Beyond the Multiplex: Audiences for Specialised Film in English Regions
Lead Research Organisation:
Newcastle University
Department Name: Sch of Geog, Politics and Sociology
Abstract
The aim of the project is to understand firstly how to enable a wider range of audiences to participate in a more diverse film culture that embraces the wealth of films beyond the mainstream; and secondly how to optimise the cultural value of engaging with those less familiar films, identified here as 'specialised' films. We will do this by investigating how audiences engage with and form around specialised films in four English regions. Audience formation is here understood as the processes of engagement with films that generate audience experiences. Drawing on industry definitions, specialised films are understood as films outside the mainstream, including small scale UK films, foreign language, documentary, archive and hard-to-pigeonhole films, and films with unconventional narratives, themes or cinematic techniques. Provision of mainstream film is good across England; however, provision of specialised films is low across the English regions outside London, which limits the opportunities for people to experience a more diverse film culture. We need to know more about the provision of specialised films in those regions, and how audiences form in relation to specialised film provision. Although audience reception studies have made audiences increasingly visible within academic debate and although the industry and policy makers also gather intelligence about audiences, little attention has been paid to the specific contextual relationships and interactions between media and people that generate and sustain audiences in English regions. Audience policy for specialised films takes a regional approach in attempting to improve provision and create a more diverse film culture. Our project aims to provide a firm evidence base for such policy developments by establishing a detailed understanding of how audiences form in their engagement with specialised films, the extent to which they are committed to film cultural diversity and the role that regional identity plays in that process. To achieve these aims requires an holistic approach that addresses the details of consumption and the opportunities to consume, namely the provision of film at a regional level, including online. The goal is both to advance scholarship and to provide concrete recommendations about how UK audience policies can be improved.
This focused, comprehensive and impactful project will explore the relationship between audiences and specialised films by examining the practices of venue-based and online film consumption, how different audiences experience specialised films, and the value of venues in the regional provision of film. It will also address the provision of specialised film by examining the industry processes of funding, production, distribution and exhibition (including online) of specialised films in four English regions. The audience research will involve a multilevel comparative study of audience formation in relation to specialised films in four English regions, collecting data that is in depth and at scale and using innovative digital humanities analytical methods. Following an earlier pilot study (http://www.hrionline.ac.uk/fhn), we have developed a highly experienced interdisciplinary team to undertake this project, comprised of academic experts in film studies, sociology, cultural policy, digital humanities and partners from film policy and the film industry. Through a partnership with the British Film Institute's (BFI) Film Audience Network and the Film Hubs (which organise provision of specialised film and foster audience participation regionally), the project is designed to have direct impact on the BFI's efforts to improve regional audience figures, widen film choice, and enhance the cultural benefits of specialised film. The project will therefore establish a strong relationship between the scholarly understanding of audiences and the development of official audience policies and industry practices in the context of regional provision.
This focused, comprehensive and impactful project will explore the relationship between audiences and specialised films by examining the practices of venue-based and online film consumption, how different audiences experience specialised films, and the value of venues in the regional provision of film. It will also address the provision of specialised film by examining the industry processes of funding, production, distribution and exhibition (including online) of specialised films in four English regions. The audience research will involve a multilevel comparative study of audience formation in relation to specialised films in four English regions, collecting data that is in depth and at scale and using innovative digital humanities analytical methods. Following an earlier pilot study (http://www.hrionline.ac.uk/fhn), we have developed a highly experienced interdisciplinary team to undertake this project, comprised of academic experts in film studies, sociology, cultural policy, digital humanities and partners from film policy and the film industry. Through a partnership with the British Film Institute's (BFI) Film Audience Network and the Film Hubs (which organise provision of specialised film and foster audience participation regionally), the project is designed to have direct impact on the BFI's efforts to improve regional audience figures, widen film choice, and enhance the cultural benefits of specialised film. The project will therefore establish a strong relationship between the scholarly understanding of audiences and the development of official audience policies and industry practices in the context of regional provision.
