developing exeter’s...2018/09/30 · must look towards one of the biggest players in this...
TRANSCRIPT
Developing Exeter’s
Creative Scene: Filmmaking and Cultural Networks
[GEO3131] 670004105
2020
2
Figure 1- Event from Filmmakers Lab- Exeter’s filmmaking talent development group
Figure 2- Screening by Studio 74- one of Exeter’s independent cinema groups
3
Contents
Executive Summary…………………………………………...4
Introduction
-Context………………………………………………………...5
-The Vision……………………………………………………..5
-Aims……………………………………………………………6
Methodology……………………………………………………7
Literature Review…………………………………………...…8
Recommendations
-Year 1………………………………………………….……..10
-Year 2…………………………………………...……………12
-Further Suggestions………………………………………..15
Conclusion……………………………………………………16
Biography……………………………………………………..17
Reference List………………………………………………..18
Photo List……………………………………………………..21
Appendices………………………………………………...…23
Submission Sticker………………………………………..…26
Executive Summary
The creative economy is one of the world’s
fastest growing industries with high capital
value and holistic benefits for local places which
thrive on creative placemaking and a cultural
community. For Exeter to be a city of tomorrow it
must look towards one of the biggest players in
this economy- filmmaking. This report details a
five year plan with two years of structured
planning and a further three of recommendations
in line with Exeter Culture’s Cultural Strategy
(2019-2024). In this time Exeter City Council will
work alongside other local and regional
stakeholders to organise filmmaking talent,
create annual consumer and creator networking
and festival events, attract external investment
and eventually produce a creative hub in the
heart of the city. If successful they will have a
chance to expand their other creative resources,
build infrastructure, raise awareness of global
issues and bid for the UK City of Culture in 2025.
4
Introduction
Context
In the past two decades cultural programmes have enjoyed a sharp increase in public and private
investment (Jinks, 2020). The value of the creative economy and cultural-led regeneration has been
seen to improve local communities and profit-making organisations (LGA and Calouste Gulbenkian
Foundation, 2019). However this is only the start. Popular culture has moved out of the periphery and
into a compulsory mainstream within our socio-economic lives (Ashworth and Kavaratzis, 2016). Both
in the political sphere through UNESCO’s Creative City Network (UCCN) and the academic one with
explorations of the ‘Creative City’, this cultural renaissance has shown to be enacted through the city
level (Landry, 2014). As the recently awarded City of Literature, Exeter now has a role within this
movement and should be prepared to make further transformations to its creative scene in order to
keep up with the pace and demands of cultural change and its regional competitors- namely Bristol
and Plymouth (Exeter City Council, 2019).
The Vision
Our current isolation due to the Covid-19 epidemic has
forced us to explore new ways to find entertainment
remotely. From this, we have seen a huge surge in creative
video production:
From individuals, organisations, and even the government.
Seeing this has led to the following vision:
Exeter will undertake a 5-year plan drawing on video
and media to expand Exeter’s creative economy
resources. By the end of this plan it will be taken
seriously as a cultural hub and admired for its
progressive and collaborative approach to creative
expansion which supports locals and invites external
support.
5
Aims
To coordinate and organise
existing talent and resources to
develop an emerging film scene
which taps into wider cultural
networks and invites investment.
To outline a cultural programme
which integrates the ‘cross-cutting
priorities’ of Exeter’s Cultural
Strategy (2019-2024); this includes
‘building capacity’, accessibility
and local cooperation.
To provide creative interventions
which address civic and
environmental issues.
6
Methodology
The following recommendations are based on secondary qualitative research. Empirical research
was undertaken on existing industry practices, relevant stakeholders and regional competition
(Bishop., 2020; LSE, 2020). Policy directions were assessed using a content analysis approach
which informed the aims and vision of this report (Cardno, 2018). The research is further
underpinned by academic literature which emphasises the value of cultural investment and
justifies the effectiveness of these ideas.
Driving this report’s structure is the idea of ‘Creators’ and Consumers’ who each need different
attentions to make this intervention successful. Recommendations follow an industry-standard
structure- ideas are organised into key actions with a SWOT analysis and key stakeholder word-
cloud. These plans have also been time-lined besides the fiscal calendar with key funding dates
and annual targets.
