Download - Quantifying Location Placement Value
Quantifying Location Placement Value
Research by: EuroScreen Funders:
European Union European Regional Development Fundd
Human Digital
Contents
Project Overview
Region 1 – London
Region 2 – Ystad
Region 3 – Apulia
Findings & Appendix
Region 4 – Malta
Project Overview
Preface
This exploratory project, commissioned by EuroScreen’s lead partner Film London, seeks to quantify Location Placement Value (LPV)
through considering the total minimum chances a productions’ location has of being mentioned both online and offline and converting
this into an equivalent advertising value.
Part of this process utilised a cutting-edge methodology which analysed a social media dataset of tourist generated, location-based
commentary (an initial dataset of 30,480,732). Social media data provides us with the hard evidence necessary to understand how a
tourist feels towards a particular location and why, whether that is the blue door in London (Notting Hill) or Ystad, Sweden (Wallander). In
addition natural online commentary surrounding a location is hugely valuable both in its permanence, and is infinitely more engaging than
traditional advertising.
This data-set brings colour to the claims made in this paper, and represents a brand-new methodology to evaluate location placements.
Lastly, it can be used to complement and strengthen other forms of more traditional research in this area.
We hope you enjoy the contents.
Sarah Ward CEO, Human Digital
Quantifying Location Placement Value
5
Context
The Relentless Pace of Change
3,000,000,000
2,250,000,000
1,500,000,000
750,000,000
2,999,337,706 Global Internet Users
7
Proliferation of Social Media Data During Holiday
0%
10%
20%
30%
40%
50%
60%
DURING HOLIDAY AFTER HOLIDAY
Text100 Survey 2012 4,600 respondents across 13 markets
Engagement continues after consumers return from holiday
8
Tourism Spend vs. Internet Penetration
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
0
20
40
60
80
100
120
140
Nigeria Indonesia Mexico India South Korea
Brazil Japan France United Kingdom
Russia Germany United States
China
Inte
rne
t P
en
etr
atio
n (
% o
f to
tal p
op
ula
tio
n)
Tou
rism
Sp
en
d (
$b
illio
n)
Tourism spend Internet Penetration Linear (Internet Penetration)
Strong positive correlation
A positive correlation exists between tourism spend and internet penetration. Generally speaking, countries with higher internet penetration also tend to have higher tourism expenditure, highlighting the importance of utilising online to understand tourist behaviour.
9
Objectives
Executive Summary (I)
CONTEXT
AIM
EXECUTION
A body of academic research suggests film and television productions deliver added marketing value to a
region through increased exposure and the “screen tourism” that results from a location being featured in
the production. This location exposure represents a valuable commercial opportunity to the tourism sector.
① Quantify the additional (location advertising) value that film and television productions can deliver
through ‘location placement’, beyond the primary production spend.
② Provide a quantitative methodology to assess the LPV of the productions secured (feature films and
television) across EuroScreen regions on tourism and brand.
③ Assess the return on investment and media value (in advertising terms) that the respective region/city
achieves through featuring in a film or television production.
① Develop a methodology that allows regions and cities to quantify the LPV of productions filming in the
destination beyond the primary production spend and the return on investment/media value generated.
② Test the methodology developed with the following EuroScreen regions: Ystad (Sweden), Apulia (Italy),
London (UK) and Malta.
10
Research parameters
Executive Summary (II)
11
Date Range Content was collected from production release dates to the present. This ensured the most accurate
reflection of the audiences opinions.
Languages English language data was collected for all regions. Productions from Apulia and Ystad that were of particular
interest to their native audience include commentary in English and Italian/Swedish.
Scope
Executive Summary (III)
Apulia Productions:
① Mine vaganti (Loose Cannons), 2010
② Braccialetti rossi (The Red Band Society), 2014
③ Che bella giornata (What a Beautiful Day), 2011
London Productions:
① Harry Potter, 2001-11
② Sherlock, 2010-present
③ Notting Hill, 1999
Malta Productions:
① Gladiator (2000)
② Game of Thrones (2011)
③ Popeye (1980)
Ystad Productions:
① Wallander (both versions, excluding books), 2005-present
② Kyss mig (Kiss Me), 2011
③ Maria Larssons eviga ögonblick (Everlasting Moments), 2008
12
Research statistics
Executive Summary (IV)
TOTAL REACH (APPROX)
ANALYSED CONTENT
QUANTITY OF CONTENT (SAMPLE SIZE)
CHANNELS ANALYSED
2,200,000
30,480,732
1,617 238
CHANNELS ANALYSED (EXAMPLES)
NUMBER OF SOCIAL PLATFORMS 12
13
Summary of findings
Findings
Through the tech-enabled sampling of 30,480,732 pieces of user generated content, and the human-led analysis of around 1,617 individual unique sources within this set, this research executes the following objectives:
Demonstrates the application of a methodology using social
media data as an engagement proxy to measure LPV in 12
unique productions across multiple languages.