Planned Impact
We aim to achieve impact within the British film industry through a programme of research that directly supports the work of the British Film Institute (BFI) Film Audience Network (FAN). FAN is composed of the nine Film Hubs which cover the whole of the UK. The aim of FAN is to position 'specialised film' as a recognisable, valued and important part of people's cultural lives. FAN seeks to achieve this by a) developing a larger, more diverse and sustainable audience for specialised film and b) creating a more confident sector for the distribution and exhibition of specialised film. Our project will help FAN and the industry sector address these two objectives by providing evidence (raw data and research outputs), tools for conducting their own analysis of the data (the online interface), and a methodology for conducting similar audience studies involving quantitative and qualitative data (the ontology). If funded, the project is timely because its findings will feed in to the BFI's next round of planning for the continuation of FAN beyond 2017. Our pathway to impact is targeted at the strategic level and the applied level.
The project is thus designed to have a direct impact on the BFI's efforts to improve regional audience figures, widen film choice, and enhance the cultural benefits of specialised film. More generally, the project is designed to inform and influence the specialised film sector, industry leaders and stakeholders through a series of impact activities that make use of the audience data and the search and visualisation tools and assist them with their decision making processes at regional and national levels. One aspect of the impact plan will be to run a series of workshops that use the project's digital deliverables as part of a Delphi Methodology to influence policy development. The project will thus establish a strong relationship between the scholarly understanding of audiences and the development of official audience policies and industry practices in the context of regional provision.
The project is thus designed to have a direct impact on the BFI's efforts to improve regional audience figures, widen film choice, and enhance the cultural benefits of specialised film. More generally, the project is designed to inform and influence the specialised film sector, industry leaders and stakeholders through a series of impact activities that make use of the audience data and the search and visualisation tools and assist them with their decision making processes at regional and national levels. One aspect of the impact plan will be to run a series of workshops that use the project's digital deliverables as part of a Delphi Methodology to influence policy development. The project will thus establish a strong relationship between the scholarly understanding of audiences and the development of official audience policies and industry practices in the context of regional provision.
Organisations
Publications
Corbett, S.
(2017)
Active audiences and reflexivity: how film audiences form in northern English regions, Vol. 14, no. 2 2-17.
in Participations: Journal of Audience & Reception Studies.
Forrest D
(2021)
Viewing I, Daniel Blake in the English Regions: Towards an Understanding of Realism through Audience Interpretation
in Journal of British Cinema and Television
Forrest D
(2021)
A 'space to imagine': Frenchness and the pleasures and labours of art cinema in the English regions
in Studies in European Cinema
Hanchard M
(2019)
Exploring contemporary patterns of cultural consumption: offline and online film watching in the UK
in Emerald Open Research
Hanchard M
(2020)
Developing a computational ontology to understand the relational aspects of audience formation
in Emerald Open Research
Merrington P
(2019)
Using mixed-methods, a data model and a computational ontology in film audience research
in Cultural Trends
Merrington P
(2017)
Project Quarterly newsletter
Merrington P
(2021)
Inequalities in Regional Film Exhibition: Policy, Place and Audiences
in Journal of British Cinema and Television
Robson, L
(2017)
Project Launch Report
Description | New theory of Audiences: audiences are seen as a process in how they develop relationships with film. This involves: personal film journeys, geographies of film provision, audience types, mixed economy of film provision and exhibition, and lived film culture. Personal film journeys are the ways in which a person develops his or her relationship with film over time. Such journeys vary, but their key characteristics are: (1) they are personal, both subjective and intersubjective, uniquely felt by an individual but, through the audience experience, situate the individual within wider societal discourses, culture, and society. (2) The personal journey with film develops throughout a person's lifecourse, which vary in relation to a person's resources, life experiences and circumstances, interests, socio-cultural context, and friends and family within their linked lives network. (3) Film becomes a companion for people through this journey and in their lives. Types of film audiences: there are five types of audiences, which are: individualised, group, venue-specific, global, and digital audiences. Five different geographies of film provision: (1) diverse film cities with a broad range of venue types, providing a variety of films; (2) mainstream multiplex cities with commercial multiplex provision, with limited range of non-mainstream film; (3) diverse film towns, which have independent film exhibition, but no multiplex provision; (4) mainstream film towns, which often have a multiplex cinema but only limited levels of independent