SIFF: let art films find audiences, and let audiences see more movies

At the Shanghai International Film Festival in 2018, literary and artistic films became a hot word, and the prospect and potential of artistic films also seemed promising. In the report of domestic film audience satisfaction survey, although the box office income of small and medium-cost literary and artistic films is not high, but these films in the Chinese film audience satisfaction survey have been satisfactorily evaluated ticket prices, spectators have reached a consensus on the need to upgrade their viewing needs. In SIFF, a new model emerges and is discussed.

“Elephant spot” application creates new mode of C2B distribution

Now there is a way for audiences to raise chips. This way can connect audiences and movies more closely. For example, ‘My poem’ has been released in theaters, and the 2 million declaration fee has been wasted. Unwilling to do so, the team tried to launch a crowdsourcing show on the Internet, with thousands of screenings across the country, allowing viewers to find the movie they wanted to see spontaneously.大象

(You can choose what you want to see, the time, the cinema in Elephant Shot app.)

“Launch a movie viewing activity on the platform, the viewer becomes the organizer, can choose which cinema to set, when to set, want to invite friends to see the film, this is from the past B2B into the supermarket to grab shelves mode, changed, the audience decided to set the film, the right to set the film to the audience.” This is the subversion of the movie’s distribution by means of Internet technology. “The market mainstream mode of publicity and distribution, the film side to spend a lot of money for more resources. But for literary films and documentaries, it will be very difficult. We must spend limited resources on cinema and film. The pattern is not right. It is difficult to work hard one by one.


(The initiator of Elephant Shot app)

The point-to-line and wide-spread pattern not only allows viewers to see the films they want to see on their own, but also makes the filmmakers themselves happy. Through this new model, the film-makers, cinemas and audiences are connected in series to complete the precise matching of the needs of all parties: the producers’ publicity costs are reduced, the threshold of film distribution and investment risks are greatly reduced; the attendance rate of cinemas is increased, and the differential management brings sustainable benefits; the individualized demand for viewing films is also met.

At the same time, it also completes social interaction in the process of viewing and communicating — viewers spend an hour and a half watching movies, but it may take two or even three hours to communicate after the screening. At the end of a movie viewing, the audience has already completed a deep social interaction in the process.

No movie can live without a screening. Find the right eyes, the right people, from convening, sponsoring, reviewing, gathering because of the film, these audiences are ready to come, knowledgeable about the film, curious about the possibilities, have requirements for different films, for the creator is very valuable. And through this model, in the past art festivals cannot cover the small cities, but also spontaneously by fans to “organize” theme activities, even if a “18 line” city fans, can also according to their own ideas and preferences, planning and launching a ‘film festival’. From this point of view, the relationship between audience and Film Festival is inseparable.

Mingyue Cai  28737911

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