Shows that a television series can perform as well as feature
films productions in their LPV – and often perform even better
if the location is easily recognisable.
Exposes a definite link between a production’s setting and
subsequent location-based exposure and/or documented visits
to a location. To what degree depends on the specificities of
the production and the nature of the featured location
(fictional, recognisable, etc.).
Provides qualitative insight surrounding each individual
production that may be used to improve future place-based
marketing efforts and improve integration or partnership
between the screen and tourism sectors.
1. THE POWER OF SOCIAL MEDIA
3. TELEVISION CAN PERFORM AS WELL AS FILMS
2. LOCATIONS RELATE TO EXPOSURE
4. IMPROVE PARTNERSHIPS
14
Quantifying the value as advertising
Methodology – Calculating Location Placement Value (LPV)
PERCENTAGE OF LOCATION MENTIONS
MINIMUM VIEWERS DUNBAR’S NUMBER MINIMUM ADVERTISING
COST
zz
Percentage of location mentions = The minimum proportion of production-related conversation that also references region-specific locations (which was anywhere between 0.01 and 20% depending on the production).
Minimum viewers = The least amount of people that have viewed the production according to box office figures from the European Audiovisual Observatory, other sources, and adjustments for inflation when using older box office figures.
Dunbar’s Number = The most meaningful social connections someone might have (this is generally accepted as roughly 150), rather than larger social media ‘follower’ or ‘friend’ figures.
Minimum Advertising Cost = The least value that would be spent in generating equivalent exposure, using the present cost of premium online advertising (£0.025/€0.033 per impression).
MEANINGFUL EXPOSURE ONLINE OFFLINE EXPOSURE VALUE
15
By taking a representative and practical sample of location-based commentary we are able to gain a range of insights into the audience and their location-based conversation. These un-prompted voices can offer clues as to how recognisable a location is, how desirable it is, and what type of person it might appeal to.
With a human-led approach (rather than
‘automated’ tools) it is possible to
examine how an audience feels about a
location.
This research uses a scale that reveals the
proportions of positive, negative and
unsentimised/factual commentary
surrounding a production’s locations.
Subject to the availability of data, it may
also be possible to see how people
respond to a location as they move along
the image building journey.
The un-prompted voice of the audience
Qualitative Insights
The effects of location placement once a
production has been released/aired are
often assessed in terms of image building
or image formation (Croy, 2004 and
Vagionis, 2011).
By evaluating individual sources it is
possible to place a member of the
audience along a journey of location
awareness – they either mention a
location in general, know and recognise a
location, desire to visit it, intend to visit,
or have already visited it. This data can
then show the development of LPV for
each production.
The human-led approach also enables the
research to go beyond the limits of a pre-
defined data set in order to gather extra
demographic metrics that might not be
readily available in initial samples of data
from sources such as Twitter or Facebook.
For example, a person may misrepresent
their location, gender or age in a manner
which our researchers are trained to
recognise and report within our analysis.
This means we can augment the initial
scrape with human-verified accuracy.
IMAGE BUILDING SENTIMENT QUAL-QUANT DEMOGRAPHICS
16
0%
20%
40%
60%
80%
100%
Mention Knowledge Desire Intent Visit
AUDIENCE LOCATION AWARENESS
Very Negative Negative Mixed Positive Very Positive Unsentimised
OVERALL SUMMARY
Top-line summary detailing (where possible) location awareness, most prominently
discussed locations, other topics of conversation, and other notable findings.
DEMOGRAPHIC PROFILE
Summary of findings surrounding documented, or potential, visits to locations by production viewers
(depending on data availability).
LPV scorecard format for each production (example)
Scorecard Format
QUANTIFIED LPV VALUE
€ XX (average annual figure)
Least value of the free ‘earned’ location exposure/conversation in
advertising terms.
