1. 3. What kind of
institution might
distribute your media
product and why?
By Megan Vincent
2. What institution did we decide to use
and why?
We came to the conclusion that our production will be produced and distributed
by independent companies. This is because it is conventional for social realism
films as our films fits in with the cottage industry of British Film as we are a niche
independent film and don’t have the budget to work in big studios and therefore
are film will be filmed on location, which is also conventional. Also, having the
opening sequence produced by independent institutions, it suggests that our
narrative includes some challenging ideologies, such as dealing with social issues
in the working class in modern day society. This could possible challenge the
‘false’ outlook and narrative of which Hollywood movies provide.
The independent productions also correspond with our niche target audience.
However, these independent companies tend not to be horizontally or vertically
integrated (which is conventional as they are very small with a small budget, to
produce other media products). This is emphasized by the different studio system
of Hollywood who tend to work with large conglomerates (mainly American) such
as Warner bros and Walt Disney.
3. What institution did we decide to use
and why?
Therefore we decided to use Studio Canal UK to distribute it and Warp Films
to produce.
We used these companies because they are both very experienced in our
genre, i.e Warp Films distributed This is England and they both use
technological convergence to market their films, which will be our most
predominant marketing technique. Also it’s Studio Canal UK who now
distribute Warps’ content since buying Optimum Releasing (which is who Warp
had a distribution deal with)which is very relevant to today. Therefore, I think
it is suitable for our production.
4. Warp Films and Warp X- What is the
difference?
Warp Films is an independent film and television production company based
in Sheffield, London, UK, with a further and in Australia based in Melbourne,
Australia. Warp Films quickly expanded in 2005 and set up Warp X, a British
production company and a sister company based in Sheffield. It is dedicated
to digital, low-budget filmmaking driven by creative talent and in hope of
commercial potential, fundamentally producing feature films.
Therefore, the difference is that Warp X is a sister company of Warp Films
who supported it financially, as well as other companies such as Film Four,
UKFC, EM Media and Screen Yorkshire.
5. Studio Canal
This is the distribution company who is paired with Warp Films, since they
bought Optimum releasing, who Warp Films use to be associated with before
they changed to Studio Canal UK. It was initially a French company until it
bought Optimum Releasing and then became Studio Canal UK and now
distributes British Independent feature films like, ‘Legend’ and ‘99 Homes’.
6. Co-production
We didn’t add any co-production to our producer of Warp Films which could of
perhaps been a mistake because of the trend in British Film, which allows for
a bigger budget and therefore a greater chance of marketing the product
globally, while making the production eligible to apply for funding and for the
benefits of the UK’s tax relief system.
If we added co-production to our producer of Warp Films, it would have made
it more conventional to the trend in British independent Film with films such
as Tyrannosaur who co-produced with Warp X, UKFC, Screen Yorkshire, EM
Media and Optimum releasing (as Studio Canal UK).
It was a mistake because we could have co-produced with distributers in
different countries which would have given us access to bigger and new
markets, better financial resources, increase in the quality of production i.e
more expensive actors with access to specialized skills and equipment.
7. Evaluating our decision
I think our producers and distributers were a good decision, because they both
have sufficient experience in our genre of a social realism. For example, with
Warp Films producing the film ‘This is England’ it could allow us to put their
production techniques into practice, such as the usage of stock actors and the
conventions of Shane Meadows and Paddy Considine’s directing who have directed
Warp Films in the past. They also use technological convergence which will aid us
to market our product via below-the-line marketing such as the use of web 2.0 on
social networking like Facebook. This cross-media presence therefore, would be
beneficial for our product as web 2.0 is now more commonly found on everyday
converged devices such as mobile phones. These devices are easily accessible
nowadays for our older sophisticated audiences (as they may have disposable
income to buy the latest technology.) If the audience shares marketing online, we
can also apply the theories of ‘Wikinomics’ where companies adapt to the power
of the audience as we are letting them create their own content on the new trend
of web 2.0. We can also apply Anderson’s ‘Long Tail’ theory which is the idea of
niche products, like our production, becoming as successful as mass (like
Hollywood movies) when there is unlimited shelf space on the internet.
