so together can spiral down to being a addict full of rage and hatred.

Audiences tend to use media to reinforce the sense of personal identity, that is their beliefs and values. Therefore seeing how a young and healthy looking character can spiral downwards into a pit of loneliness and emptiness shocks the audience as they would look at her as a seemingly fortunate and sane young woman.  They are initially able to connect the use of the opioids and the girl's state of mind. They deduce that her life has been taken over by this addiction which is a topical concern. When she is seen scrolling through what was the “old her” we see her shut her laptop lid abruptly with a feeling of anger. This is when we start to feel like this is the moment of disequilibrium. 

For Blumler and Katz, audiences also use media text to cement the need of making relationships which can be understood in two ways, the first way was our relationship with on screen characters. As indie film makers we cannot cast big names like Martin Freeman. I learnt at my BFI study day on UK cinema that having Martin Freeman as part of the deal secured the funding for Dyson And Nyman's Ghost Stories (2018 Warp Films) We have unknown's, however they seem like relatable people you feel you could associate with. 

The sense of commitment projected by the character Eve, is shown through her comeback to her blog channel. It seems like she does not want to let her fans down, no matter her state. This increases sympathy as the audience sees her sense of dedication in not others around her down. As this blog is repetitively used to show a comparison, we start to feel sorry for her in a way as we see that she has lost everything she used to have. We use this contrast to create an idea that people around her have perhaps abandoned her. This enigma code keeps us interested and wanting to see whether our theory matches the story. 

Making our social media pages
When creating our social media accounts for our film production, we had a target audience in mind. Younger audiences are very heavy users of social media so we created three platforms; Twitter, Instagram and Facebook in order to help us reach and  entice audiences from the demographics advertised. This made was them to find interest in the different outlines and watch our film. We updated these pages with pictures of our production and team members.

Link to each page right here: TWITTER, FACEBOOK, INSTAGRAM.

Our film was created to speak and reach out to our audiences as the main focus and reason for this film was to engage the audience through our camera work and spine tingling:

• camera work
• props
• set
• unfolding of narrative 
• use of sound

as seen below:

Engagement of audiences from maradakochi00

Q2 pt2 How does your product engage with audiences and how would it be distributed as real media text?

Film distribution 

A film distributor is responsible for the marketing of a film. The distribution company is usually different from the production company.  

A film producer is responsible for the marketing the film. The distribution company is usually different from the production company. Distribution deals are an important part of financing a film.

A production company or a production house provides the physical basis for works in the realms of the performing arts, new media art, film, television, radio and video.

Distributors acquire films via deals with studios and production companies and/or through film sales agents who represent filmmakers.  

Any distributor may compete for the rights to release a film, whether for cinema or the DVD/Blu-ray/VOD market etc… The distributor deals cover the overall rights to a film for a set period of time, and usually include the release plan, media promotion,  and what edits and charges are allowable. For example what is needed to get a particular classification. Distributors must create an entirely new film release plan for each project that will maximise the unique selling points (USPs) and inform the widest possible audience about the film. Distributors also oversee the accountancy procedures for their films, and provide studios or producers with reports covering marketing plans, expenditure evaluation, forecast, and revenue breakdowns.

International distributors 

If the distributor is handling an imported or foreign film it may also be responsible for securing dubbing or subtitling for the film, and securing censorship or other legal or organizational "approval" for the exhibition of the film in the country/territory in which it does business, prior to approaching the exhibitors for booking. 

Depending on which studio that is distributing the film, the studio will either have offices around the world, by themselves or partnered with another studio, to distribute films in other countries. If a studio decides to partner with a native distributor, upon release both names will appear. The foreign distributor may license the film for a certain amount of time, but the studio will retain the copyright of the film.

Distributors usual decision making focus points:

- WHO will want to see the film?

- WHY will they want to see the film?

- HOW will they be persuaded to see the film?

   and 

-WHEN will they watch the film?

When a film is initially produced, a feature film is often shown to audiences in a movie theater. Typically, one film is the featured presentation . Before the 1970s, there were "double features"; typically, a high quality "A picture" rented by an independent theater for a lump sum, and a "B picture" of lower quality rented for a percentage of the gross receipts. Today, the bulk of the material shown before the feature film consists of previews for upcoming movies and paid advertisements.

The distributor takes the responsibility to identify the audience and consider why and if they could go see the film. To ensure they are keeping on task with helping the production of the movies, they estimate venues develop plans and partnerships (acquiring  sponsors),persuading exhibitions to play the movie to the public-in cinemas etc…  Social media campaign are also in their area of expertise.

Distribution Companies:

The top American film studios are commonly known as the Big Six and distribute the large-budget films, which have universal appeal and will be distributed around the world. (e.g. Jurassic World)

- 20th Century Fox
-Paramount Pictures
-Sony
-Warner Brothers
-Disney

-Universal Studios

Independent film distributors
(e.g. Carol )
- Lionsgate

- Magnolia Pictures

- A24

- The Weinstein Company

Independent British Film Distributors (e.g. '71)

- Warp

- Vertigo

Who are the FDA?

