The document discusses defining a target audience for a film project. It begins by explaining how brands profile audiences based on demographics and interests. The author then describes creating a questionnaire to learn about the interests of potential viewers. Based on the results, which showed a preference for drama, suspense and romance among 15-35 year olds, the author defines the target audience. Several marketing strategies are then outlined, including use of social media platforms like Instagram, Twitter and Facebook, as well as a film poster.

1. Evie Hand

2. MY TARGET AUDIENCE
 A target audience is a “particular group of people where a product such as a film or
advertisement is aimed at”
 When I was doing an investigation into audiences it became apparent that audiences
are profiled by brands in many different ways for example through, age, gender,
demographics, psychographics, social gender etc.
o Therefore, I knew my group and I needed to define our own target audience including
its needs and gratifications
 In order to reach our target audience, we needed to create various strategies to engage
our audience, including interaction and addressing them. This meant we had to
consider multiple different factors including age, ethnicity, social class, media needs,
sexual orientation, so that our final product satisfies all their needs.
 Next I will present my audience research has influenced and shaped my planning into
creating the opening of Infamous.

3.  I began investigating how different brands define audiences to help me with my
own audience profile and establish a clear target audience.
 Brands profile audiences through their attitudes, interests, preferences and
behaviors to help with their engagement with their audience.
 For example, Sky Media use traditional markers like age, gender and occupation
to define their personal target audience whereas KISS radio shares that a typical
listener are millennials who tend to embrace the same quality life-style. Capital
radio define their target audience as “mainstream” and people “who always are
the first to know about new hit music”. Capitals audience is 59% female, and 57%
of those who tune in are between 15 and 34 years old.
 This shows that the way brands define their target audiences can be extremely
different, which helped me and my group decide how we would present ours.
HOW BRANDS DEFINE
TARGET AUDIENCE

4.  I created an audience questionnaire using
Google Forms. Through analyzing the results
I was able to extend my knowledge and have
a much clearer image of who my target
audience is. By understanding who they are
and what interests them as a consumer, my
group and I were able to think of our film
opening Infamous as something they would
enjoy.
MY AUDIENCE
QUESTIONNAIRE

5. AUDIENCE QUESTIONNAIRE
RESULTS

6. AUDIENCE QUESTIONNAIRE
RESULTS

7. AUDIENCE QUESTIONNAIRE
RESULTS

8. AUDIENCE QUESTIONNAIRE
RESULTS

9. AUDIENCE QUESTIONNAIRE
RESULTS

10. AUDIENCE QUESTIONNAIRE
RESULTS

11. AUDIENCE QUESTIONNAIRE
RESULTS

12. AUDIENCE QUESTIONNAIRE
RESULTS

13. AUDIENCE QUESTIONNAIRE
RESULTS

14.  By investigating ways in which audiences are profiled by brands like Sky, Global
and Bauer Media it allowed me to enable an audience profile based off of my
audience questionnaire. Through analyzing the data from the questionnaire about
gender, age, film preferences and even including qualitative questions where
people can answer in depth about their film preferences.
 Our primary target audience is British, female and males aged from 15 to 35 who
enjoy watch drama based films that include a lot of suspense, as well as
integrated moments of action and romance.
 I came to understand that social media is the most popular way to introduce a film
to the public. This meant it was important to have strong social media platforms
to communicate with our target audience about our movie.
MY AUDIENCE PROFILE

15. MY AUDIENCE PROFILE
 My target audience uses online
platforms to stream films. They find
out about information on films
through social media like Instagram
and YouTube and are more likely to
watch a film online rather than going
to the cinema.
 They communicate through on
mainstream products like iPhones
and use applications like Snapchat
and Instagram, where once again they
find out about the latest films too.
 My target audience is a trend follower,
and keeps up with all mainstream
activities as well as getting all its
news online. Our film, Infamous
reflects this very well, portraying a
young mother in the public eye, living
a high-style life as a famous actress

16.  To find out more about various aspects of audience theory, I researched multiple
audience theories.
 My slide share demonstrates these:
AUDIENCE THEORY

