Download - Danish Film Institute Keynote
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TALES FROM THE DIGITAL FRONTIER
NOVEMBER 2009www.powertothepixel.com
LANCERINGSDAGEN09DET DANSKE FILMINSTITUTPresented by: Liz RosenthalManaging Director, Power to the Pixel
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POWER TO THE PIXELEvents 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
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IS THE TRADITIONAL FILM MODEL HOLDING US BACK?
20,000 films produced in 2007number of films released theatrically in 2008
Denmark: 231Netherlands: 296
France: 555Germany: 471
Italy: 376Spain: 402
UK: 531US: 600
Figures: EDI, Screen Digest, DFI
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TRADITIONAL 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
DIGITAL MEDIA
What are the opportunties the digital world offers?
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NEW RELATIONSHIPS WITH AUDIENCESTHE 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
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THE HUGE IMPACT OF SOCIAL MEDIABuilding 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
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THE KEY TO A DIGITAL FUTURE RESIDESIN 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
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Crowdsourcing/ Crowdfunding/ Collaborating
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CROWDFUNDINGBRAVE NEW FILMS/ Robert Greenwald
www.bravenewfilms.com
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CROWDFUNDING BRAVE NEW FILMS/ Robert Greenwald
www.bravenewfilms.com
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CROWDSOURCING THE AUDIENCEBRAVE NEW THEATRES/ Robert Greenwald
www.bravenewtheaters.com
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CROWDSOURCING RESOURCESSTARWRECK IN THE PIRKINNING/ Timo Vuorensola
www.starwreck.com
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www.wreckamovie.com
CROWDSOURCING RESOURCESSTARWRECK IN THE PIRKINNING/ Timo Vuorensola
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CROWDSOURCING RESOURCESIRON SKY/ Timo Vuorensola
http://www.ironsky.net/site/
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www.indiegogo.com
CROWDSOURCING RESOURCES/ DIWO - DO IT WITH OTHERSINDIEGOGO
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CROWDSOURCING THE AUDIENCE MOVIEMOBZ/ Cinema-On-Demand
www.moviemobz.com
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COLLABORATIVE CURATIONFOUR EYED MONSTERS/ Susan Buice & Arin Crumley
www.foureyedmonsters.com
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COLLABORATIVE CURATIONFOUR EYED MONSTERS/ Susan Buice & Arin Crumley
www.foureyedmonsters.com
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CREATING AN ONGOING CONVERSATION
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CREATING AN ONGOING CONVERSATIONWE ARE THE STRANGE/ M dot Strange
www.wearethestrange.com
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CREATING AN ONGOING CONVERSATIONBRAVE NEW FILMS/ Robert Greenwald
www.bravenewfilms.com
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MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOW
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MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOWAGE OF STUPID/ Franny Armstrong
www.ageofstupid.net
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MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOWAGE OF STUPID/ Franny Armstrong
www.ageofstupid.net
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www.ageofstupid.net
MAKING STORIES AVAILABLE ANYPLACE, ANYWHERE, ANYHOWAGE OF STUPID/ Franny Armstrong
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MAKING STORIES AVAILABLE ACROSS MULTIPLE PLATFORMSRAGE / Sally Potter
www.ragethemovie.com
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MAKING STORIES AVAILABLE ACROSS MULTIPLE PLATFORMSRAGE / Sally Potter
www.ragethemovie.com
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WORKING WITH FREE
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WORKING WITH FREESITA SINGS THE BLUES/ Nina Paley
www.sitasingstheblues.com
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WORKING WITH FREESITA SINGS THE BLUES/ Nina Paley
www.sitasingstheblues.com
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WORKING WITH FREESITA SINGS THE BLUES/ Nina Paley
www.sitasingstheblues.com
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WORKING WITH FREESITA SINGS THE BLUES/ Nina Paley
www.sitasingstheblues.com
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WORKING WITH FREESTEAL THIS FILM/ Jamie King
www.stealthisfilm.com
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WORKING WITH FREEVODO/ Jamie King
www.vodo.net
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WORKING WITH FREETHE TRIBE/ Tiffany Shlain
www.tribethefilm.com
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WORKING WITH FREETHE TRIBE/ Tiffany Shlain
www.tribethefilm.com
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Storyworld
CROSS-MEDIA STORYTELLINGHow will storytelling evolve in a digital world?
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CROSS-MEDIA STORYTELLINGTHE DARK KNIGHT/ 42 ENTERTAINMENT
www.batman.wikibruce.com/Home
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CROSS-MEDIA STORYTELLINGTHE DARK KNIGHT/ 42 ENTERTAINMENT
www.batman.wikibruce.com/Home
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slide courtesy of Seize the Media
www.headtraumamovie.com
CROSS-MEDIA STORYTELLINGHEAD TRAUMA/ LANCE WEILER
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CROSS-MEDIA STORYTELLINGHEAD TRAUMA/ LANCE WEILER
slide courtesy of Seize the Media
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“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
CROSSMEDIA STORYTELLING
/ extends the creative form/ reaches and engages extended audiences/ increases potential types of finance/ new opportunities to exploit IP