Limitations
The 1st Year will require further primary research including focus groups, semi-structured
interviews and citizen juries for ‘deliberative consultation’ (Scott, 2018). Detailed statistical
predictions should also be made on investment returns.
This plan relies on the understanding that Exeter City Council will be willing to work
towards Exeter Culture’s, (2019) strategy of cross-sector organising and benefits.
7
Figure 3- Key stakeholder word-cloud
Literature Review
Inspiring this whole report is the understanding that creativity provides value. Nationally the UK
has promoted the creative industries as one of our fastest growing sectors (Jayne, 2005). Crang,
(1997) explains that just as creativity leads to profit, culture itself materialises in economic
processes. This is because of the core relationship between creation and consumption. Hartley
et al., (2013) suggests successful creative projects go even further with three attributes- value
(the basic capital worth), newness (providing cultural or intellectual value), and usefulness (social
value). As these values have been reinforced, creativity has increasingly been commodified into
the modern ‘creative economy/cultural industries’ which have now been the centre of attention for
thirty years (Gibson and Kong, 2005).
What makes the creative economy different and how has
this informed the recommendations?
In past times it was defined by sector or even cultural goods; however what makes the creative
economy so different now, is the unique characteristics within its divisions of labour (Gibson and
Kong, 2005). Creative organisations are post-fordist and ‘hyperflexible’ (Gibson, 2010). They
recognise that cultural production begins with individuals. These individuals experience the
flexibility through their work. Labour hours and contracts are negotiable and so there is a higher
risk placed in both investors and workers (Hesmondhalgh and Baker, 2011). However this leads
to what Banks’, (2000) names ‘active trust’ or, the demand for an ongoing and consistent
communication and networking which ensures the above values of creativity are met. This
community is one with ‘special competencies’ (Gibson and Kong, 2005). They empower the
concept of path-dependence as creativity relies heavily on inheriting skills from the past and
developing them over a long period of time (MacKinnon, 2008). Historically, this has led to
specialised regions. Exeter does not want to become trapped and (as iterated in their cultural
strategy) should seek to diversify (Exeter Culture, 2019). Creative labour is also important in
highlighting that creative pursuits occur not just with supply and demand but also interest
(Brennan-Horley, 2007). This provides creatives with a rare opportunity to place career
motivation alongside desire and wellbeing. However this means monitoring of the sector is
particularly important as individuals may face exploitation (Hesmondhalgh and Baker, 2011).
Overall this justifies why individuals are a significant investment in this report.
8
9
Geographically, both at the collective and individual level effective producers merge in creative
clusters which horizontally innovate and cooperate (Banks, 2000). With such importance placed
on networking and ‘hubs’, the lines between workplace and socio-cultural interaction blur
(Gibson, 2010). This shows the significance of venue planning and identifying districts with
existing creative resources like those already proposed Exeter Culture, (2019)- Paris, Fore and
South Streets. Combined with the nature of the work this can produce a ‘Creative Class’ within a
city (Florida, 2014). However this class must be managed effectively as although it can produce
positive outcomes of gentrification and external investment, this in turn may cause further social
problems of displacement or exclusion (Florida, 2014). It is also important to note that if a hub
gets too large or automated there is a risk of outputs being derivative (Hartley et al., 2013). This
is particularly essential to avoid as competitor Bristol is already a UNESCO City of Film.
Therefore Exeter needs to use film in different ways and for a broader purpose. In some locations
as Landry and Bianchini, (1998) explain the economic and community benefits from culture
spread outwards and form a ‘Creative City’. This leads to further demands for consumption
experiences, the most popular of which become ‘field configuring events’ and set a benchmark or
directly determine the success of others (Pine and Gilmore, 1999; Anand and Jones, 2008).
Figure 4- Exeter’s vibrant Quayside
Recommendations
This report bases Exeter City Councils’, (2020) resources on their Estimates Book for 2020/21.
Although the 2020/21 prediction is a cultural budget of £3,186,780, 2/3rds of this is predicted to be
taken up by museum maintenance. However after tourism and communications, spending available
to cultural projects has opened up from £172,640 in 2019/20 to £457,595 this upcoming year with an
understanding most of this will go towards events. Now is a significant time to provide a strong
cultural pitch. The report assumes that despite the increase this year, there will not be large
noteworthy changes in further years and not all resources will go towards Exeter’s filmic scene.
