QUALITATIVE RESEARCH ON CULTURAL CINEMA April 2013 Prepared for the Overview of Cultural Cinema in Ireland on 19 th June 2013 An Arts Council and Arts Audiences Information Event in association with access>CINEMA By Grogan Research Ltd.
Transcript
Slide 1
April 2013 Prepared for the Overview of Cultural Cinema in
Ireland on 19 th June 2013 An Arts Council and Arts Audiences
Information Event in association with access>CINEMA By Grogan
Research Ltd.
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Contents 1. Introduction 2. Cultural Cinema 3. Engagement with
Cultural Cinema 4. Key Characteristics of Low, Lapsed & Non
Attenders 5. Motivators & Inhibitors 6. Community of Cultural
Cinema 7. Summary & Conclusions
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1. INTRODUCTION
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1.1. Primary Objective of Research The primary objective of the
research was to ascertain and evaluate the attitudes and behaviour
of low, lapsed and non attenders towards cultural cinema And,
thereby, provide direction for the development of audiences for
cultural cinema in the future
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1.2. Specific Research Issues 1. What do people know and
understand about cultural cinema? 2. How do people engage with
cultural cinema? 3. What are the motivators for engaging with this
form of film? 4. What are the inhibitors? 5. What are the
influencers that affect engagement? 6. How do people hear about
cultural cinema? 7. How would they like to hear and what would they
like to know? 8. What do people require from a venue and how well
do venues perform? 9. How can new audiences be attracted? 10. How
can attendances be improved and retained?
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1.3. Methodology A qualitative research project 4 focus groups
3 locations in Ireland Representing specialist venues, specialist
festivals and multidisciplinary venues offering a cultural cinema
programme Convened from April 4 th to May 1 st 2013
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1.4. 1 Sample Three categories of cultural cinema attenders
Identified as the potential target market for growing cultural
cinema audiences 1. LOW ATTENDERS: attended cultural cinema 3 times
in the past 2 years 2. LAPSED ATTENDERS: attended 1 or 2 screenings
in 2011 and did not return since 3. NON ATTENDERS: attend
mainstream cinema and are aware of the availability of cultural
cinema but never attend
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1.4. 2 Sample Additional recruitment criteria Males and females
Aged 18+ All attended a film from an adult or general programme All
bought tickets themselves Low and lapsed attenders recruited from a
relevant database Some were members of a film society
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2. CULTURAL CINEMA
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2.1. What is Cultural Cinema? Defined in each group as being at
one end of a simple dichotomy ArthouseMainstream Dark Not
mainstream Quirky Arty-farty Experimental Obscure Alternative Niche
Weird
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2.2. Arthouse vs. Mainstream ARTHOUSE Niche appeal Low budget
Poorly advertised Unknown details on the film Short runs Is more
about the film Accompanied and alone Mixed levels of attendance
Dedicated audience Less comfort & poorer aesthetics ARTHOUSE
Niche appeal Low budget Poorly advertised Unknown details on the
film Short runs Is more about the film Accompanied and alone Mixed
levels of attendance Dedicated audience Less comfort & poorer
aesthetics MAINSTREAM Mass appeal Big budget Well advertised Famous
actors/directors Long runs Is more about the hype Typically
accompanied Populated audience Noisy audience More comfort &
better aesthetics MAINSTREAM Mass appeal Big budget Well advertised
Famous actors/directors Long runs Is more about the hype Typically
accompanied Populated audience Noisy audience More comfort &
better aesthetics VS.
