• Share
  • Email
  • Embed
  • Like
  • Save
  • Private Content
Danish Film Institute Keynote
 

Danish Film Institute Keynote

on

  • 837 views

 

Statistics

Views

Total Views
837
Views on SlideShare
837
Embed Views
0

Actions

Likes
1
Downloads
15
Comments
0

0 Embeds 0

No embeds

Accessibility

Upload Details

Uploaded via as Adobe PDF

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Processing…
Post Comment
Edit your comment

    Danish Film Institute Keynote Danish Film Institute Keynote Presentation Transcript

    • TALES FROM THE DIGITAL FRONTIER LANCERINGSDAGEN09 DET DANSKE FILMINSTITUT Presented by: Liz Rosenthal Managing Director, Power to the Pixel NOVEMBER 2009 www.powertothepixel.com
    • POWER TO THE PIXEL Events and Training: / The Cross-Media Forum at the Times BFI London Film Festival - October 2009 / Pixel Paris, in association with Arte France Cinéma - 3rd December 2009 / The Cross-Media Film Lab - April 2010 Online/ Publishing: / The Pixel Report - Ta multimedia publication focused on cross-media forms of film- making, storytelling and distribution, providing analysis, information and debate about the changing environment for the financing, production and distribution around the world. Edited by Michael Gubbins and Liz Rosenthal Consulting: Some of our clients to date are: / UK Film Council, / Film London / BAFTA, / Swedish Film Institute, / Berlinale / Rotterdam Film Festival / CineRegio, / Europa Cinemas, / UK Film Export Group / UK Industry Trust / Individual Film Companies www.powertothepixel.com
    • IS THE TRADITIONAL FILM MODEL HOLDING US BACK? 20,000 films produced in 2007 number of films released theatrically in 2008 Denmark: 231 Netherlands: 296 France: 555 Germany: 471 Italy: 376 Spain: 402 UK: 531 US: 600 Figures: EDI, Screen Digest, DFI
    • What are the opportunties the digital world offers? TRADITIONAL MEDIA DIGITAL MEDIA Gatekeeper Model Creator & Consumer Led Model Restricts Audience Access Enables Audience Access Limited Space Unlimited Space Suits Blockbusters Suits Niche & Specialist Expensive Delivery Low Cost Delivery One-Size-Fits-All Strategy Tailored Strategies One Version Unlimited Versions/ New Formats Territorial Release Global Release Exclusive Rights Deals Non-Exclusive and Exclusive Deals Value = Unit Sales Value = Data, non-copiable items Little Connection to Audiences Direct Relationship With Audience
    • NEW RELATIONSHIPS WITH AUDIENCES THE INTERNET HAS TRANSFORMED THE RELATIONSHIP BETWEEN THE CREATOR, THE AUDIENCE & THE DISTRIBUTOR / DIRECT CONNECTION BETWEEN CREATORS AND AUDIENCES / BUILD A COMMUNITY/ FANBASE AROUND YOUR WORK / AUDIENCES ARE NO LONGER PASSIVE / REMIXING AND COLLABORATING / A CHANGING ROLE OF CURATORS/ CRITICS/ COMMISSIONERS / NEW MEASURES OF QUALITY AND RELEVANCE / FRAGMENTED AUDIENCES ACROSS PLATFORMS / CREATE STORIES ACROSS MEDIA TO ENGAGE AUDIENCES
    • THE HUGE IMPACT OF SOCIAL MEDIA Building fanbases and communities around films is key 78% of people now trust word of mouth above other forms of marketing (EDI) Last year, the audience using online social networks increased by: 35% in Europe 66% in the Middle East & Africa 33% in Latin America
    • THE KEY TO A DIGITAL FUTURE RESIDES IN THE RELATIONSHIP WITH AUDIENCES A RAPID GUIDE TO AUDIENCE ENGAGEMENT / Crowdsourcing/ Crowdfunding/ Collaborating / Creating an ongoing conversation / Making available anyplace, anywhere, anyhow / Working with Free / Cross-Media Storytelling