As a result, our product could be digitally distributed to as many of our audience
as possible. For an independent production, this is important as the digital
distribution of our marketing will be reliant on the audience’s participation of
Gauntlett’s ‘making and doing’ culture being active.
8. Improvements
I think that perhaps we could have used/ considered companies that could have
perhaps worked together previously. For example, BBC Films and Pathé produced
‘Philomena’ (2013) and ‘Pride’ (2014). These companies collaborate and use
technological convergence to enable the films to be released on DVD and Blu-ray
which could have expanded our audience’s possibilities with the film being
released in different formats. However, this highlights why we didn’t use these
companies who use a Blu-Ray and DVD release, because it is actually in ancillary
sales that independent film makes most of its return. VOD is also very important
to make ancillary sales due to the different platforms the films is released on
while targeting digital natives. There is also the possibility of a simultaneous
release (limited cinema release and VOD at the same time) as a USP in our film
and which will benefit from reliance on ancillary sales. Another reason as to why
we could have thought about these companies is because they are often funded by
companies such as the British Film Institute (BFI), therefore we would be able to
get sufficient funds from companies such as ‘Creative England’ which would be apt
for the low budget of an independent film and further advertise our product.
9. British Film Institute (BFI)
The British Film Institute (BFI) is a charitable organization which promotes
and helps filmmaking in the UK, particularly in British Independent Films. The
BFI operates with several sources of funding. The largest is public money from
the ‘Department for Culture, Media and Sport’ who gave the company £20
million in 2011. The second largest is the commercial activity from ticket
sales at BFI London IMAX Theatre (£5m in 2007) and also from sales of DVD’s.
Thirdly, funding is received off grants and sponsorship from sources such as
the National Lottery grants and private donations, approximately around £5m.
Furthermore, the BFI is also the distributor for all Lottery funds for film.
Between 2009-2013, the BFI backed 141 films, 8.3% of all feature films made
in the UK during that period.
10. How has the BFI subsumed the UKFC?
During 2009 the UKFC persuaded the government that there must be only one
public-funded body for film in the UK, which should be the UKFC which therefore
means the BFI was eradicated. During 2010 the government that there would be a
single body for film despite the UKFC trying to persuade the government that it
should have the role. Instead, the BFI took over most of the UKFC’s functions and
funding from April 1st 2011. Consequently the UKFC was abolished. Since, the BFI
has been responsible for all Lottery funding. The BFI is also funded through the
National Lottery, Creative Scotland and Northern Ireland Screen.
This has made a negative impact on funding for niche independent film as the BFI
only fund films which have mid-high range budgets. Therefore, niche films are no
longer funded by lottery grants as they don’t qualify for expenditure and cannot
make their films which help new directors and explore artistic talent. Meaning
that the only mass market films benefit. For example, ’Tyrannosaur’ (2011) had a
£206,000 grant from the UKFC.
11. Improvements
Warp X is a production company which produces feature films in the UK with
budgets usually between £400,000 and £800,000. The film studio began with
support from organizations including Warp Films, Film Four, UKFC, EM Media
and Screen Yorkshire. These companies now still co-produce films.
Therefore, this close link with these companies could suggest that apart from
changing our producers and distributers like I have discussed, we could have
co-produced with companies such as EM Media and Screen Yorkshire. This is
because co-production is extremely important for British Independent films
because they do not have the budget to rely on one production company. Co-
producing with these companies would mean that there would be a regional
link to support the co-production e.g East Midlands (EM Media) and Warp Films
(Sheffield). This would therefore mean it would be less expensive to go to
locations which is conventional for independent film.
12. ‘This is England’s’ marketing campaign
compared to ‘Reflux'
The film had a traditional and non-extravagant marketing campaign due it being
produced and distributed by small independent companies with low budgets. The
film had a film posters, a film trailer, interviews (in different media), featuring's
at film festivals, blogs/fan base websites, use of web 2.0 i.e official websites and
social media pages like Facebook and press stories before the release of the film.