The image building journey… (e.g. 25% of the audience displays a ‘knowledge’ of the location)
…and sentiment towards location. (e.g. half of visitors were positive
about the location)
17
REASON FOR VIST The dominate reasons for visiting the location.
Productions with a low volume of data are harder to define accurately.
Region 1 – London
Data surrounding productions featuring London was abundant and much of this location-based commentary was very rich in detail. The high amount of documented visits provides a good basis for insights surrounding LPV and audience demographics, but was considered alongside the fact that London is also a major tourist destination in general.
Data summary
London
“Myself and my girlfriend of 5 years are heading to London soon, and we're doing the whole Harry Potter thing (WB Studio Tour, visit the various locations etc.). Where would be the most romantic place to propose in your opinion? We're both Potterheads and I definitely know this is something she'll eat up. I was thinking The Great Hall on the WB Studio Tour?”
“Watching movies
filmed in London
like Notting Hill,
makes me miss the
city so much more.”
“There are a good few Sherlock locations in London, so I put together walk taking in some of the major filming spots – click on the map at the bottom for full directions if you want to follow it yourself.”
– ontheluce.com (Blog)
“Photos I took at the Harry Potter Studio Tour in London, contains pretty much everything for those who cannot make it! Totally! I travelled from Malta just to head there and have no regrets :) If you're a big Harry Potter fan you'll love it, if you just watched the movies and are not really that interested you most probably still will because it's like an interactive museum.”
COMMENTARY VOLUME & QUALITY
ILLUSTRATIVE COMMENTARY
19
€13.3M
Production overview
London
HARRY POTTER (2001-2011)
NOTTING HILL (1999)
SHERLOCK (2010-present)
€24.9M
€13.7M
LPV GENDER AGE COUNTRIES REASON FOR LOCATION VISIT
65% FEMALE
35% MALE
77% FEMALE
23% MALE
70% FEMALE
30% MALE
16-24
25-35
16-35
50% UK 25% US
25% Other
31% UK 12% US
10% Brazil 47% Other
45% UK 55% Other
43% PRODUCTION 38% BY CHANCE
19% OTHER
55% PRODUCTION 45% OTHER
56% PRODUCTION 42% OTHER
2% BY CHANCE
PRODUCTION
20
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Mention Knowledge Desire Intent Visit
Unsentimised
Very Positive
Positive
Mixed
Negative
Very Negative
① The Harry Potter films generated a large volume of
location-aware and visitor commentary.
② Common topics concerned interior settings (39%),
cityscapes (19%), and general tourism (17%).
③ Sentiment towards locations was split between
positive and factual location commentary.
LPV Scorecard
Harry Potter (feature film franchise, 2001-2011)
VALUE OF LOCATION CONVERSATION (ANNUAL)
The region’s freely ‘earned’ social media conversation value as a least equivalent
advertising cost.
AUDIENCE LOCATION AWARENESS
AUDIENCE LOCATION AWARENESS DEMOGRAPHIC PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON FOR VISIT
65% FEMALE / 35% MALE
16-24 YEARS OLD
50% UK / 25% USA / 25% OTHER
POSITIVE
43% HARRY POTTER 38% BY CHANCE
19% OTHER
€13.3m ④ Prominently discussed London-based locations: Kings
Cross (39%), The Making of Harry Potter (13%), the
Millennium Bridge (7%), and Leadenhall Market
(4%).
⑤ However, 19% of commentators mentioned general
or fictional locations by people without clearly
discernible location knowledge.
Sample: 430
21
As a successful film franchise, Harry Potter has undoubtedly raised the profile of London and also brought many people to the city – or the studios in Hertfordshire – either partially or primarily because of the production. The Harry Potter audience is also very sociable online and perfectly demonstrates the manner in which fans recommend, direct and promote locations to one another through social media.
Key insights
Harry Potter (feature film franchise, 2001-2011)
CONTEXT, THE AUDIENCE & SOCIAL MEDIA
ILLUSTRATIVE COMMENTARY
“We visited the King's Cross Station on our trip to England in November 2005. This train station is a beautiful historic building on the outside with very modern facilities on the inside. You can go to platform 9 3/4, located within the station. The personnel were quite happy to assist us with directions. The platform is set up with a shopping cart halfway through the wall, to recreate the scene in a Harry Potter Movie. A great photo opportunity for Harry Potter fans. It's easy to find, and the inside environment is very friendly and comfortable.”
“Leadenhall Market was used to represent the area of London near The Leaky Cauldron and Diagon Alley in the film Harry Potter and the Philosopher's Stone.”
“The spiral staircase in the South-West tower featured in Harry Potter and the Prisoner of Azkaban (2004) as the stairs in Hogwart's where Harry finds a crystal ball and returns it to Prof. Trelawney.”
“Where harry potter was filmed!! #londonzoo #harrypottergeek #reptilehouse”
22
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Mention Knowledge Desire Intent Visit
Audience Location Awareness
Unsentimised
Very Positive
Positive
Mixed
Negative
Very Negative
LPV Scorecard
Notting Hill (feature film, 1999)
AUDIENCE LOCATION AWARENESS
① Notting Hill generated a huge location-aware
discussion and a strong positive desire to visit
Notting Hill (23% of location mentions also cited
some kind of positive desire to visit).
② Conversation topics concerned cityscapes (63%),
general tourism (21%) or nostalgia (11%).
VALUE OF LOCATION CONVERSATION (ANNUAL)
AUDIENCE LOCATION AWARENESS
AUDIENCE LOCATION AWARENESS
€24.9m ③ Sentiment towards the location was almost entirely
positive except for the odd complaint about the ‘reality’ of present day Notting Hill from those who knew the location well.
④ Notting Hill (38%) and London overall (33%) accounted for most location mentions. Specific location mentions included Portobello Road (11%), the bookshop (9%), and the blue door (8%).
SATISFACTION
55% PRODUCTION 45% OTHER
DEMOGRAPHIC PROFILE
GENDER
AGE
COUNTRIES
REASON FOR VISIT
77% FEMALE / 23% MALE
25-35 YEARS OLD
31% UK / 12% USA / 10% BRAZIL / 47% OTHER
POSITIVE
The region’s freely ‘earned’ social media conversation value as a least equivalent
advertising cost.
Sample: 124
23
The audience not only knows that this is set in London, but also clearly identifies the Notting Hill location as a specific area of London. Whilst they may subsequently visit London for other reasons as well (around 70%), their visit to Notting Hill specifically, is strongly inspired by the film (just over half of the audience who had visited London then visited Notting Hill as well).
Key insights
Notting Hill (feature film, 1999)
“Yay Notting Hill bookshop from the movie! London in 24 days!”
“I love going to Notting Hill. Of course, one looks for the blue door of 'Notting Hill' fame and does not find it. Julia Roberts is also absent! However, the street is an interesting mix of older shops and the inevitable supermarket. Daunt's Books is along the road, Recipease is on the corner and there is a cheerful pub with good meals. Portobello markets are fun and every year there is the Notting Hill Carnival...”
“I loved going to Notting Hill. Notting Hill really became famous because of the movie starring Hugh Grant and Julia Roberts. It's a great location in London. It has a more "home" feel than the rest of the city. Don't forget to stop by the bookshop and the blue door apartment that were featured in the movie.”
“'The Blue Door' from Notting Hill and a very excited Emma ”
CONTEXT, THE AUDIENCE & SOCIAL MEDIA
ILLUSTRATIVE COMMENTARY
24
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Mention Knowledge Desire Intent Visit
Audience Location Awareness
Unsentimised
Very Positive
Positive
Mixed
Negative
Very Negative
LPV Scorecard
Sherlock (television series, 2010-present)
56% PRODUCTION 42% OTHER
2% BY CHANCE
DEMOGRAPHIC PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON FOR VISIT
70% FEMALE / 30% MALE
16-35 YEARS OLD
45% UK / 55% OTHER
POSITIVE
Sample: 320
VALUE OF LOCATION CONVERSATION (ANNUAL)
The region’s freely ‘earned’ social media conversation value as a least equivalent
advertising cost.
AUDIENCE LOCATION AWARENESS
AUDIENCE LOCATION AWARENESS
€13.7m ③ Whilst Sherlock generated a lot of unspecific location
mentions, most of the audience recognised and
discussed the contemporary London setting.
④ The mostly ‘geeky’ and fact-based commentary
concerned 27 specific London-based locations
including Speedy’s Café (26%), “221b Baker Street”
(25%), St Bart’s (12%) and many others (1-3%).