    • Crowdsourcing/ Crowdfunding/ Collaborating
    • CROWDFUNDING BRAVE NEW FILMS/ Robert Greenwald www.bravenewfilms.com
    • CROWDFUNDING BRAVE NEW FILMS/ Robert Greenwald www.bravenewfilms.com
    • CROWDSOURCING THE AUDIENCE BRAVE NEW THEATRES/ Robert Greenwald www.bravenewtheaters.com
    • CROWDSOURCING RESOURCES STARWRECK IN THE PIRKINNING/ Timo Vuorensola www.starwreck.com
    • CROWDSOURCING RESOURCES STARWRECK IN THE PIRKINNING/ Timo Vuorensola www.wreckamovie.com
    • CROWDSOURCING RESOURCES IRON SKY/ Timo Vuorensola http://www.ironsky.net/site/
    • CROWDSOURCING RESOURCES/ DIWO - DO IT WITH OTHERS INDIEGOGO www.indiegogo.com
    • CROWDSOURCING THE AUDIENCE MOVIEMOBZ/ Cinema-On-Demand www.moviemobz.com
    • COLLABORATIVE CURATION FOUR EYED MONSTERS/ Susan Buice & Arin Crumley www.foureyedmonsters.com
    • COLLABORATIVE CURATION FOUR EYED MONSTERS/ Susan Buice & Arin Crumley www.foureyedmonsters.com
    • CREATING AN ONGOING CONVERSATION
    • CREATING AN ONGOING CONVERSATION WE ARE THE STRANGE/ M dot Strange www.wearethestrange.com
    • CREATING AN ONGOING CONVERSATION BRAVE NEW FILMS/ Robert Greenwald www.bravenewfilms.com
    • MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW
    • MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW AGE OF STUPID/ Franny Armstrong www.ageofstupid.net
    • MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW AGE OF STUPID/ Franny Armstrong www.ageofstupid.net
    • MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW AGE OF STUPID/ Franny Armstrong www.ageofstupid.net
    • MAKING STORIES AVAILABLE ACROSS MULTIPLE PLATFORMS RAGE / Sally Potter www.ragethemovie.com
    • MAKING STORIES AVAILABLE ACROSS MULTIPLE PLATFORMS RAGE / Sally Potter www.ragethemovie.com
    • WORKING WITH FREE
    • WORKING WITH FREE SITA SINGS THE BLUES/ Nina Paley www.sitasingstheblues.com
    • WORKING WITH FREE SITA SINGS THE BLUES/ Nina Paley www.sitasingstheblues.com
    • WORKING WITH FREE SITA SINGS THE BLUES/ Nina Paley www.sitasingstheblues.com
    • WORKING WITH FREE SITA SINGS THE BLUES/ Nina Paley www.sitasingstheblues.com
    • WORKING WITH FREE STEAL THIS FILM/ Jamie King www.stealthisfilm.com
    • WORKING WITH FREE VODO/ Jamie King www.vodo.net
    • WORKING WITH FREE THE TRIBE/ Tiffany Shlain www.tribethefilm.com
    • WORKING WITH FREE THE TRIBE/ Tiffany Shlain www.tribethefilm.com
    • CROSS-MEDIA STORYTELLING How will storytelling evolve in a digital world? Storyworld
    • CROSS-MEDIA STORYTELLING THE DARK KNIGHT/ 42 ENTERTAINMENT www.batman.wikibruce.com/Home
    • CROSS-MEDIA STORYTELLING THE DARK KNIGHT/ 42 ENTERTAINMENT www.batman.wikibruce.com/Home
    • CROSS-MEDIA STORYTELLING HEAD TRAUMA/ LANCE WEILER www.headtraumamovie.com slide courtesy of Seize the Media
    • CROSS-MEDIA STORYTELLING HEAD TRAUMA/ LANCE WEILER slide courtesy of Seize the Media
    • CROSSMEDIA STORYTELLING / extends the creative form / reaches and engages extended audiences / increases potential types of finance / new opportunities to exploit IP “If the cinema intends to survive, I believe, it has to make a pact and a relationship with concepts of interactivity, and it has to see itself as only part of a multimedia cultural adventure.” Cinema Militans Lecture Peter Greenaway, 28th Sept, 2003