'Monty Python': Case Study

'A Liar's Autobiography-The Untrue Story of Monty Python's Graham Chapman' and animated documentary from 2012 and was released on the 8th of February 2013. It was directed by Jeff Simpson, Benjamin Timlett and Bill Jones. This is a case study that the BFI carried out and I have selected out a few main points from the case study, which show the research they did into who to aim the film at and how it was advertised.

'The film 'A Liar's Autobiography' is an animation biopic which includes the work of 14 UK animation houses in 17 different styles shot in stereoscopic 3D'

The films target audience had been to advertise it to the existing fans and 'the legacy of the Monty Pythons, it called for the strategy that would incorporate the comedy and irony of the pythons. From their research they knew that males over 35 years old had been Monty Python fans and those who had grown up watching Monty Python series, they also knew to aim the film at the male over 20 years old who were animation enthusiasts, which gave them a chance to attract the younger audience as they wouldn't of grown up with the show but would respond to the animation.'

'A Liar's Autobiography' used online marketing by creating an official website, an official Facebook page, putting clips of Monty Python on YouTube, which was linked to the Facebook page for people to be able to find. They also used Twitter, created content for online usage, such as behind-the-scenes for example, they also film footage from events and posted photographs from the events online, there had also been the help of unofficial fan pages online promoting the film. 

They published all the results from the response they had from social media, the cinema viewings and the DVD's and Blu-Ray's brought. Which you can find with the link below of the BFI's case study on the film 'A Liar's Autobiography':

http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi-case-study-ALA-Report-Final.pdf

'Tortoise in Love': Case Study

The film 'Tortoise in Love' is from the October 2012, the writer and director is Guy Browning.

'It is a British romantic comedy made by a village that sets out on an ambitious journey from its peaceful provenance of rural Oxfordshire, bound for Leister Square.'

'The film was the first to release simultaneously in rural communities across the UK as well as mainstream theatres.'

From this BFI case study I also noticed that the film had found people's responses:
'Online for example- A total of 38 sites picked up the trailer including Empire, View London and Contact Music; in addition to this 27 sites also included the official poster. Furthermore, the premiere coverage on a total of 7 sites ranging from print to video pieces.'

'Total new impressions was 909,729'
'Total estimated online media value £480,529.'

This is the link to the case study done by the BFI:

http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi-case-study-tortoise-in-love.pdf

'4.3.2.1': Case Study

The case study of '4.3.2.1' that has been carried out by the BFI shows crime thriller was released on the 2nd of June 2010 and the distributors of the thriller were The Works. 

There had been a few key points I noticed within the case study of '4.3.2.1'. One had been that 'they identified that their primary audience was 15-24 year old urban females, with a secondary audience of 15-24 year old males.'

'There was a lot of time spent online using social networking sites, such as Facebook and Twitter. Noel Clarke already had a significant online fan base that he interacted with on a daily basis, through his twitter and website. The strategy for all the social networking sites would be they would work together to get an online buzz in the months and weeks before the release, therefore creating an online platform across various sites from which the central promotional application could be launched.'

'The concept for the promotional application was a Facebook app in which users would be asked questions of the form: “Which of your friends would be most likely to...,” with situations relating to the plot of the film. After answering, the app would create a photo album of a series of frames of footage, in which the profile picture of the selected friend would magically appear. The app was advanced in terms of what could be achieved through Facebook at the time.'

'The application was developed to appeal to a young, female urban audience and concentrated on publishing '4.3.2.1.' It was developed on the Facebook platform and was publicized by the official '4.3.2.1.' social networking sites and website. The Works initially looked at launching the application three weeks before the film was released, to gain awareness of the film. However, they encountered a number of problems that delayed the launch. Firstly, there was a delay in contracting Sony Music Creative. Due to this delay in contracting, and further delays in receiving approvals and getting access to key materials, Sony were not able to deliver the project in the way initially planned, furthermore resulting in Sony ended up using a digital production company to oversee the entire project. In the end the application was launched a little over a week before the theatrical release and it is likely that this had an impact on the quality of the final application.'

'There hadn't been enough awareness created leading to 99.65% coming from Facebook, suggesting  the official website and Twitter pages did not contribute any significant amount to the application.'

Even though getting the audience to be aware of the release of the film failed, they did identify their audience. For Sophie and I's music video we can identify our audience's then promote it so they be come aware of it. 

Below is the link to the case study by the BFI of '4.3.2.1':

http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/uk-film-council-digital-innovation-case-study-4-3-2-1.pdf

'The Girl with the Dragon Tattoo': Case Study

I have looked at the case study done by the BFI of the film 'The Girl with the Dragon Tattoo' which was released on the 12th of March 2010 and the distributor for the film was Momentum Pictures.

There are a few points within the case study which I found interesting to how they attracted their audience to watch the film. One of the points had been 'that book fans had already gathered in groups on social media, such as Facebook and this meant the Momentum could find the people which brought books online and through booksellers, like Amazon'. This led to the Momentum therefore being able 'to work with Amazon and Google to be able to target the fans of the books early and then with Facebook to be able to keep the fans engaged and to share the content with their friends.'

The Momentum had also been able to identify who their audience would be so they were able to target them to be able to get them to watch the film 'The Girl with the Dragon Tattoo'.

Another point was how they promoted the film in the lead up to the release, 12 weeks before 'they targeted ads ran on Facebook, Amazon and Google, this was aimed at those who had indicated they liked the books and those who has brought the book, or the people who had been searching for similar item. This stage was to get people to join the Facebook page' so they could promote the release of the new film.

With 7 weeks left until the film was release they launched the trailer on Yahoo. There were also 'metro screenings held in three cities, with applications for tickets made through Facebook to increase numbers. People were then invited to submit their review of the screenings and then the chance to see it in print in the Metro the next day. The popularity of these screenings saw the London one oversubscribed by 300%'.

Overall by looking at this case study, the use of social media the film 'The Girl with the Dragon Tattoo' use, Sophie and I could post things on social media, such as Facebook to make people aware of our music video.

Here is the link to the case study by the BFI of 'The Girl with the Dragon Tattoo':
http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/uk-film-council-digital-innovation-case-study-the-girl-with-the-dragon-tattoo.pdf

'Heartless': Case Study

I have looked at the case study by the BFI on the film 'Heartless' which was released on the 24th of May 2010 and is distributed by Lionsgate.

I found points in the case study about their audience such as ' they found there are almost 600,000 self-confessed horror fans on Facebook. Lionsgate’s digital marketing targeted audiences across Facebook, by interacting and engaging with the audiences by polling ads and encouraging them to be interested in the film 'Heartless', also to get them talk about the film through Facebook. The social media site allowed Lionsgate to massively target  people in terms of interests, age, gender, music taste so they was very little wastage in the advertising'.

However, when the film was released 'it performed below expectations, with a total gross box office of around £3,000, but the release strategy for ' Heartless' was a multi-platform one, and noticeably

performances were seen across DVD and Video-on-Demand. The DVD release achieved sales of 9,500 which was in-line with forecast.'

With mine and Sophie's music video, we can interact with the audience by using a poll and talk about it to our target audience to get them to watch it. 

Below is the link to the full case study done by the BFI of 'Heartless':

http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/uk-film-council-digital-innovation-case-study-heartless.pdf