③ Most commentary concerned the city setting (72%)
but a great variety of small discussions concerned
other factors – general tourism, interiors and other
attractions; especially nostalgia from ex-pats,
‘shrining’ locations, seeing the live filming or cast,
‘pilgrimages’ and ‘cosplay’.
25
Fan culture around a production can generate significant visitor numbers for small featured locations –such ‘shrining’, ‘cosplay’ and other active fan performances might then feed back into promoting the production to others. Audience members who already live in a region will go out of their way to visit locations. Therefore, a production that uses a contemporary setting with ‘real’ locations can generate a very significant LPV.
Key insights
Sherlock (TV Series, 2010-Present)
“..a while back when I was in London, my friend and I tracked down some Sherlock locations and I took printed pictures with me to catch the exact scene…”
“ …St. Bart’s Telephone Box Is The Most Heartbreaking Thing Ever./ Took me a while to find it, but I walked around a corner and suddenly found myself here: People still leave notes in the phone box and it’s heartbreaking. Here are a couple of notes:/ We need season 3 now. My heart can’t deal with this… ”
CONTEXT, THE AUDIENCE & SOCIAL MEDIA
ILLUSTRATIVE COMMENTARY
26
• Shrining: making a pilgrimage to a location with an almost religious fervour
• Cosplaying: to dress up as a fictional character with a degree of accuracy that elevates It from fancy dress
Overall summary
London
KEY CONCLUSIONS
It is clear that many visits to the region are partially or
fully inspired by a production featuring London, and
these have contributed to the high LPV of the
productions analysed in the city.
Fan culture activities like ‘shrining’, ‘cosplay’ and
urban fan art, mean that LPV feeds back into
promoting the production alongside the location.
London performs better for LPV the more ‘real’ and
recognisable its presentation.
e.g. Harry Potter has been seen by far more people than Sherlock, but
its use of fictional locations means that London gets less exposure.
In the best cases of location placement, it can be hard
to separate an audience’s association between a
production from its location – in this respect, London
is integral to Notting Hill and now perhaps vice versa.
1. LONDON HAS HIGH LPV
3. CULT FILMS HAVE HIGHER LPV
2. REALITY TRUMPS FANTASY
4. PRODUCTION ASSOCIATIONS WITH LOCATION
27
Region 2 – Ystad
Data summary
Ystad
Overall, there was ample data surrounding the Ystad region to draw insight from user-generated content, but it varied in amount and richness. Wallander performed exceptionally well, and Maria Larssons eviga ögonblick viewers also provided plenty of mentions for Malmö. However, Kyss Mig suffered from few regional mentions, as data was mostly limited to statements associated with Sweden.
COMMENTARY VOLUME & QUALITY
ILLUSTRATIVE COMMENTARY
“It was great to see the Amalteaman Anton Nilson and the Meeting of Three Kings on Stortorget in Malmö – not to mention the scenes in the old house on Hasselgatan in Malmö. We were living right next to it for 10 years in Björkgatan in Sofielund.”
– http://bertilius.wordpress.com
(Blog)
“I am Kurt Wallander.”
29
Production overview
Ystad
40,900 KYSS MIG (2011)
MARIA LARSSONS EVIGA ÖGONBLICK (2008)
WALLANDER (2005-Present)
260,800
22.8M
LPV GENDER AGE COUNTRIES REASON FOR LOCATION VISIT
81% FEMALE
19% MALE
50% FEMALE
50% MALE
50% FEMALE
50% MALE
16-60+
16-60+
25-60
27% UK 20% US
17% SWE 36% Other
70% SWE 30% Other
44% UK 20% US 11% IRE
25% Other
50% KYSS MIG 50% OTHER
NO VISITS
35% WALLANDER 65% OTHER
PRODUCTION
30
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Mention Knowledge Desire Intent Visit
Audience Location Awareness
Unsentimised
Very Positive
Positive
Mixed
Negative
Very Negative
LPV Scorecard
Kyss mig (feature film, 2011)
DEMOGRAPHIC PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON FOR VISIT
81% FEMALE / 19% MALE
16-60+
27% UK / 20% US / 17% SWE / 36% OTHER
POSITIVE
50% KYSS MIG 50% OTHER
① Kyss mig generated some location-based commentary but scored low in overall value due to a lack of recognition for the Ystad or Skåne region – but almost everyone did recognise it as a story set in contemporary Sweden.