provision; and (5) limited underserved areas, where there is little or no film provision of any kind. Mixed economy of film provision: the mixed - and uneven - economy of cultural or independent and commercial film exhibition create the characteristics of film provision. The degree to which these types of venues vary in scale and scope across and within regions affects levels of participation in certain types of film audiences. Cultural cinema supports critical engagement with film, which widens horizons and facilitate understandings of different perspectives, situations, and places. Lived film culture: the ways in which people engage with film culture transforms it into culture that is lived and experienced, meaning that it is extended and adapted into lived film culture. Lived film culture identifies the ways in which film is part of people's everyday lives, ordinary cultural practices, and special events. It includes how film feed into and are part of the ways in which people talk about films in their everyday lives, as well as how the narratives, topics and representations in films that are part of public and everyday discourse. The social and cultural value of film: films have social and cultural value for people, cultural groups and communities, as well as for institutions. Film is meaningful for people in particular ways across the lifecourse, supporting them at a very personal level through their changing life circumstances but, beyond that, also supporting wider social and cultural sensibilities. |
Exploitation Route | The project's open access data platform with its open access tools is being used by the BFI, the BFI Film Hubs, the BFI Film audience Network in the development of policy. It is also being used by exhibitors and allied groups in film audience development in growing and developing audiences. It is also being used by academics in film and audience studies in their research as well as in their teaching - the open access data platform is being used by their students. The open access data platform is also being used by those teaching methodology in the social sciences. The forthcoming book (to be published in June/July 2022) will also provide new theory and concepts about audiences and their formation based on robust empirical research. The new theory of audiences will enable research to address audiences in contemporary society. |
Sectors | Creative Economy Culture Heritage Museums and Collections |
URL | https://www.beyondthemultiplex.org |
Description | The project's data, findings and recommendations have been used in 2021 and 2022 to inform the BFI next 10 year policy strategy. The PI, Wessels participated in the BFI consultation process in developing its next 10 year strategy and the project's final report was also cited in the consultation report. The findings and recommendations have been used and taken up by the BFI Film Hubs in their audience development programmes, and insights from the project are informing the ICO's distribution policy and Into Film's development of young audiences strategy. Wessels in conversation with Mark Cosgrove gave the opening keynote about the the project's findings and recommendations the This Way Up conference in Bristol in 2021, which is the major film sector conference in the UK. The projects's film of the findings is also distributed nationally to those working in the sector and has been well received. Individual exhibitors across the regions of the UK, including those across Scotland and Wales are using the findings in developing their audiences. The project has developed impact through supporting the independent British film exhibition sector with a programme of research, events, conference presentations, workshops and policy recommendations. This has directly supported the British Film Institute (BFI) Film Audience Network (FAN) in their work to develop a larger, more diverse and sustainable audience for specialised film and worked towards creating a more confident sector for the distribution and exhibition of specialised film. This has been achieved by providing a new methodology for conducting audience studies through mixed methods research and the use of an ontology. Using this methodology, the project has provided evidence in the form of data, findings, and research outputs including data visualisation and search tools. This evidence of a new understanding of film audiences, has been shared with the sector to inform their practice through engagement activities, including workshops and conferences, and using the research findings to create policy recommendations in collaboration with industry partners. Impact through engagement has included presentations at the annual film exhibition innovation conference, This Way Up in 2018 (at FACT in Liverpool) and 2019 (at the Broadway in Nottingham); organising a panel for the BECTU Freelancers' Fair in 2018; speaking at annual Film Hub South West events; presenting research internationally at the Diagonale (Festival of Austrian Film) in 2018 and the Europa Cinema Network conference in Lisbon in 2019; presenting the research to national film bodies including the BFI in London and Creative Scotland / Screen Scotland in Edinburgh; and continual engagement throughout the project with Film Hub North and Film Hub South West at regular update and discussion meetings. In addition to events and presentations, we have developed a social media presence to reach and inform a broad audience about the research on Twitter (with 633 followers) and a email newsletter (with over 100 subscribers) where we regularly shared updates on the research, findings, events and activities with those working in film exhibition (such as film programmers, marketing managers, cinema mangers). The project's final conference 'Audiences beyond the multiplex: understanding the value of a diverse film culture' (2nd and 3rd March 2021) brought together 40 academic and industry speakers with 215 delegates, made up of people working in independent film exhibition, from film festivals and cinemas to distributors and film clubs. The conference shared the project's findings and policy recommendations for film audience development and brought together a range of academics and film industry experts to discuss the future of film audiences and the value of a diverse film culture. The conference created impact by supporting the cultural leadership of the BFI Film Hub's with Mark Cosgrove (Film Hub South West and Cinema Curator, Watershed, Bristol) presenting a keynote address and Sally Folkard (Strategic Manager, Film Hub North) chairing a panel on audience development. The conference also supported BFI Film Hub members to consider development activities and services based on the research through two sessions presented by the research team on the project's key findings. Overall, this supported organisations in the creative industries and digital economy by informing their understanding of film audiences and the significance of developing a diverse film culture, as well as providing them with data and evidence to support the development of new activities and practices. To inform policy developments within the UK film sector with a specific focus on the BFI's next 10-year strategy (currently under development for 2023) is currently working towards producing a set of policy recommendations based on the research findings. A draft set of policy recommendations was developed through a series of Delphi methodology questionnaires and workshops with film exhibitors from the Film Hub North and South West networks in 2020. These will be further refined through a series of workshops in 2021 working in close collaboration with Film Hub North and Film Hub South West as well as other film audience development agencies such as INTO Film. |
First Year Of Impact | 2021 |
Sector | Creative Economy,Leisure Activities, including Sports, Recreation and Tourism,Culture, Heritage, Museums and Collections,Other |
Impact Types | Cultural Societal |
Description | Me and my big data - developing citizens' data literacies |
Amount | £346,882 (GBP) |
Organisation | Nuffield Foundation |
Sector | Charity/Non Profit |
Country | United Kingdom |
Start | 03/2019 |
End | 03/2021 |
Title | Computational ontology using mixed methods research |
Description | We have developed a computational ontology based on data we have collected in the field (interviews, film elicitation groups, and surveys). In computational terms, an ontology is a data model that describes the components, characteristics and interrelationships of a particular knowledge domain. Our ontology describes the domain of film, audience and film industry policy through three classes of information: entities, entity characteristics, and relationships between them. The data that contributes to our development of the ontology comes from our coding and analysis of: - 200 semi-structured interviews (50 in each region), encompassing people with all levels of film engagement. The interviews cover what people value about their cinema experiences and what influenced their choice when deciding what and where to watch. - Secondary survey data (DCMS 'Taking Part' survey 2016/2017 and BFI 'Opening Our Eyes' survey, 2011) and our own longitudinal survey (three waves, 5071 people followed by 547 followed by 317) in the four regions to understand patterns of film consumption through time. - 16 film-elicitation groups to explore how audiences made sense of films. - Policy documents and reports and 28 'elite' interviews with film policy makers, regional exhibitors, and distributors to understand the concerns and approaches to regional film provision, programming, funding and marketing. We are developing our computational ontology to bring these data together, and to map the complex interrelationships between the constituent elements in a new way. The ontology and data are then implemented as a graph database for querying and analysis. Further details are available here: https://talkinghumanities.blogs.sas.ac.uk/2018/10/18/why-use-an-ontology-mixed-methods-produce-mixed-data/ |
Type Of Material | Improvements to research infrastructure |
Year Produced | 2019 |
Provided To Others? | No |
Impact | This approach enables us to develop a holistic account as it enables us to model, interrelate, and therefore interrogate consistently all our data, irrespective of its original format or type. By allowing us to directly compare various datasets, and to expand on relationships between them, the ontology provides a means of analysing our data in greater depth than a traditional mixed-methods approach would, and at to do so at various scales. It allows us to query the data, in order to identify patterns in the ways that audiences form, and to delve deeply into the richness and diversity of audience experiences. |
Title | Audio Recordings of Interviews and Film Elicitation Groups |
Description | Audio recordings of: 200 x Semi-Structured Interviews with Audience Members about their film and cinema preferences. 28 x Semi-Structured Interviews with Industry, Regional Providers and Policy Stakeholders about their film ad audience development policies. 16 x Film Elicitation Groups in which attendees watched film clips and talked about their meaning. |
Type Of Material | Database/Collection of data |
Year Produced | 2018 |