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2.3. Cultural Cinema Venues The venue for cultural cinema has a
multitude of identities Providing a range of varying experiences
for the attender 1. ARTS & CULTURAL CENTRES / THEATRES 1. ARTS
& CULTURAL CENTRES / THEATRES 2. FILM SOCIETIES / CLUBS 2. FILM
SOCIETIES / CLUBS 3. FILM FESTIVALS 3. FILM FESTIVALS
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2.4. The Message for Venues Cultural cinema has a distinct
identity which is delivered in many forms This variety generates a
diversity of experience which breeds inconsistency in expectation
Venues need to take into consideration this mixed sense of reality
when marketing to potential and current audiences To offset
negative assumptions and build on what is unique and valued about
cultural film Cultural cinema has a distinct identity which is
delivered in many forms This variety generates a diversity of
experience which breeds inconsistency in expectation Venues need to
take into consideration this mixed sense of reality when marketing
to potential and current audiences To offset negative assumptions
and build on what is unique and valued about cultural film
IDENTITY
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3. ENGAGEMENT WITH CULTURAL CINEMA
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3.1. Level of Attendance Attenders have been predominantly
selective in their attendance of cultural cinema SELECTIVE
ATTENDANCE Driven by: Awareness of the film being on Personal
interest in the film Having someone to go with Special offers
SELECTIVE ATTENDANCE Driven by: Awareness of the film being on
Personal interest in the film Having someone to go with Special
offers REGULAR ATTENDANCE Almost habitual Film society/club
members: Limited season Ticket deals Local community gathering
REGULAR ATTENDANCE Almost habitual Film society/club members:
Limited season Ticket deals Local community gathering
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3.2. Nature of Attendance An escape To relax the brain &
escape from reality for a while A challenge To stimulate the brain
& challenge oneself mentally Casual event Drop in to see a film
no effort required Planned Arrange to go with others as part of an
evening out meal/drinks included Alone Complete indulgence in the
film Accompanied A reason to meet up with friends & share an
outing Attenders do not have set patterns of attendance and attend
in many different ways
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3.3. Personal Investment Information search researching what is
on offer Personal confidence knowing what one will enjoy Face value
fitting in socially with the experience Cost factor not wasting
money Time & effort factor Intolerant of disappointment It can
be a gamble Lapsed Attending cultural cinema warrants a certain
level of personal investment
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3.4. The Message for Venues If people are making an effort to
come to your venue, they need to know you are making an effort to
ensure that it is a positive experience for them They need: 1. A
repertoire of quality films from which to chose 2. Information in
advance to make a judgement call 3. A comfortable environment in
which to watch the film 4. Incentives to visit more often If people
are making an effort to come to your venue, they need to know you
are making an effort to ensure that it is a positive experience for
them They need: 1. A repertoire of quality films from which to
chose 2. Information in advance to make a judgement call 3. A
comfortable environment in which to watch the film 4. Incentives to
visit more often REACH OUT
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4. KEY CHARACTERISTICS OF LOW, LAPSED & NON ATTENDERS
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4.1. Low Attenders Who are they? All ages & stages enthuse
about own venues hardly speak about mainstream casual & regular
attenders Why do they go along? Confident will enjoy the whole
experience claim to be informed open to challenging the mind
membership of film society/club Why do they continue to attend?
Continue to enjoy trust the venues & film society/club keep an
open mind enjoy the company Why do they not go more often? No
particular reason choice of film, poor facilities, poor
information, lack of company, no time, financial reasons What do
they need? Information on the breadth & depth of the offering
quality films curated especially for them comfortable venues with
excellent facilities attractive ticket deals I was intrigued to see
what wouldnt be a normal film in a regular cinema Low I was very
dubious about going there the first time but Ive always found it ok
Low It is important to get out of your comfort zone Low
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4.2. Lapsed Attenders Who are they? From all walks of life
enjoy film & include cultural cinema as option more likely to
talk about mainstream film than cultural cinema Why did they go
along? Variety of reasons word of mouth some engagement with the
arts or others who do some are lapsed members of film
societies/clubs Why do they not go now? Multifaceted disappointed
in the films attended repetition in programming dislike for the
facilities did not use the ticket change in personal circumstances
How likely are they to go along again? Claim to hold an interest
but are lazy about seeking it out waiting for it to come to them
What do they need? A reason to reconsider attending information on
films, familiar actors/directors/titles, reassurance about the
venue facilities, promotional offers I dont go so much nowI find
them less interesting than they used to be Lapsed The last time I
bought the ticket, I ended up not being able to go Lapsed I stopped
going to places because I didnt find them comfortable Lapsed
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4.3. Non Attenders Who are they? Broad demographic profile film
appetite satiated by mainstream cinema looking for big impact film
entertainment an escape where the brain does not have to think What
do they think about cultural cinema? An art form antithesis to
mainstream for film buffs foreign films, subtitles, challenging
storylines, unknown names Why do they not go? Not for me a gamble
to go along waste of time and money in uncomfortable settings do
not know what they are missing and do not care enough to find out
How likely are they to go in the future? Most displayed lethargy
towards cultural cinema a few professed a possible likelihood of
exploring it What do they need? To be told that cultural cinema is
relevant to them to be tempted by a mainstream carrot a referral
from a reliable source trust in the ability of venues to satisfy
Someone would have to say to me you need to go to this, that would
make me go Non It only appeals to certain people Non Didnt realise
they had popular movies like The Guard Non
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4.4. The Message for Venues The different categories of
attender pose different tasks for audience development While there
are similarities, there are also distinctive issues regarding: 1.
