Conventional wisdom in Independent Cinema states that the film festival circuit is the best way for new work to get seen. While there are no doubt numerous examples of this actually being the case, far more examples of this not being the case are surely in evidence. Conventional wisdom is rarely wise. With over 1500 film festivals in existence around the world, and many more on the horizon, festival participation has become more like playing a local club, then playing in the major leagues. Currently with so many film festivals, (some happening simultaneously), being in a festival typically gives little chance of 'being seen'. And very little opportunity to make the money so vitally needed to produce one’s next film. Often, just like a rock band playing in their local bar, the audience of one’s screening at a festival is small, and unless a specific publicity campaign is staged ( at considerable expense) by the filmmaker personally, the festival screening can be made up of only of the filmmaker’s friends. For many observers to the film festival scene, the stars that rise from the festival industry are more often the festival organizers and not the filmmakers. They create for themselves the professional contacts, economic opportunities and
various perks that rightfully should be going to the filmmakers.
Film festival directors, curators and programmers from the larger festival may hold year-round, full-time jobs at their festivals, and often travel the world ( at festival expense ) visiting the other major festivals around the world. Often, a filmmaker who participates in a festival will be paid a miserly $100, and often is paid less ( or nothing at all). This is surely not a way to become a full-time paid filmmaker. The ego of ‘being in festival’ is often payment enough for far too many people, and de-values the economic worth of independent film & video.
So what are the alternatives? Certainly some form of "direct to audience" system must be developed, a network of informed film-lovers, willing to pay a reasonable amount to view new or classic work which is not in the 'IDBN' database. Actually, with trends in fashionibility so fickle with today's audiences, there may come a time when being mainstream is so "un-cool", that film-makers will flock to alternative sites in order to retain or regain their artistic credibility. Such a direct-to-audience system would create a de-centralized and on-going 24/7 festival where interested audience could see work whenever convenient.
Those talented individuals interested in building such an alternative distribution channel are already underway and are currently exploring which technologies will mediate the process most effectively. No doubt, multiple formats will co-exist and be tested, and whether one dominant software platform emerges is not yet certain.
Audience “buzz” is ultimately the most potent way to expedite this process, for as it is clearly demonstrated that “eyeballs” are out there, then the engineering and software programming necessary for functionality will emerge. Various business models will be tested. Many will fail, and some will survive, and a few will flourish.
Film festivals will not go away anytime soon. There are too many entities and individuals who benefit directly from them. From rental of screening venues to those who supply the catering, from catalogue printing to public relations, an entire cottage industry exists on the entry fees that film festival submissions pay. All these expenses, while helping the local economies of the venue, take away the profitability from the creators of the works that festival attendees come to see, namely the filmmakers. The ‘independent filmmaker’ becomes dependent on the acceptance of a small group of insiders, and is marginalized even further than before.
The idea of the film festival as ‘blog is here. Already music is exploiting this notion, and ‘podcasting’ ( where subscribers are introduced to new musical choices on a daily basis ) is becoming more routine.
It is imperative that those who truly love independent media serve as cultural ambassadors, and applaud, encourage and support the efforts to build a truly independent media network. A network where the audience serves as festival director, programmer and curator, as well as those that simply fill seats.
various perks that rightfully should be going to the filmmakers.
Film festival directors, curators and programmers from the larger festival may hold year-round, full-time jobs at their festivals, and often travel the world ( at festival expense ) visiting the other major festivals around the world. Often, a filmmaker who participates in a festival will be paid a miserly $100, and often is paid less ( or nothing at all). This is surely not a way to become a full-time paid filmmaker. The ego of ‘being in festival’ is often payment enough for far too many people, and de-values the economic worth of independent film & video.
So what are the alternatives? Certainly some form of "direct to audience" system must be developed, a network of informed film-lovers, willing to pay a reasonable amount to view new or classic work which is not in the 'IDBN' database. Actually, with trends in fashionibility so fickle with today's audiences, there may come a time when being mainstream is so "un-cool", that film-makers will flock to alternative sites in order to retain or regain their artistic credibility. Such a direct-to-audience system would create a de-centralized and on-going 24/7 festival where interested audience could see work whenever convenient.
Those talented individuals interested in building such an alternative distribution channel are already underway and are currently exploring which technologies will mediate the process most effectively. No doubt, multiple formats will co-exist and be tested, and whether one dominant software platform emerges is not yet certain.
Audience “buzz” is ultimately the most potent way to expedite this process, for as it is clearly demonstrated that “eyeballs” are out there, then the engineering and software programming necessary for functionality will emerge. Various business models will be tested. Many will fail, and some will survive, and a few will flourish.
Film festivals will not go away anytime soon. There are too many entities and individuals who benefit directly from them. From rental of screening venues to those who supply the catering, from catalogue printing to public relations, an entire cottage industry exists on the entry fees that film festival submissions pay. All these expenses, while helping the local economies of the venue, take away the profitability from the creators of the works that festival attendees come to see, namely the filmmakers. The ‘independent filmmaker’ becomes dependent on the acceptance of a small group of insiders, and is marginalized even further than before.
The idea of the film festival as ‘blog is here. Already music is exploiting this notion, and ‘podcasting’ ( where subscribers are introduced to new musical choices on a daily basis ) is becoming more routine.
It is imperative that those who truly love independent media serve as cultural ambassadors, and applaud, encourage and support the efforts to build a truly independent media network. A network where the audience serves as festival director, programmer and curator, as well as those that simply fill seats.