Provided To Others? | No |
Impact | The audio recordings will not be made publicly accessible due to the presence of personally identifiable information and interviewee consent. However, anonymised transcriptions of all recordings have been created which will be made publicly accessible before the end of the project (see other dataset in this entry). |
Title | Beyond the Multiplex Database |
Description | The data from all datasets is being ingested into a single graph (Neo4js) database which models the structure of our film worlds ontology. The database currently contains approximately 150,000 nodes (of 57 types), connected by approximately 500,000 relationships (of 72 different types) - this is only data from source packages WP4 (Semi-structured Audience Interviews) and WP5 (Longitudinal Survey). It is anticipated that the final database will contain at least 500,000 nodes, with more than 1,500,000 relationships. |
Type Of Material | Database/Collection of data |
Year Produced | 2019 |
Provided To Others? | No |
Impact | The database will be used for analytical querying by the research team using search and data visualisation. It will become publicly available before the end of the project. |
Title | Longitudinal Survey Data |
Description | Longitudinal survey data of people's film preferences and viewing habits, undertaken at 3 points in time. Survey 1 completed by 5071 people. Survey 1 completed by 547 people. Survey 1 completed by 317 people. The entire survey is available in a CSV format. |
Type Of Material | Database/Collection of data |
Year Produced | 2019 |
Provided To Others? | No |
Impact | The survey data is being ingested into the project's database in line with the project's ontology for subsequent analysis alongside other datasets. The survey data will be made publicly accessible before the end of the project. |
Title | NVivo database of coded transcriptions |
Description | The raw qualitative data analysis files will be available in .nvp (for Windows) and .nvpx (for Mac) file formats. These are direct copies of the original QSR NVivo Projects developed in WP4 (Semi-Structured Interviews with Audience Members), WP6 (Semi-Structured Interviews with Industry, Regional Providers and Policy Stakeholders), and WP7 (Film Elicitation Groups). The files include all Sources (interview and film elicitation group transcripts) alongside the Nodes and Relationships applied to them throughout our qualitative data analysis. Alongside each .nvp/.nvpx file, we will also make available a .csv sheet with anonymised classificatory data on all research participants e.g. age, gender, employment status, and highest formal educational qualification. |
Type Of Material | Database/Collection of data |
Year Produced | 2018 |
Provided To Others? | No |
Impact | The database will become publicly available before the end of the project. |
Title | Transcriptions of Interviews and Film Elicitation Groups |
Description | Full-text transcriptions of: 200 x Semi-Structured Interviews with Audience Members about their film and cinema preferences. 28 x Semi-Structured Interviews with Industry, Regional Providers and Policy Stakeholders about their film ad audience development policies. 16 x Film Elicitation Groups in which attendees watched film clips and talked about their meaning. |
Type Of Material | Database/Collection of data |
Year Produced | 2018 |
Provided To Others? | No |
Impact | The transcriptions were encoded in Nvivo (see other dataset included int his submission) in line with the project's film ontology and ingested into the project's database for subsequent analysis alongside other datasets. The transcriptions will be made publicly accessible before the end of the project. |
Description | BFI Film Hub press release |
Form Of Engagement Activity | A press release, press conference or response to a media enquiry/interview |
Part Of Official Scheme? | No |
Geographic Reach | National |
Primary Audience | Media (as a channel to the public) |
Results and Impact | The BFI Film Hub FHN released a press release about the project and the project launch |
Year(s) Of Engagement Activity | 2017 |
URL | https://www.beyondthemultiplex.net/wp-content/uploads/2017/10/Press-Release-Beyond-the-Multiplex-Lau... |
Description | Presentation: Choice and Diversity in Film, BECTU Freelancers' Fair 2018, London: Royal Institution, 27-Apr-2018 by Peter Merrington, one of the project's researchers. |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | National |
Primary Audience | Industry/Business |
Results and Impact | The seminar was called ' Choice and Diversity in Film': Tired of seeing the same kinds of films in cinemas? Are you a filmmaker frustrated by a few major distribution routes that are inaccessible? Join our panel to discuss what we see and why, and the opportunities to create more choice and diversity in the films on show. Our speakers will include Jemma Buckley, partnerships manager Independent Cinema Office, Jaq Chell, operations and development manager Cinema for All, Peter Merrington, Beyond the Multiplex and Toki Allison, Film Hub Wales. |
Year(s) Of Engagement Activity | 2018 |
URL | https://www.bectu.org.uk/events/freelancers-fair |
Description | Project Launch:Beyond the Multiplex: Audiences for Specialised Film in English Regions |
Form Of Engagement Activity | Participation in an activity, workshop or similar |
Part Of Official Scheme? | No |
Geographic Reach | National |
Primary Audience | Other audiences |