Programming 2. Venue perceptions 3. Marketing & communications
The different categories of attender pose different tasks for
audience development While there are similarities, there are also
distinctive issues regarding: 1. Programming 2. Venue perceptions
3. Marketing & communications TARGETING
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5. MOTIVATORS & INHIBITORS
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5.1. Decision Factors AWARENESS PROGRAMMING PHYSICAL
ENVIRONMENT COMPANY CONVENIENCE TIMINGCOST Key influences on
deciding to attend cultural cinema
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5.2. Low Level of Awareness There is an apparent dearth of
information on cultural cinema Leading to misinformed assumptions
about the scope and nature of the cultural cinema experience There
was low recall of marketing The nature and timing of receiving
information is critical You have to go looking for it Lapsed You
need to definitely publicise it more Non
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5.3. Sources of Awareness WORD OF MOUTH IS THE MOST POWERFUL
SOURCE OF AWARENESS ON CULTURAL CINEMA Looking for a reliable
honest account of what to expect from the film in order to make a
well informed personal judgement call WOM Press Social Media
Websites/Apps TV/Radio Venues
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5.4. Multi-Media The Ticket, Culture, Guardian, Paul Clarke
(Irish Independent/Review), local newspapers, inserts Donald Byrne
(TV3), Philip Molloy (Newstalk), The Last Word, Teletext Venue
websites, entertainment websites, IrishTimes.com, Entertainment.ie,
IMDb, Rotten Tomatoes, cinema app Facebook: business page, links,
Liked, easy to update YouTube, Twitter Facebook: business page,
links, Liked, easy to update YouTube, Twitter PRESS TV RADIO TV
RADIO WEBSITE APPS WEBSITE APPS SOCIAL MEDIA
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Venues need to pursue a multi-disciplinary approach to their
marketing activity Brochure:Is an essential marketing tool Visual
impact, informative, user-friendly, advanced availability Mailing
list: Emails and texts, no more than monthly Posters:Not top of
mind but expected in venue and out of venue Website:Expected but
low usage of it to date, venues need to facilitate usage Social
media:Facebook presence with related activity Competitions:On radio
and in press to promote awareness & interest Outreach:Red
carpet events including post film talks Venues need to pursue a
multi-disciplinary approach to their marketing activity Brochure:Is
an essential marketing tool Visual impact, informative,
user-friendly, advanced availability Mailing list: Emails and
texts, no more than monthly Posters:Not top of mind but expected in
venue and out of venue Website:Expected but low usage of it to
date, venues need to facilitate usage Social media:Facebook
presence with related activity Competitions:On radio and in press
to promote awareness & interest Outreach:Red carpet events
including post film talks 5.5. The Message for Venues
AWARENESS
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5.6. Cultural Cinema Programming High degree of uncertainty
& assumption about what types of film cultural cinema offers
Especially among non attenders but also among low and lapsed
attenders Attenders trust venues to deliver high quality films but
they have a narrow viewpoint of the range of film on offer
Non-attenders strongly expect cultural cinema to offer films they
know nothing about which deters their likely consideration of it
All groups were intrigued to learn cultural cinema offers more than
expected Especially mainstream or just below mainstream: Argo,
Lincoln, The Artist, What Richard Did You dont know whether you are
going to like it or hate it Non
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5.7. Associations with Cultural Films Foreign/international
films Irish films Made by independent producers With subtitles
Foreign/international films Irish films Made by independent
producers With subtitles Short films / Long films Lower budget
films Older films Silent movies Black & white films Short films
/ Long films Lower budget films Older films Silent movies Black
& white films Notably not comedy, sci-fi, action thriller, kids
Consistent top of mind associations in all focus groups
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Venues need to offer a programme that satisfies different
levels of interest in cultural film To entice new attenders by
offering an entry level repertoire of film which is not too
divergent from mainstream cinema but at the same time provides a
unique experience which will invite consideration of repeat
attendance To grow frequency by offering a range of suitably
desirable films which will graduate the novice attender from mere
experimentation with cultural cinema to a more learned approach to
engaging with this type of film To retain engagement by offering a
consistent mix of quality films which clearly sit within the remit
of cultural cinema, thus, satisfying the appetite for this type of
film among experienced attenders Venues need to offer a programme
that satisfies different levels of interest in cultural film To
entice new attenders by offering an entry level repertoire of film
which is not too divergent from mainstream cinema but at the same
time provides a unique experience which will invite consideration
of repeat attendance To grow frequency by offering a range of
suitably desirable films which will graduate the novice attender
from mere experimentation with cultural cinema to a more learned
approach to engaging with this type of film To retain engagement by
offering a consistent mix of quality films which clearly sit within
the remit of cultural cinema, thus, satisfying the appetite for
this type of film among experienced attenders 5.8. The Message for
Venues PROGRAMMING
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Thus, venues need to reflect on the broad mix of programming
requests Irish as well as foreign/international films With and