② The only negative comment about the production misidentified it as a Norwegian film.
VALUE OF LOCATION CONVERSATION (ANNUAL)
The region’s freely ‘earned’ social media conversation value as a least equivalent
advertising cost.
AUDIENCE LOCATION AWARENESS
AUDIENCE LOCATION AWARENESS
€40,900 ③ Discussion surrounding the location was often very
positive and talked about the ‘beautiful’ or ‘bucolic’
countryside and landscapes (67%), nostalgia for
Sweden (7%) or other attractions including the
Swedish language and culture (20%).
Sample: 49
31
“We really enjoyed watching this, great Swedish country side, familiar faces (although Ruth isn't as glam or as skinny as she is in recent Call girl). Found it very moving, real, edge of seat, will they wont they, brilliant... and then the ending was pure Hollywood rom com and I went to bed in a terrible mood.”
Key insights
Kyss mig (feature film, 2011)
Sentiment towards the production and the location was overwhelmingly positive (only 6% of comments about the film and 2% of the location comments were in any way negative), the setting was almost always recognised as Sweden and not the region of Ystad. Therefore, it is possible that the film did not contain enough regional prompts to firmly associate with Ystad or Skåne – and at worst, was thought by some foreign audiences to be elsewhere.
“The love scenes are beautifully directed with both passion and tenderness. The gorgeous Swedish countryside is a perfect setting for this story, which illustrates that love, can be lurking in unexpected places.”
“…beautiful people, beautiful scenery and beautifully shot…”
CONTEXT, THE AUDIENCE & SOCIAL MEDIA
ILLUSTRATIVE COMMENTARY
32
LPV Scorecard
Maria Larssons eviga ögonblick (feature film, 2008)
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Mention Knowledge Desire Intent Visit
Audience Location Awareness
Unsentimised
Very Positive
Positive
Mixed
Negative
Very Negative
DEMOGRAPHIC PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON FOR VISIT
50% FEMALE / 50% MALE
16-60+
70% SWE / 30% OTHER
POSITIVE
NO VISITS
① Maria Larssons generated some location-based
commentary and many viewers recognised Malmö as
the setting for this production.
② The only locations that were specifically identified
were either Malmö (54%) or Sweden (46%).
VALUE OF LOCATION CONVERSATION (ANNUAL)
The region’s freely ‘earned’ social media conversation value as a least equivalent
advertising cost.
AUDIENCE LOCATION AWARENESS
AUDIENCE LOCATION AWARENESS
€260,800 ③ Conversation topics chiefly concerned cityscapes
(65%), historical interiors and settings (18%) or
strong feelings of nostalgia for Sweden and Malmö,
mostly in the past but occasionally in the present.
Sample: 50
33
Key insights
Maria Larssons eviga ögonblick (feature film, 2008)
Maria Larssons eviga ögonblick was almost always recognised as a Swedish production, and often as being set in a historical period of Malmö. However, much of this recognition came from native audiences, and foreigners tended to focus their awareness on Sweden. Also, as it is a historical film it was praised for its period-specific props and settings. There are far less ‘real life’ locations to visit and so it was harder for the audience to desire a visit to any locations.
“While the words were in Swedish, I'm sure that every nuance came through clearly. We were taken to the Malmo of a hundred years ago, when even a simple photograph was the product of a skilled hand, and an inspired vision. This film, simple yet true, reflected the same spirit.”
“Maria Larssons eviga ögonblick reminded me about Troell’s unusual class awareness and clarity about gender issues. I was inspired by the film’s theme about the role of the artist (photography in this case). I was taken back to the years I lived in Malmö, where most of the film takes place, with the city’s history of the workers’ movement and “barnrikehus” (special housing for working class families with many children), etc.”
– pellehanaeus.se (Blog)
“Filmen utspelar sig under början av 1900-talets Sverige och handlar om arbetarkvinnan Marias liv. Hon får en dag en kamera och börjar att fotografera allt i sin omgivning. Hennes bilder visar ett samhälle i förändring; fattigdom, vardagsglädje och krigsutbrott.”Maria Larssons eviga ögonblick” filmades i Malmö och bl a bland gatuhusen på Sofielund. (Set in early 1900s Sweden involving working woman Maria's life. Her new camera shows a changing society from poverty, to joy and the outbreak of war. "Everlasting Moments" was filmed in Malmö and among street houses on Sofielund.)”