Results and Impact | The launch of Beyond the Multiplex: Audiences for specialised films in the English Regions (BtM) was designed to introduce the project to stakeholders and to provide an opportunity to discuss how the project can better support stakeholders in their day to day work. Keynote speakers set out the current specialised film context including the challenges and opportunities ahead and the support available. Four facilitated discussions about audiences took place during the afternoon covering policy, exhibition, research and audience development.The event attracted 38 representatives from BFI, ICO, FAN, Showroom Workstation, Sheffield Doc Fest, Watershed, HOME, Broadway, Glasgow film, Film Northern Ireland, Film London, Audience Agency, Cinegi, Birds Eye View, universities, INTO film and many more. |
Year(s) Of Engagement Activity | 2017 |
URL | https://www.beyondthemultiplex.net/launch-beyond-the-multiplex-2/ |
Description | Regional newspaper report about the project |
Form Of Engagement Activity | A press release, press conference or response to a media enquiry/interview |
Part Of Official Scheme? | No |
Geographic Reach | Regional |
Primary Audience | Public/other audiences |
Results and Impact | The Newcastle Chronicle published a half page report and discussion about the project called 'Cinema habits research' by David Whestone 24th October 2017. Citing BFI's Ben Luxford's quote at the launch and in the BFI FH ' Research such as this is essential to help us understand contemporary viewing habits |
Year(s) Of Engagement Activity | 2017 |
Description | Talk and discussion about the project to the BFI regional fFlm Hub in the South West of England on he 14th December 2017 |
Form Of Engagement Activity | A formal working group, expert panel or dialogue |
Part Of Official Scheme? | No |
Geographic Reach | Regional |
Primary Audience | Other audiences |
Results and Impact | The activity was a presentation and discussion about the project and approaches to audience development with the Film Hub members (FHSWC) at the Watershed Bristol. It fostered a discussion and audiences, audience experiences and who they form in the South West of England. |
Year(s) Of Engagement Activity | 2017 |
Description | Two presentations at the main independent film sector national event. The industry conference is called 'This Way Up' and it was held in Liverpool on the 5th and 6th December 2018 |
Form Of Engagement Activity | Participation in an activity, workshop or similar |
Part Of Official Scheme? | No |
Geographic Reach | National |
Primary Audience | Professional Practitioners |
Results and Impact | We had two sessions at the This Way Up conference: 1. • Film Elicitation Workshop. The Beyond the Multiplex project aims to understand how to enable a wider range of audiences to participate in a more diverse film culture. As such 16, UK-wide, film elicitation focus groups have discussed the significance of particular films on aesthetic, emotional, and intellectual levels, with participants offering a range of rich insights into the cultural value of the independent cinema, as well as the barriers to participation and engagement. This interactive session will involve a condensed version of such a focus group, before a discussion of some of the key findings of and reflections on the groups that have already taken place (https://thiswayupcon.com/new-events/2018/12/6/beyond-the-multiplex-film-elicitations) 2. Talk and Q&a: The 'Beyond the Multiplex: audiences for specialised film in English Regions' project seeks to understand how to enable a wider range of audiences to participate in a more diverse film culture. This session comprises of an introduction to the project and new research approach, present initial findings, followed by Q&A and discussion about the approach and findings to date. While the provision of mainstream film is good across England, in many places outside London there is limited opportunity for people to experience a diverse film culture. In response to this, our research involves a comparative study of audiences in four English regions, the North East, Yorkshire and the Humber, North West and the South West. For each region we are collecting data about audience characteristics and practices, venues, screens, events and programming, and how films are interpreted; as well as data on film policy and regional demographics. To bring all this together we are using an innovative computational method that allows us to interpret and understand film audience data at a scale and depth in ways that have not been achieved before. The project aims to support those working in film audience development by providing evidence, methods and tools to develop more sustainable, diverse audiences for films beyond the mainstream (https://thiswayupcon.com/new-events/2018/12/6/beyond-the-multiplex-a-new-approach-to-audience-research) |
Year(s) Of Engagement Activity | 2018 |
URL | https://thiswayupcon.com |
Description | Update on research findings to Film Hub South West at their annual Christmas meeting |
Form Of Engagement Activity | Participation in an activity, workshop or similar |
Part Of Official Scheme? | No |
Geographic Reach | Regional |
Primary Audience | Professional Practitioners |
Results and Impact | The talk and discussion focused on updating the BFI film hub South West about how the project was progressing. The focus was on how to understand the ways in which audiences engaged with film through the lifecourse, the ways in which audiences select venues, online consumption of film, what film in general means for people, what people like in particular about the film experience. From this the discussion opened up to debates about film as a social good and how different communities engage with film. |
Year(s) Of Engagement Activity | 2018 |
URL | https://watershed.co.uk/filmhub/ |