The FDA stands for the film Distributor’s Association. They are a trade body for theatrical film distributors in the UK- the companies that release films for UK cinema audiences.

The business of film

I joined the business of film course to develop my general understanding of the film industry and to expand my knowledge on the process of distribution. I felt like the course would be able to widen my understanding of the role of distribution when creating my own movie.

Alex Hamilton is the Managing Director of Entertainment One UK. His role on the business of film course, is to explain the distribution cycle which he is so familiar with, being one of the most significant figures of independent film distribution.

The cycle commences with a film being bought, still keeping in mind that the distributors have to  buy the film in question and then proceed to advertise it and publicise it within it’s release window.  Film distribution expert, Alex Hamilton lists us all the possible way to adapt the ‘window’ concept, as a pattern occurring throughout the years.

The first window you're going to release it in is the theatrical release window. You're going to release it into cinemas.

Usually about those five months later, the film will appear on DVD and digital platforms, transactional platforms. 

Following on usually around 9 to 12 months after the theatrical release and about four to five months after the home entertainment transactional window, the film will enter one of two other windows. It might enter a paid-TV platform such as SKY.

That would take you up to roughly around two years to two and half years after the theatrical release of the film whereby you can make it available to free television broadcasters, so Channel 4, or the BBC, or ITV. 

Key terms people in the distribution business use to analyse the performance of a film:

• Opening weekend gross- On the opening weekend films usually perform best. This is due to all the publicity. The opening weekend gross is a way of analysing the performance of the movie when first released, and how attractive it is to the public eye. If it does not meet the standards it will not be in cinemas for long. 
• Per screen average - This is the amount of box office divided by the number of screens it is being shown on. 
• Second week/weekend performance- This is the comparison between the opening week/weekend and the second week/weekend. This gives distributors a rough idea of the films 'staying power' and 'word of mouth'. 

Case study:  Distribution of Tortoise in Love

Being a rural originated film, Tortoise in Love, the film was able to reach out to a part of the rural community. The marketing and distribution of the film was separated in such way where the distributors were able to maximise the popularity of the film. The use of the volunteers and the 500 villagers who have contributed to the production of the film, reinforces  a sense of unity within their community and to our eyes, as the audience.

The Small indie film which had the support of the BFI financially and in a way that helped them branch out and distribute the film a successfully as possible. As the campaign for Tortoise in love kept going, 83 sites picked up on the trailer, in addition to the 27 sites also included the official poster. Setting up social media pages and sites, helped increase the marketability of the production and the overall positive feedback was very well received as it kept amplifying the film’s charm and individuality. 

Fund distribution costs such as supplying the venues with a copy of the film in the correct format, printing cinema-style quad poster for all venues, finding a PR company to provide. Support locally as well as nationally, and recruiting a distribution manager to manage and administer the bookings.

Running a Rural cinema pilot scheme recently, most films are still only available to non-mainstream venues 12-16 weeks after their cinematic release. The BFI funded rural distribution strategy-created by Immense Productions for Tortoise in Love- aimed to bring a current movie to the countryside at the height of its media buzz and allow rural venues the opportunity to be part of a national release at the price of a Film bank title.

Case study: ’71

Warp’s film, ’71, is an independently distributed film starring Jack O’Connell, playing a young devoted soldier.  As a result of getting separated from his unit during a riot in Belfast at the height of the Troubles in 1971, his character starts to be radicalised as he is hunted down for being the enemy in the Belfastians’ territory.Here is the plot summary

Warp is a small independent UK company but it has proven success in distributing internationally. A distribution techniques used by '71, was to hold the release of the film until Jack O’Connell starred in a film with bigger cinematic coverage as it starred a major Hollywood star, Angelina Jolie.  The distributors benefitted from holding the release of the film until American audiences had seen Jack O’Connell in his first major Hollywood picture, Angelina Jolie’s, unbroken which earned him a Bafta. 

Warp's mission statement:

• Jack O'Connell had previously attracted critical acclaim for Unbroken (2014) appearing as a prisoner of war in a Japanese war camp. Directed by Angelina Jolie, this film made O'Connell known to an American audience.
• 71 won Best Director at the 2014 British Independent Film Awards,after receiving nine nominations. The National Board of Reviewnamed '71 one of the top 10 independent films of 2015.
• Budget, £8.1 million. Box office, $3.2 million.

The distribution strategy also involved targeting UK and US audiences who were concerned about the radicalisation of young men.

Case study:Jurassic Park 

  More information in link below:

https://app.emaze.com/@AOOOQRFOT/wall-street

 Q3 How did your production skills develop throughout?

I made a Piktochart regarding this question. Link for this presentation is down below...

I wanted to use a different demographic in order to lay out the I information I have accumulated as I was making my production.

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Question 4 How did you integrate technologies?

Here is a link on my media technology prezi: https://prezi.com/view/at08bnqYmldJUHHgueo7/