10
Year 1
The 1st year will be an organisational one. We will use our time in lockdown to prepare, build ‘active
trust’ and end the year with a repeat annual networking event to highlight talent and new
partnerships. If Exeter want be more ambitious with their cultural projects as outlined in their cultural
strategy, then careful action must take place and be long-looking. In particular this year tackles the
priorities of ‘enhancing governance’ and ‘invigorating partnership’ (Exeter Culture, 2019).
Exeter must establish firmer links with Film Hub South West and the Watershed. This may be
achieved through proactive contact (and support across the next fiscal year) with Exeter
Phoenix- our leading arts venue and the Filmmakers Lab- our Exeter and Devon talent
development group for film. These organisations both have co-existing partnerships with the
hub. Accessing the Watershed is essential for Year 2 as it makes us eligible to access the
BFI’s ‘Network Development Funding’ which distributes £3 million nationally across its eight
hubs (BFI, 2020; Watershed, 2020).
We must cooperate with InExeter (our business improvement district). They should be
undertaking a resource audit across the city to assess its existing media infrastructure. Part of
this process should reveal the potential of internal private investment so less pressure is placed
on funding bids and council spending. They should see that producing a more desirable
‘Creative City’ will lead to more social and capital interest in the city and their businesses.
Developing creative talent provides new possible applicants for roles in marketing, CSR and
PR.
11
Exeter Culture should work with Filmmakers Lab to locate talent both internally and via
connections to University of Exeter and Exeter College (who already exhibit a popular
annual film festival at the Phoenix). This talent should be encouraged to submit personal
projects to regional festivals. Bristol’s ‘Encounters’ Short Film Festival may prove particularly
important for its awareness from national and even international stakeholders (Bristol City of
Film, n.d.).
The year must be ended with a local
configuring event to showcase the
year’s achievements. This should be
hosted at one of our prize cultural
venues either the Royal Albert
Memorial Museum or Exeter
Phoenix. Key regional stakeholders
will be invited and local films
showcased. If successful, this will be
made an annual event for community
building and opened up to a wider
public to network and gain industry
contacts. However this will be a high-
cost event and if unsuccessful this
project may lose momentum.
Figure 5- Audience at a screening of Bristol’s ‘Encounters Festival’ (2017)
Figure 6- University of Exeter’s Film Studies course
o Take particular note
of existing (small but
successful)
programmes like our
18 year running Two
Short Nights Festival
(Two Short Nights,
2019).
12
Year 2
The 2nd year is when creators and consumers get independent attention. The actions are
characterised by talent boosterism, development of a creative class, regional attention and a local
festival push. This year focuses on ‘audience development and engagement’ and ‘nurturing talent’,
although others priorities are addressed (Exeter Culture, 2019).
Creators
Increased connections with talent from Year 1 should be developed. Personal portfolios are
pushed alongside some larger projects, particularly for those successful in regional festivals.
Individuals should be regarded as investments. Ongoing networking should be occurring with
independent connections like the Four of Swords’ Summer Film School at Poltimore House
(Four of Swords, 2019). Although small, more buy-in leads to legitimisation and further
external interest.
Incentives should be made for creatives to move to identified hubs in the cultural strategy and
start to materialise a creative class which residents are aware of and attribute (Exeter Culture,
2019). These may involve promoting accessible studios or existing community activities.
Young talent should be encouraged to apply for the IWC Schaffhausen Filmmaker Bursary
Award by June. This is a £50,000 reward and may provide a ‘prize piece’ for the festival (BFI,
2019a).