without subtitles Independent and non-independent producers Short
films, standard films, long films Big budget and low budget films
New releases and older films Silent movies, black & white films
Also include: comedy, sci-fi, action/ thriller, kids With themed
and ad hoc programming Thus, venues need to reflect on the broad
mix of programming requests Irish as well as foreign/international
films With and without subtitles Independent and non-independent
producers Short films, standard films, long films Big budget and
low budget films New releases and older films Silent movies, black
& white films Also include: comedy, sci-fi, action/ thriller,
kids With themed and ad hoc programming 5.9. The Message for Venues
PROGRAMMING
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5.10. Physical Environment It is a balance between culture and
comfort Low The physical environment is critical to the film
experience There were consistent complaints in each group about
actual and/or anticipated aspects of the physical environment of
venues offering cultural cinema Comfort is a hugely important thing
to me Lapsed
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Seating is the top of mind issue Comfortable seating with an
unobstructed view, suitable leg room, personal space, and
wheelchair access Good sized cinema space Large screen Complete
darkness Quality sound proofing Clean and hygienic: no smell,
stains, dirt Comfortably warm Large foyer to comfortably
accommodate a crowd Queuing system that does not disturb people
Food and drink offering Available parking Seating is the top of
mind issue Comfortable seating with an unobstructed view, suitable
leg room, personal space, and wheelchair access Good sized cinema
space Large screen Complete darkness Quality sound proofing Clean
and hygienic: no smell, stains, dirt Comfortably warm Large foyer
to comfortably accommodate a crowd Queuing system that does not
disturb people Food and drink offering Available parking 5.11. The
Message for Venues PHYSICAL ENVIRONMENT
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5.12. Company at the Film Sharing company at a film is
important to most people Being with familiar people adds to the
social occasion It caters for a shared community of people
dedicated to the film & respectful towards others It affords a
chat before & after the film Having someone to go with is a
critical factor It can be difficult to find that someone personal
to go along with People are prepared to miss a film rather than go
alone There is a fear of being judged by others as having no
friends Film societies/clubs provide a solution to this
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Venues can offer a sense of community unique to cultural film
1. Establish a film society/club or suchlike 2. Consider running a
bring a friend along programme 3. Run outreach activities to
enhance familiarity among attenders 4. Develop a relationship with
attenders through marketing activities 5. Create a sense of
belonging and attachment to cultural cinema 6. While affording
privacy for those who do not wish to socially engage Venues can
offer a sense of community unique to cultural film 1. Establish a
film society/club or suchlike 2. Consider running a bring a friend
along programme 3. Run outreach activities to enhance familiarity
among attenders 4. Develop a relationship with attenders through
marketing activities 5. Create a sense of belonging and attachment
to cultural cinema 6. While affording privacy for those who do not
wish to socially engage 5.13. The Message for Venues COMPANY
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5.14. Convenience Convenience is a deciding factor on going to
see a film Location is critical: Near public transport or parking
Near pub and/or restaurant Close to home and/or work Parking is
important: The availability of parking, its cost and ease of access
add to the assessment of convenience when deciding on going to a
cultural cinema location The timing of the film is another
dimension of convenience
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Venues can enhance convenience Consider ways to compensate for
difficult parking by offering discounted deals with local car parks
and/or access to public transport Review scheduling of films to
coincide with times that are relevant to work and leisure time
Venues can enhance convenience Consider ways to compensate for
difficult parking by offering discounted deals with local car parks
and/or access to public transport Review scheduling of films to
coincide with times that are relevant to work and leisure time
5.15. The Message for Venues CONVENIENCE
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5.16. Timing There are critical scheduling issues Time of year:
Typically autumn, winter, spring Time of day: Early evening and
afternoon: starting times from 2pm to 8pm Time of week: Preference
for weekend but also midweek is appropriate Duration of run:
Compensate for short run by providing early advance information
Relevant occasions: Oscars, other awards, box-office release
Competing events: Clashing with other events can strain time and
finances
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Venues can cater for the timing issues of attenders There is
claimed limited planning ahead for attending cultural cinema, thus,
venues need to cater for spontaneous decisions by scheduling
screenings to suit casual visits There is claimed missing out of
films because of short runs and low awareness, thus, the marketing
of films needs to allow adequate time to assist planning Venues can
cater for the timing issues of attenders There is claimed limited
planning ahead for attending cultural cinema, thus, venues need to
cater for spontaneous decisions by scheduling screenings to suit
casual visits There is claimed missing out of films because of
short runs and low awareness, thus, the marketing of films needs to
allow adequate time to assist planning 5.17. The Message for Venues
TIMING