– idabloggen.wordpress.com (Blog)
“The settings and the story give a good insight in life at the turn of last century in a small town in Sweden (Malmo). Fine photography throughout and a story that sweeps you up...”
CONTEXT, THE AUDIENCE & SOCIAL MEDIA
ILLUSTRATIVE COMMENTARY
34
LPV Scorecard
Wallander (television series, 2005-present)
① Wallander generated an enormous LPV. Whilst many
mentions did not recognise Ystad itself (Sweden was
not included here as ‘knowledge’ awareness), much
of the audience knew it was set in Ystad and some
had also visited.
② Cityscapes (67%) or landscapes (26%) were by far the
most common topics of conversation.
VALUE OF LOCATION CONVERSATION (ANNUAL)
The region’s freely ‘earned’ social media conversation value as a least equivalent
advertising cost.
AUDIENCE LOCATION AWARENESS
AUDIENCE LOCATION AWARENESS DEMOGRAPHIC PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON FOR VISIT
50% FEMALE / 50% MALE
25-60+
44% UK / 20% US / 11% IRE / 25% OTHER
POSITIVE
35% WALLANDER 65% OTHER
€22.8m ③ Apart from Sweden (31%), specific location mentions
either referred to Ystad (52%), the police station
(6%) or the Hotel Continental (3%).
④ The only negative location sentiment referred to the
gloomy nature of the setting.
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Mention Knowledge Desire Intent Visit
Unsentimised
Very Positive
Positive
Mixed
Negative
Very Negative
Sample: 144
35
Key insights
Wallander (television series, 2005-present)
Wallander generated a large amount of online exposure for the town of Ystad, and all global audiences displayed a significant location awareness for both Sweden and Ystad (especially in the UK). As a result of its modern and recognisable setting with many key locations in one small area, it also generated a significant desire to visit the town and this was actively documented online.
CONTEXT, THE AUDIENCE & SOCIAL MEDIA
ILLUSTRATIVE COMMENTARY
“We stayed here partly because it's some of the best value accommodation in Ystad and partly because it was the filming location for the police station in the second season of Swedish Wallander films. All the rooms are named after the roles they played in Wallander - we stayed in the Advokat's room, and Wallander, Martinsson and Svartmann's rooms are also all available. [...] It goes without saying that it's also a brilliant place for Wallander fans! I loved it here and can't wait to visit again!”
36
Overall summary
Ystad
KEY CONCLUSIONS
Viewers will rarely have trouble recognising a national
setting but representations of a region need to be
clearly identifiable to increase LPV.
Modern settings are more likely to contribute to
location awareness since people can more easily
imagine themselves visiting present-day locations.
Landscape and scenery almost always attract positive
location sentiment and usually contribute to online
location exposure.
Production genre is part of the location conversation,
but has an indiscernible effect. Audiences will still visit
locations which are backdrops to tough storylines.
1. TELL US WHERE IT’S FILMED
3. MODERN SETTINGS WORK BEST
2. THE SCENIC ROUTE
4. STORYLINES DON’T MATTER MUCH
37
Region 3 – Apulia
Data summary
Apulia
Apulia was the most challenging region for this research since even the most successful production (Che bella giornata) had almost no commentary outside of Italy – in fact, Mine vaganti was the most popular production outside of Italy – and nor was it entirely shot in Apulia. Nonetheless, it was still possible to gain a picture of the location awareness for all productions.
COMMENTARY VOLUME & QUALITY
ILLUSTRATIVE COMMENTARY
“Durante i quasi 100 minuti di proiezione si ride, spesso di gusto, sopratutto nella seconda parte del film. Se infatti i primi minuti non scorrono del tutto fluidi e mancano veri e propri spunti comici degni di tal nome, le scene migliori sono quelle del battesimo in Puglia, con tanto di festa paesana organizzata fra gli stretti vicoli di Alberobello, con un insolito Caparezza costretto suo malgrado a cantare "Non amarmi" o brani dei Ricchi e Poveri, cosa di per sè comica per un pubblico giovane che conosca lo spessore delle canzoni dell'autore pugliese. (The best scenes are the baptism and festival in the streets of Alberobello.)”
– cinemarecensionilab.blogspot.co.uk (Blog)
“Lovely views of a southern Italian town, peppered with good food and hearty familial ties make this a charming, enjoyable experience. I really liked the opening & ending sequences with the family matriarch.”