Figure 7- Talent development, IWC
award and emerging culture of Fore Street
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Talent should be producing a variety of stories. In doing so we connect with both Exeter’s
priorities and the film industry.
o With our distinct urban setting and the natural landscapes of Devon surrounding us,
films may be made with low travel costs and reduced carbon footprints.
o Unlike Bristol who focus on nature and short films, episodic productions on local
narratives and heritage will make the outputs engaging to our immediate audiences and
unique on a wider scale. These may voice local problems or tell us a deep and rich
story on a forgotten figure from Exeter’s history.
o Some creators must engage with a young audience. This will help a wider catchment
for the local festival making it fun for families and students alike and also allow us to tap
into part of the BFI’s, (2019b) £57 million Young Audiences Content Fund.
o We know that creativity has a ‘social role’ which helps to bring people together (Mayes,
2010). Particular interest must be taken in those films which seek to address
multiculture or our diverse community in Exeter. This will allow us to become more
welcome and produce the progressive narrative change Exeter desire.
o Other talent should be using their skills to promote local businesses; time and time
again we have seen the power of telling creative stories through marketing.
Figure 8- Exmouth Harbour Figure 9- Exeter’s famous ‘Red Coat’ heritage tours
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Consumers
Plan, design and implement a local configuring festival event showcasing a range of films to
show all residents that Exeter is a creative city. This should be a short, summer weekend
event running from 28th-30th August (this includes the bank holiday which should attract
more residents). Limited screenings will keep costs low and reduce congestion, litter
damage and noise pollution.
The festival should take place around the city centre to increase footfall around key
spending areas. Local businesses will be integrated and encouraged to run food stalls or
promotions making it a full ‘day-out’ increasing interest and exposure.
Shows should be split by genre or style (short film, animation etc.) and particularly market
towards families and students which have been identified as key demographic interests
(Exeter Culture, 2019). Programme advertising in advance will allow residents to plan
around what’s most interesting to them. By engaging audiences and show them that
cultural events are encouraged within the city. People may seek out further opportunities
and show their own interest in creating or attending various arts events.
Symbolic awards such as ‘Mindful Production’ will be handed out to incentivise progressive
messages which will then spread awareness to the audience. These may range from
mental health in student groups to rural isolation in neighbouring communities. These
messages could be reiterated with occasional talks by relevant positive sponsors such as
Greenpeace Exeter or the Intercom Trust.
Although the opportunities are large, the risk of a large investment may have a negative
feedback loop on cultural spending if unsuccessful. The popular Raindance festival cost
£300,473 in 2014, Exeter however will need more spending for debut year promotion.
Despite this, the industry average is 43.7% of costs covered by sponsorship which means if
networking was successful this event becomes more affordable (Follows, 2016).
15
Further Suggestions
Year 3
This year will be used to expand. With success demonstrated and an evaluation of missed
opportunities, more funding will be allocated to cultural infrastructure. This should occur
alongside new external partnerships in/directly from the festival. The festival should become a
repeat event making it and the annual network event two significant calendar dates for
Exeter’s creative and resident community. If funding is big enough then ‘building capacity’
would be recommended through the possibility of a flagship studio to compete with the
Watershed.
Year 4
During this year the film scene should become more independent from council spending. Now
that a network has been accessed, further opportunities and investment should arise to
enable other cultural projects and diversification. ‘Lifestyle change’ should begin to have
occurred as the city is now home to exciting cultural activities (Exeter Culture, 2019). Exeter
City Council should focus on valorising their City of Literature programmes.
Year 5
By 2025 the UK’s next City of Culture bid should be available. Exeter should show their new
diverse cultural centre and emerging media industry in their application. If effective this will
provide international attention and attract a range of social and economic benefits (British
Council, 2017).
Conclusion
16
This report has outlined a series of recommendations which use film to
promote Exeter’s creative scene. If successful, Exeter will begin to
become its own creative city with an accessible cultural programme.
There will be greater community opportunities and a chance for
creative experiences with less pressure on funding. If facilitated well,
this will also raise a local awareness of important challenges and those
problems being faced nearby and worldwide. It is important to note that
filmmaking has not being used to form a unique creative identity for
Exeter. Instead these suggestions are a starting point to help Exeter
organise their creative and administrative resources, opt into regional
networks, produce a growing and self-sustaining sector which did not
previously exist and provide an array of economic and social benefits.
17
Biography Gabriel Few-Wiegratz is a BA
Geography undergraduate at the
University of Exeter. During his
degree he has undergone a
creative plaque intervention in
Southernhay which revealed
some of the lost histories behind
the Exeter Blitz. His dissertation
focused heavily on the disparity
between those who manage
public spaces and those who
use them, granting him a deep
awareness of urban policy.