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5.18. Cost The cost of a cultural cinema ticket is not top of
mind The anticipated enjoyment of the film and the venue is more
influential There is uncertainty about the price of a ticket Price
recall ranged from 4 to 11 Some expect the price to be cheaper, and
others expect it to be dearer, than mainstream cinema Affordability
is important: a film club/society works out more economical and
eases the risk factor Combination deals are highly attractive in
terms of value for money and adding to the social outing: discounts
with restaurants, parking and pubs Additional expenses are not top
of mind: parking, refreshments, drink/dinner Combination deals are
highly attractive in terms of value for money and adding to the
social outing: discounts with restaurants, parking and pubs
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By developing special offers, venues have the opportunity to
attract new custom and foster repeat attendance Season ticket: film
society/club Combinations: discounts with restaurants, parking and
pubs Competition: win tickets, discount off tickets or meet key
character Loyalty card: mixed appeal Friends: benefits of becoming
a friend of the venue By developing special offers, venues have the
opportunity to attract new custom and foster repeat attendance
Season ticket: film society/club Combinations: discounts with
restaurants, parking and pubs Competition: win tickets, discount
off tickets or meet key character Loyalty card: mixed appeal
Friends: benefits of becoming a friend of the venue 5.19. The
Message for Venues COST
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6. COMMUNITY OF CULTURAL CINEMA
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6.1. Society/Club/Venue Membership A highly regarded source of
access to cultural cinema Binding people to cultural cinema through
membership, season ticket & club atmosphere Takes the edge out
of the risk: expect a relatively trustworthy range of quality films
Prying interest among non-members in the focus groups Secret
society association due to limited awareness Scope for broadening
the programme on offer Infectious enthusiasm among members
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6.2. Film Festivals Film festivals are treasured as cultural
institutions by attenders A tradition in the social calendar Not
just about film: may not even go to a film but take part in it
socially Great atmosphere and buzz in the area People take time off
and meet people there year after year Bringing all sorts of people
together Some mainstream hype & red carpet events A curated
range of quality films with international acclaim Need to watch out
for it because popular films can sell out This level of
conversation inspired non-attenders of film festivals to consider
planning ahead for subsequent film festivals
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6.3. The Message for Venues The film society/club/membership
and film festival serve as catalysts for attendance Venues must not
lose focus of: 1. The added value of hype and outreach activities
2. The community experience 3. The ambassadorial role of attenders
4. Trust in the programming 5. Value for money The film
society/club/membership and film festival serve as catalysts for
attendance Venues must not lose focus of: 1. The added value of
hype and outreach activities 2. The community experience 3. The
ambassadorial role of attenders 4. Trust in the programming 5.
Value for money FILM SOC/CLUB FESTIVALS
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7. SUMMARY & CONCLUSIONS
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7.1. Cultural Cinema Cultural cinema is seen to require more
from the attender than mainstream film Information is not as widely
available so has to be sought out The film is not as well-known
& there is less word of mouth referral There are less
opportunities to see it with short runs, single venues, etc The
risk factor is greater in not knowing much in advance about the
film The cinema environment is more challenging in terms of
personal comfort The location of the venue may be off-putting in
terms of convenience and parking Venues can work on this
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7.2. Complete Entertainment Experience Cultural cinema is not
just about the film, it is about the whole entertainment experience
which is provided by the venue There is a certain level of trust
imposed on the venue to deliver a quality experience although this
is not always met The narrow view of the repertoire of films
coupled with the excitement in discovering that cultural cinema
also offers cross-over films as well as other films indicates that
there is a lost opportunity if the extent of the programming is not
promoted The venue is required to provide comfort, in particular,
quality seating, large screen, unobstructed view, heating,
darkness, sound proofing, easy queuing & overall hygiene
Another feature is the accompanying activity which adds to communal
experience and the overall cultural learning both before and after
the film Venues who provide a quality experience need to promote it
strongly, while those who do not, need to work on making
improvements
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7.3. Marketing & Communications Marketing and
communications are essential There is misguided anticipation of
venues and negative assumptions about what to expect. These need to
be challenged The reactions to additional information in the
research highlight the benefits to be gained from stronger
promotional activity The brochure is the main channel of
communication from venues There are other opportunities to be
explored in terms of relationship building, website development,
and social media marketing There is a high reliance on objective
sources in the media. These present opportunities for cultural
cinema venues to explore, to have their voice heard and to
encourage attendance Audience development relies on strategic
marketing and communications