This is almost identical to ‘Reflux’ who will also include a film poster, a trailer and
with a heavy presence on web 2.0 by having Facebook pages, blogs and a website.
It will also appear at Film Festivals such as Sundance and will heavily rely on
review prior to the release of films.
The marketing campaigns are so similar because of of the separate distributors
used as the production companies are not horizontally integrated. Therefore, they
both rely on below—the-line marketing due to the low budget. Due to the limited
funding, both campaigns cannot afford to have 360 degrees marketing campaigns
despite the cross-media methods. Therefore, most of the marketing is through
web 2.0 and traditional film posters and trailers.
13. Comparing ‘Reflux’ to a similar product,
‘This is England’ produced by Warp
Films, with similarities and differences..
How could we have improved our film
compared to ‘This is England?
14. ‘This is England’
Firstly, the film was based on the controversial time in history in the 1980’s in
England when Margaret Thatcher ran the country and there was racial unease.
Furthermore, Shane Meadows, when directing, ensured that it reflected his
personal experiences when he was younger (e.g bullying) which created
personal identity with the viewers.
This is different to our film because we did not consider many political issues
of England in the current economic and social climate and explored the more
emotional aspects. We also did not use personal experiences as none of our
group could relate to the situation, however, we could relate to Ethan’s
emotions and tried to portray them as best as possible. We could have
improved by perhaps including different ethnicities to connote the issues of
racism, for example. However, due to being independently produced, our
funding is inadequate and the extent to carry this out would also be limited.
15. ‘This is England’
Shane Meadows tended to use stock actors who were very unexperienced in film.
Meadows would train the actors through particular workshops and acting
exercises. For example, Thomas Turgoose was auditioned in a Nottingham school
had a very small experience in acting.
Moreover, auditions were a key aspect of Shane Meadow’s casting as he mainly
auditioned those that originated from similar environments that are shown in the
film i.e from inner city locations to heighten the level of verisimilitude.
This is very similar to ‘Reflux’ as we used non-professional actors with virtually no
filming experience (excluding Josh Macqueen and Nick Heywood) to create
realism. However, perhaps we rushed into making decisions with actors (mostly
because of time restrictions) as we could have considered possibly holding a few
auditions for a number of actors for each role, or even a dress rehearsal for our
production to see what the actors are like in the light of the camera. Yet, in the
real world, this would have cost a large section of our remaining budget.
16. ‘ This is England’
It is said that Meadows thought that every element in terms of mis-en-scene
needed to be fitting for the film. This creates a high level of verisimilitude
that is conventional of the social realism genre.
In my opinion, I think this was very similar to our production, ‘Reflux’, as we
understood the appropriacy of mis-en-scene. However, maybe we did not fit
in as much with the modern day society and should have included Ethan to be
using his converged device (i.e mobile phones) to reflect the trend of young
people’s affinity to social media who are digital natives, not just the higher
classes (like the business man). In hindsight, we did not use extravagant mis-
en-scene, mainly because of our budget and to connote the desolate feelings
of our protagonist, Ethan.
17. ‘This is England’
Shane Meadows tried to create a high level of verisimilitude in all areas and a
lot of research was carried out in the popular trends in the 1980’s. This could
have possibly introduced the ‘skin-head’ theme in the film.
The film worked with Warp Films which was said to ‘namely support artists
and their visions’. This could perhaps suggest the Auteur Theory, as Shane
Meadows could interpret and explore these issues associated with the working
class, mainly through personal experiences.
This was different to us as we did not complete much research into the
common trends of teenagers and adults in the the working class in order to
create verisimilitude. This could therefore show our mistake with actors as
they have come from more privileged backgrounds and could not relate to the
situation of Ethan therefore making it less relatable and thought provoking.
However, in the real world this would additionally mean more time and
money would need to be spent.
