How can we determine how well a film is received beyond simply counting the number of sold tickets? For the pilot study Viewer Perspective, we advanced methods and models for establishing a dialogue among filmmakers and audiences about the genuine merits of a film.
How do filmmakers reach their audience? How can they understand their audience? The purpose of the pilot study was to determine what constitutes the success of a film, and how to ensure success.
November 2016 → March 2016
Stockholm Film Festival 2017 Tempo Documentary Festival 2018
The pilot has served as a knowledge-based study for the Swedish Film Institute and has lived on as a feature of the Tempo Impact Conference.
The workshop was held in Botkyrka. The project was conducted in various locations where the filmmakers were at work.
Within the framework of the talent program STHLM Debut, aworkshop for directors and producers was organized to discuss the paths a film may take to its audience. Arequestfor entry followed upon the workshop, with a focus on innovative viewer influence. Three proposals were selected—theresultsof which were presented at a seminar at the Stockholm Film Festival 2017 and at the Impact Conference at the Tempo Documentary Festival 2018.
The pilot study targeted the film industry, and the results were presented at the Stockholm Film Festival and Tempo Documentary Festival.
The Stockholm County Council
The Stockholm International Film Festival
Tempo Documentary Festival
The three development projects consistently support the idea that more people could enjoy a film if the audience development/outreach is in line with the goal with the film. Beyond spreading their artistic workmanship, creators could gain insight into their future film production and the perception of their audience. The pilot study shows that methods exist for the film industry to measure and develop a film’s success in other ways than at present.
The impact and merits of the film Silvana—väck mig när ni vaknat (Silvana—Wake Me Once You’re Woke): The aim of producer Anna Weitz is to make recognizable the genuine merit of the film. Investigating the film through all its windows of viewing, she seeks to grasp its long-term significance. Questionnaires are used to gather audience reactions as a basis for further analysis.
The backbone of the project was the feature film Silvana–väck mig när ni vaknat (Silvana—Wake Me Once You’re Woke). The film was directed by Mika Gustafson, Olivia Kastebring and Christina Tsiobanelis, and produced by Stina Gardell and Anna Weitz at Mantaray Film.
Trygga rum (Safe Spaces): Verket Produktion approached the viewer perspectives of LGBT youth. Do they see themselves portrayed in the film? Which depictions are missing? The project explores safe spaces. What is the requirement for rewarding viewing, especially when watching a film concerning LGTB individuals? Where are the physical and digital safe spaces of today and how can we create more?
Verket Produktion (Jerry Carlsson and Anette Sidor) arranged an online viewing for LGBT youth, as well as a cinema viewing in Stockholm to encourage discussion and debate.
In-depth discussions on the film Trafikljusen blir blå imorgon (The Traffic Lights Will Turn Blue Tomorrow): Director Ragnhild Ekner screened her film for 15- to 20-year-olds in locales where they usually gather in their spare time. This was followed by in-depth discussions raised by the film, and issues touching on life choices, opportunities and the impulses and pitfalls of youth.
A documentary whose starting point is the suicide of Jussi, a friend of the director. It deals with the struggle to grow up in a world in which it is impossible for many to find their place.
The three development projects consistently support the idea that more people could enjoy a film if the audience development/outreach is in line with the goal with the film. Beyond spreading their artistic workmanship, creators could gain insight into their future film production and the perception of their audience. The pilot study shows that methods exist for the film industry to measure and develop a film’s success in other ways than at present. You can find more information, statistics and analysis in the full evaluation report.
The aim of the Smart Kreativ Stad project was to investigate the ways in which film and moving images might contribute to enlivening a cityscape. The project was managed by Film Capital Stockholm in 2015–2020 in collaboration with members and partners in a broad range of sectors in the Stockholm Region. The project was co-financed by the European Regional Development Fund.
If you are interested in learning more about moving images in urban space, contact the Project Managers and Ongoing Evaluation Consultant at the following addresses: