Next-Generation ‘Filmmaking’: New Markets, New Methods and New Business Models

Abstract

Digital production and distribution technologies may create new opportunities for filmmaking in Australia. A culture of new approaches to filmmaking is emerging driven by 'next generation filmmakers' who are willing to consider new business models: from online web series to short films produced for mobile phones. At the same time cultural representation itself is transforming within an interactive, social media driven environment. Yet there is very little research into next generation filmmaking. The aim of this paper is to scope and discuss three key aspects of next generation filmmaking, namely: digital trends in film distribution and marketing; processes and strategies of 'next generation' filmmakers; and case studies of viable next generation business models and filmmaking practices. We conclude with a brief examination of the implications for media and cultural policy which suggests the future possibility of a rapprochement between creative industries discourse and cultural policy.

Where are they now? Career sustainability and Australian web-series producers

“…Data was collected from the following initiatives and relevant subprogrammes: Multiplatform Production (2011–2017), including approvals for Digital Ignition, Digital Originals, Skip Ahead, Long Story Short and Fresh Blood. Online Development (2018–2020), including approvals for Generate. Online Production (2017–2020), including approvals for Fresh Blood and Skip Ahead. Over this decade, Screen Australia engaged in a multi-year experiment, backed by modest average funding of about A$4.6 million annually (calculated from figures available in Screen Australia's annual reports between 2011 and 2021) to address the blurring of distinctions between film, television and digital as audiences increasingly migrate to the attractions of online video and streaming services. The experiment stemmed from the recognition of long-serving Screen Australia chief executive, Graeme Mason, that substantial audience numbers had shifted online and talent needed to be supported who could best exploit the new socio-technologies and platforms for Australian storytelling (Screen Australia, 2014).…”

Reinventing Nollywood: The impact of online funding and distribution on Nigerian cinema

“…The opportunities that Internet-enabled distribution provides to Nigerian screen producers are also evident in the area of film marketing and promotion. According to Ryan and Hearn (2010: 4):Network of fans, remixers, and co-creators (which generate fan films, fan fiction, blog reviews) are all part of the social formations that are pre-cursors to markets for films, and new media tools (Facebook, Twitter, YouTube, blogs, websites) now allow filmmakers to engage with the audience ahead of and after production, creating in effect an ongoing and more sustainable relationship with the audience.As Obi Emelonye (2016, personal communication) points out:social media has also helped in the marketing of films. Before now you have to budget a lot of funds for publicity to be able to gain a bit of ground in the marketing of your films.…”

Entertainment Architecture: Constructing a framework for the creation of an emerging transmedia form

“…In a slightly wider context, this third step strives to combine the textuality and deep movie knowledge of film studies and theory (Eisenstein 1949;Deleuze 1986;Kracauer 1960;Bazin 1967;Ellis 1992;Bordwell and Thompson 2008;Braudy and Cohen 2008;Monaco 2009;Caldwell 2003;Ryan and Hearn 2010;Harris 2007;Ross 2008;Luckman and de Roeper 2008;Kaufman and Mohan 2008;Connolly 2008), the social relationship between producers and consumers of media studies (Fiske and Hartley 1978;Hartley 2009b;Caldwell 2008;Dyer 2002), the business strategy of marketing and business (Drucker 2007;Porter 1998;Bennis and Nanus 1997;Kaplan and Norton 1992;Magretta 2002;Kotler and Armstrong 2010;Belch and Belch 2009;Starkey, Barnatt and Tempest 2000;Eliashberg, Elberse and Leenders 2006), the dynamics of change of evolutionary and complexity theories (Darwin 2008(Darwin [1859; Arthur 2009;Maynard Smith 1993;Dawkins 2006), traditional economics (Smith 1776;Marshall 1890;Keynes 1936;Coase 1937;Samuelson and Nordhaus 2010;Williamson 1975;…”