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

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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.

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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.

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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).

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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).

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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

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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.

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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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announcement] (last updated 2nd April 2019) Available at: <https://www.bfi.org.uk/news-

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

UK City of Culture logo: https://www.gov.uk/government/news/eleven-bid-to-become-uk-city-of-

culture-2017

University of Exeter Film Studies: https://humanities.exeter.ac.uk/film/

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

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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