Gabriel is also acquainted with a
range of culture having spent his
teenage days deep in
sketchbooks, absurdist plays,
the cinema and volunteering in
the ticket booth of the
independent Place Theatre.
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schaffhausen-filmmakers-bursary-award-association-bfi> [Accessed 16th April 2020].
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opinion/news-bfi/announcements/young-audiences-content-fund-applications> [Accessed 16th
April 2020].
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Photo List
21
Bristol Encounters Festival: http://www.creativeeuropeuk.eu/news/encounters-receives-film-
festivals-funding
Cluster vector (original vers.): https://www.onlinewebfonts.com/icon/425617
Community vector (original vers.): https://favpng.com/png_view/symbol-community-vector-graphics-
symbol-the-noun-project-png/UgvxB8dC
Creative video illustration: https://tubularinsights.com/data-creativity-video-ad-campaigns/
Exeter building graphics: https://www.eventbrite.co.uk/d/united-kingdom--falmouth/community--
classes/
Exeter Phoenix: http://holidayinexeter.co.uk/f-southernhay/best-exeter-culture-13960.html
Exeter Red Coat tours: https://www.visitexeter.com/things-to-do/attractions/history-attractions
Exmouth Strand: https://www.visitsouthdevon.co.uk/places/exmouth-p221953
Family in Princesshay: https://www.welcomefamily.co.uk/family-days-exeter-top-attractions-events/
Film festival: https://www.visitexeter.com/whats-on/film
Filmmakers Lab event: https://filmmakerslab.co.uk/
Flea Market at Fore Street: https://www.theexeterdaily.co.uk/news/business-daily-local-news/fore-
street-celebrates-first-successful-flea-market
https://www.businessleader.co.uk/exeter-a-city-where-you-can-live-a-good-life-and-also-do-good-
business/78822/
IWC bursary award: https://www.bfi.org.uk/news-opinion/news-bfi/announcements/lff-62-iwc-
schaffhausen-bursary-shortlist
Rugby bunting on Gandy Street: https://www.itv.com/news/westcountry/update/2015-09-18/exeter-
gets-rugby-fever/
22
Studio 74: https://www.exeterphoenix.org.uk/cinema-at-studio-74/
Team Meeting: https://www.allbusiness.com/7-ways-create-productive-meetings-112728-1.html
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culture-2017
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Video camera vector (original vers.): https://www.kindpng.com/imgv/TJhJ_movie-camera-and-film-
clipart-film-camera-vector/
Word cloud produced on: https://wordart.com/create
Appendices
23
Strengths Weaknesses Opportunities Threats
-Mix of low-cost and
flagship solutions
-Ambitious, patient
and long-term
-Targets two areas of
engagement- creator
and consumer
-Significant audience
consideration
-Meshes with Exeter
Culture’s ‘cross
cutting priorities’
-Considerate of local
businesses and
improved
administrative
organisation
-Encourages
community-building
-Bristol is the long-
term film hub so film
cannot be our USP
-Exeter City Council
must either increase
their cultural
expenditure or
temporarily reallocate
funds away from the
Royal Albert Memorial
Museum and provide
an initial investment
-Initial coordination
will be complex and
may face delays
-‘Building capacity’ is
not provided until Year
3
-Increased networking
-Media coverage for
Exeter
-More attractive title/
award bids accessible
-Talent development
with talent already
existing
-Existing baseline for
filmmaking venues
and production
spaces
-Invites a range of
artistic and creative
talents
-Bringing culture to
forefront of urban
planning
-Loss of internal
cultural funding
-Counter-events by
Plymouth or Bristol
-Programme seen as
only novelty
-Cancellations or
unsuccessful annual
events would
completely remove
momentum
-End year plans rely
on success and other
ongoing cultural
initiatives
Figure 10- SWOT analysis summary
24
Fig
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1 t
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Fig
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Module Code: GEO3131
Student Number: 670004105
Word count: 2928 Do you have an approved Individual Learning Plan
(ILP) No
If Yes to above, do you require and have approval for
specific learning difficult marking guidelines (as
outlined below)?
No
https://www.exeter.ac.uk/media/universityofexeter/wellbeing/documents/Dyslexia_Marking_Guidelines.pdf