18. ‘This is England’
I also feel our production has been an example of the Auteur theory because
we have explored social issues within the working class such as alcoholism and
isolation. We have shown this through possibly our own signature style of
using many shots depicting Ethan’s determination and loneliness with shots
from behind him connoting someone following him i.e videoing Ethan when
descending the stairs and looking at the train times. This could perhaps make
the audience feel uncomfortable and yet gives them entertainment.
19. Certification
‘This is England’ was announced an 18 certificate in 2007 due to very strong
racist violence with aggressive and strong language.
I think our product does sit appropriately next to ‘This is England’ due to the
serious topics we were addressing, too. Such as drug abuse and a
dysfunctional family. Therefore, due to these themes and the presence of
strong language, which isn't considered as a 15 by the BFC, a certificate of 18
is appropriate, especially because we are also aiming our film at a older
audience. I think both films fit an 18 because of the overall bleak tone and
mature social issues covered.
However, compared to the vivid, strong and violent language/scenes in ‘This
is England’, ‘Reflux’ does not seem as intense due to the further exploration
of feelings of isolation, suggesting that our certification is too high and could
be argued to be a 15.
20. Marketing our production in the real
world
Following the conventional stages of film, the production and distribution is
done in four main stages, as follows;
PRODUCTION- when the product is created and made
DISTRIBUTION- when the product is marketed and sent out to the
product’s audience
EXHIBITION- showing the product to audience members
EXCHANGE- when the audience receive the product
21. Production
This involves three main stages:
RESEARCH-the director, producer and the rest of the team carry out research,
narrative type and conventions that they want to include within their product. We
completed this by doing genre research, form research etc.
PLANNING- the team then decide shooting dates, what actors are needed when
and then costume, props and location will be needed for each scene of the
product.
PRODUCING- the team film their production and then edit it all together
Our group carried out the stages discussed below. Because of our chosen company
of Warp Films, these processes were not funded so that they may take our place.
Therefore, this suggests that we should have co-produced to get an increase of
funding and had more companies to complete this production process with.
22. Our budget
Our budget would have been around £600,000 as this is a typical amount for
an independent produced film. It also allows us to do complete all the things
in our production but on a small scale i.e short filming days and regional links
to film so transport is less expensive. To achieve this budget or increase it, we
could have co-produced with other companies instead of relying completely
on one production company.
We could argue that Warp X would have more suitable because our production
company is specific for first time film makers who don't have a huge budget.
This is because the studio serves as a format for new film directors to create
movies for the first time on a lower budget scale with less expectation for
high box office revenues on the initial day of release. Therefore, this is more
appropriate for our production.
23. Distribution
Due to our film being independently produced, we are therefore not vertically
or horizontally integrated or a subsidiary, so, in the real world, we would
need a separate distributor; Studio Canal UK (Optimum Releasing). Studio
Canal UK is the distribution company who works with Warp films. This
partnership is since they bought Optimum Releasing, which is who Warp films
used to be affiliated with before they changed to Studio Canal UK. This
therefore means that we used the wrong distributor logo in our film. Studio
Canal UK are an independent distribution company who rely on below-the-line
marketing due to the small budget. This means that because we would get
limited funding, we would not be able to afford 360 degree branding and
above-the-line marketing, despite the cross-media methods.
Most of our distribution will be using web 2.0, used by digital natives on
converged devices. We will create Facebook and Twitter accounts which will
be regularly updated to raise awareness of the product.
24. Distribution
Due to technology and the internet becoming increasingly popular and easily
accessible, our product can be seen as, referencing ‘Anderson’s Long Tail’ near the
bottom of the tail because of our product being for a niche audience. This
therefore offers no restriction on shelf space with the biggest products. This
means that it is essential for us to use below-the-line marketing.