17. Distribution is releasing and
sustaining films within the
market place. It is the third part
of the supply chain, after
development and production and
it is often referred to as ‘the
invisible art’ as it is what will
make a movie successful to the
public or not. Many would argue
that distribution is the most
important part of the film
industry as it is where completed
films are brought to life and
connected with an audience. In
the UK, distribution is very
focused on marketing and
sustaining a global product in
local markets.
The role of a distributor is varied but includes
acquiring a film. If the distributer is a ‘major’ (so
attached to a studio like Warner Brothers or
Universal) they would normally work on films
made by that studio. A major may also require
the rights to an independent production (made
outside the major studies)
If it is an independent distributer, unaffiliated to
one of the major US studios, then the company
will buy (license) the rights to a film which they
may have seen at a film festival or at script
stage, or during the production phase.
Either type of distributor might have the right to
distribute the film in the UK only. Major studio
distributors will often have the right to
distribute the film worldwide.
DISTRIBUTION

18.  As part of distributing our film, we devised various marketing in order to reach our target
audience
INSTAGRAM . TWITTER . FACEBOOK . FILM
POSTER
OUR MARKETING AND
DISTRIBUTING STRATEGIES

19. TWITTER:
 We created our own
Twitter feed and posted
material that related to
our movie genre and
things our target
audience would enjoy
seeing
 This involved trailers for
other films, re-tweets
and tweets that we wrote
ourselves including
behind the scene shoots
from our shoot days!
OUR MARKETING AND
DISTRIBUTING
STRATEGIES

20. INSTAGRAM:
 Since we were all very familiar with
Instagram, we chose it as our first
marketing strategy. Since users on
Instagram have an average age of 16-
32 (which is our films target audience)
we thought it would be the perfect
social media platform to focus on most.
We decided to put a brief summary of
our film in the biography of our page,
so viewers can see if they'd enjoy the
genre and what it is about, in the hope
of drawing an audience base in.
 Once we attracted an audience we were
able to maintain them as followers,
allowing us to remain in contact
through our feed and profile, keeping
them informed in things going on with
our film!
OUR MARKETING AND
DISTRIBUTING
STRATEGIES

21. FACEBOOK:
 When creating the Facebook page, we wanted to
make the title simple like our other platforms so it
was engaging and straight to the point. Like
Instagram, a biography was used, once
again informing viewers what our film is about.
This includes enough information for the audience
to understand enough about our film but not too
much so that there is no big question or
suspense/mystery that will cause the audience to
want to find out more. We posted our film poster on
our Facebook page so that the audience were
further captivated and wanted to continue to follow
our movie.
OUR MARKETING AND
DISTRIBUTING
STRATEGIES

22. FILM POSTER:
 P&A has traditionally been an important element in
film marketing campaigns. To explore how we may
want to design a suitable poster for our thriller, I
took into account various genre code and
conventions such as colour, lighting, striking visuals
and the element of enigma
 We created our poster on Photoshop. We included a
title, release date, social media, key actors and
reviews.
 Since our film is about a famous girl involved in a
public scandal, we wanted our film poster to portray
this. By having flashing cameras in the background
as well as the protagonist dressed in full glam it
immediately suggests what the film will be based on.
OUR MARKETING AND
DISTRIBUTING
STRATEGIES

23.  Matt Smith, Co-head Theatrical of Lionsgate UK,
states that the spend on digital presence has
increased hugely
 Audiences expect to see all information about film
releases online. Matt Smith discusses how the
various elements have evolved to better serve the
digital world. An example of this is companies now
releasing their film trailers in portrait mode, to give
the perfect, easy viewing for phone screens.
 In the future, relationships between film distributors
and influencers like Youtubers and vloggers is
growing stronger. The whole world is moving online,
it is becoming a huge trend.
OUR MARKETING AND
DISTRIBUTING
STRATEGIES

24.  A UK film distributer’s main job is to get the film out to a paying audience. This is
done through marketing the film and finding the right target audience and
understanding how to reach them to make them engaged
 To maximize the reach of an audience, strategies are involved very early on.
Teaser trailers, social media, posters and sneak peaks are all exploited to the
public to start the initial hype and build up to the release date
 Matt Smith shares that spending on digitals has increased hugely as it is such a
large part of marketing publicity
 Distributers recut their films to fit portrait mode to fit phone screen better, as this
is the main way their target audience is reached (via phones). Other examples are
making trailers shorter as people have a much shorter attention span when
watching things online. Often, trailers are now displayed after a 5 second pre roll
advising viewers not to click off and to watch the full video.
OUR MARKETING AND
DISTRIBUTING
STRATEGIES