Pathway to audience
- Pathway to Audience
The primary target audience for my proof of concept and long form idea are those around the ages of 16-25, who possesses a particular interest in the experimental features of cinema and the psychology drama genre. They may have enjoyed media works such as Tarkovsky’s The Stalker (1979) which offers a poetic and contemplative visual journey. The focus on the coming-of-age story shared between two girls may also appeal to selective young female audiences. They may establish a sense relatability to the characters’ issues of self growth, friendship and loss. A niche audience group include those who enjoy the ‘liminal space’ aesthetics integrated within the narrative idea.
My target audiences typically consume content through streaming services and social media. YouTube and Netflix are their primary sources for viewing video-based content with 61% of young adults visiting YouTube daily and 86% utilising Netflix services (Pew Research Centre 2017). As suggested by Hayles (2007:187), younger audiences often ‘[seek] high levels of simulation, and [have] a low tolerance for boredom’, thus they generally prefer short videos offered by platform such as TikTok. Additionally, my target audience who are interested in the experimental aspects of cinema may actively seek out innovative media works. They may frequent platforms such as Short of the week and Vimeo alongside moving-image exhibitions to access high quality shorts and web series from emerging film makers.
I aim to prioritise esteemed film festivals such as the Sundance Film Festival and Tribeca Film Festival. Being able to screen at these highly reputable film festivals will connect a large scale of audiences who are engaged in innovative media works to my short film. Additionally, I intend to enter my proof of concept into the FIRST international film festival and Across Asia Youth Film Festival which focus on the distribution of art and experimental short films, specifically targeting adolescent viewers.
I intend to also publish my short film on YouTube and Vimeo as my intended audiences generally prefer to consume content through these platforms. Designing a thumbnail which showcases the film’s achievements and general aesthetics will attract cinephile audiences who favour high quality content.
Moreover, the initial ‘liminal space’ concept began as an image on a 4chan thread in 2019. Following the increased interest in its uncanny aesthetics, it was then expanded into the short film; The Backrooms (Found Footage) (2022) which explores similar genres and aesthetic qualities to my short. Referencing this short film’s success, a good promotion strategy would be posting screen grabs on platforms such as 4chan to cater towards the those who appreciate these specific visual and thematic qualities.
References:
Hayles K.N (2007), ‘Hyper and Deep attention: The generational divide in cognitive mode’ Profession, 187-199, accessed 6 October 2022. RMIT Library Database.
Kane Pixels (7 January 2022), ‘The Backrooms (Found Footage)’, Kane Pixels, YouTube Website, accessed 6 October 2022. https://youtu.be/H4dGpz6cnHo
Pew Research Centre (2017) About 6 in 10 young adults in U.S. primarily use online streaming to watch TV, Pew Research Centre website, accessed 6 October 2022. https://www.pewresearch.org/fact-tank/2017/09/13/about-6-in-10-young-adults-in-u-s-primarily-use-online-streaming-to-watch-tv/
Tarkovsky A (director) (1979) The Stalker [Motion Picture], Mosfilm, Russia
- Reflection
- In what ways do you hope your final work communicated a key concern of the studio?
A key concern of the studio is to educate on the development a proof-of-concept project for a long form idea. I hope my final work, the completed pitch document and script of my proof of concept is able to showcase how the essence of a long form idea can be condensed within a short film. In addition to this, I hold my completed project reflects the creative exercises we conducted in class in rendering a unique character journey, story world and narrative idea.
- Imagine you are going to keep working on this proof-of-concept project (moving towards production) – what would be the core things you would want to improve and why?
Continuing my work on this proof-of-concept project, the key things I want to improve upon are the narrative development and character journey. I think the current structure of the short film is overly focused on showcasing the visual aspects of the story world and lacks clarified storytelling. When too much emphasis is placed on the visual experience of the short film, the character journey also becomes secondary. Since I intended for Will We Meet Again to focus on the protagonist’s emotional journey through grief and the importance of her relationship with her best friend, it is crucial for me to reflect and improve upon the narrative and character writing aspects of the short.
- Do you think your proof-of-concept idea (in its final form submitted) will effectively ‘prove’ the concept of your long form narrative idea? If so, why?
I believe my proof-of-concept idea will effectively ‘prove’ the concept of my long form narrative idea through the visual construction of the story world, character journey and the themes explored. Through the numerous nostalgic yet uncanny spaces showcased, the short film invites audiences on a visual journey through fragmented memories and the grief of the protagonist. This provides a holistic insight into the general style and tone of the long form idea, where the tv series similarly exhibits the process in overcoming grief through a visual tour in the protagonist’s mindscape. The short also leads towards the protagonist’s growing courage in accepting the reality of her friend’s death which will be further elaborated upon within the long form tv series. Overall, the short film successfully establishes the thematic and aesthetic qualities of the long form narrative idea.
- What were the key challenges for you in this studio and how do you feel you overcame them?
The key challenges encountered in this studio include the idea development processes. I frequently find myself periodically creative where most of my ideas never come to fruition. This studio propelled me on am uninterrupted creative journey where I was required to fully concentrate on developing a singular concept. I found this quite creatively straining because I’m not accustomed to working in such a coherent process. However, I was able to overcome the creative burnout and refine my narrative idea to a completed state. Although challenging, completing the development process helped me understand the significance of systematically organising and polishing a creative concept.