This is perhaps due to the theory of Wikinomics, introduced by Tapscott and
Williams which suggests that companies have to adapt to the audience’s power
and web 2.0, so they can make their own content. This links to Gauntlett’s
‘making and doing’ theory, which states that social media has empowered the
audience to make their own product. This links more to user-generated
distribution of our social media marketing materials. This is called ‘flipping the
funnel’ as the audience does our marketing for us by being active. Therefore, this
relates to the belief of technological determinism where technology will give us
equal power. Therefore, using web 2.0 is vital in marketing to digital natives in
modern day society.
25. Marketing our production in the real
world
Another possible method of promoting our production would be to create a
website dedicated to ‘Reflux’ that includes blogs, videos and images
associated with the product to raise awareness. Also, we would utilize a
YouTube channel as another method of below-the-line marketing and regularly
update it with news and exclusive information etc.
Furthermore, because Warp Films is a sister company of Warp Records, we
could perhaps use synergy marketing. For example, the songs and music in
the film could be promoted by a soundtrack as a tie-in. This would make it
horizontally integrated.
26. Improvements
Because the film is being produced and distributed by small independent
companies, the reliance of mostly on digital marketing due to the low budget
allowing only for below-the-line marketing.
However, this could perhaps be a mistake as our audience are older i.e 30-45
and 50-60 suggesting that they are not really the correct age to be digital
natives, they would only be on the cusp of this categorization. I think that
there is too much reliance on digital marketing.
Therefore, although we have a low budget, there are other ways to market
our film that are below-the-line. These may include traditional marketing
such as newspaper reviews in e.g The Guardian which our audience might
respond to better, being older and reading newspapers.
27. Exhibition
This where the film will be released and showcased to independent film
critics and would be show in limited theatres/cinemas and in small areas of
England (most likely urban areas) via exclusive/limited runs.
This would be most suitable because other products such as ‘This is England’
(2006) have gone through a similar process in order to gain the success in
order to gain success.
We will also use digital distribution to cinemas as this a cheaper way of
distributing the film digitally. It is very important in all independent film
companies who have a low budget.
28. Exchange
Another way to distribute our products is by digital distribution on online
stores such as Amazon and Netflix. These are world-wide and therefore, are
easily accessible and promote the product to areas where our budget does not
allow us to reach. It also in keeps with the theme of web 2.0.
This Netflix/Amazon release after the film has been distributed out to
cinemas, then it will become available on VOD. It would most likely be
‘Netflix’ rather than amazon due to the abundance on films and TV programs
on Netflix and will be easier to finance due to the pre-sales from Netflix.
29. How does our marketing campaign use
the AIDA scale?
This scale is used in marketing and advertising which describes the usual sequence
of events that happen when a consumer engages with a media product.
Attention- Through the use of synergy marketing and online
distribution/marketing of our product through the use of web 2.0 on
converged devices, which will make our audience easily become aware of our
production and what it involves.
Interest of Consumer- Despite our media product being aimed at a niche
audience and to those 15 and over, it is still available to the masses. Due to
our marketed brand identity (blogs, video updates and perhaps independently
produced trailers distributed online) will gain the interest of our consumers,
while they participate in Gauntlett’s theory of ‘making and doing’ culture.
The older audience may also see the festival success and awards it has won
which will gain their interest also.
30. How does our marketing campaign use
the AIDA scale?
Desire of consumers- To encourage this, we could simply use persuasive
rhetoric when distributing the product. We could also show snippets of our media
product (in the real world) which would intrigue our audience as they would feel
obliged to watch the ending and the film. Furthermore, by exhibiting our film
through limited runs, it will allow our target audience to know whether this is the
type of film that will satisfy their needs according to Blumer and Katz uses and
gratifications and Maslow’s hierarchy of needs for example, entertainment and
morality. Following this, the older audience may read newspaper reviews on the
success of the film and want to go and see it.
Action- After the audience see the updates from social media and web 2.0 with
using synergy marketing and reviews from newspapers, our audience should feel
inspired to engage themselves with the stereotypical representations in our
opening sequence. This would therefore leave them feeling to want to watch the
rest of the film, if in reality.