39
Production summary
Apulia
€8.8M BRACCIALETTI ROSSI (2014)
CHE BELLA GIORNATA (2011)
MINE VAGANTI
€1.1M
€1.7M
LPV GENDER AGE COUNTRIES REASON FOR LOCATION VISIT
65% FEMALE
35% MALE
50% FEMALE
50% MALE
55% MALE 45%
FEMALE
16-25
16-60
30-50
96% ITA 4% Other
100% ITA
MIXED
83% BRACCIALETTI ROSSI
17% BY CHANCE
UNRELATED TO PRODUCTION
PRODUCTION BASED
PRODUCTION
40
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Mention Knowledge Desire Intent Visit
Audience Location Awareness
Unsentimised
Very Positive
Positive
Mixed
Negative
Very Negative
LPV Scorecard
Braccialetti Rossi (television series, 2014)
① Braccialetti Rossi generated a very significant volume of location-based conversation for the Apulia region, with around half of the audience knowing where the series was set. 21% of the audience discussed a desire or intent to visit and around 8% of commentators had done so.
VALUE OF LOCATION CONVERSATION (ANNUAL)
The region’s freely ‘earned’ social media conversation value as a least equivalent
advertising cost.
AUDIENCE LOCATION AWARENESS
AUDIENCE LOCATION AWARENESS DEMOGRAPHIC PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON FOR VISIT
65% MALE / 35% FEMALE
16-60
96% ITA / 4% OTHER
POSITIVE
83% BRACCIALETTI ROSSI 17% BY CHANCE
€8.8m ② However, the location mentions were largely
unsentimised factual references to Fasano (94%) as
the setting for the series, and desires to visit were
usually focused on seeing the filming or cast
members rather than anything specific about the
town or landscape.
Sample: 50
41
Key insights
Braccialetti Rossi (television series, 2014)
Braccialetti Rossi fans recognise the setting of their favourite show as Fasano, but their discussion of the location is largely fact-based and does not seem to be regarded as integral to the story. However, there are documented visits to the town that are usually the result of a desire to meet the cast at a special event, or as a result of other online promotion.
“Peccato che il nome di Fasano non compaia da nessuna parte, neppure nei titoli di coda... (It is a pity that the name of the city Fasano doesn't appear anywhere, not even in the credits)”
CONTEXT, THE AUDIENCE & SOCIAL MEDIA
ILLUSTRATIVE COMMENTARY
42
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Mention Knowledge Desire Intent Visit
Audience Location Awareness
Unsentimised
Very Positive
Positive
Mixed
Negative
Very Negative
LPV Scorecard
Che bella giornata (feature film, 2011)
① Despite much of this film being set elsewhere, much
of the audience knew that part of it was set in the
region of Apulia.
② The region’s beautiful landscape, Alberobello’s
streets, and rural Italian culture were the key
conversation topics and generated some desire to
visit the area.
VALUE OF LOCATION CONVERSATION (ANNUAL)
The region’s freely ‘earned’ social media conversation value as a least equivalent
advertising cost.
AUDIENCE LOCATION AWARENESS
AUDIENCE LOCATION AWARENESS DEMOGRAPHIC PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON FOR VISIT
50% MALE / 50% FEMALE
16-25
100% ITA
POSITIVE
UNRELATED TO PRODUCTION
€1.1m ③ This knowledge particularly stemmed from the
baptism scene set in and around Alberobello’s
“trulli” (49% of location mentions), but Apulia in
general (45%) and Bari (4%) also gained exposure.
NB: The production was not distributed widely outside of Italy
Sample: 51
43
Key insights
Che bella giornata (feature film, 2011)
It is important to note that only a small part of the film takes place in Apulia – and it is often this part that is well documented online (especially, the baptism in Alberobello). Overall, Che bella giornata demonstrates that a production can benefit and promote a region through having one key and memorable scene take place in that location.
“E' una comicità semplice, ma accettabile quella di Zalone, con alcune partecipazioni speciali che fanno dei camei e la Puglia in primo piano. (It's a simple comedy, with some special participations with Puglia as a highlight)”
“Un paesaggio come quello di Alberobello non può non prestarsi come location di set cinematografici, dal 1930 con “Idillio infranto” fino al recentissimo “Che bella giornata” di Checco Zalone, dove la musica del pugliese Caparezza ha trovato, tra le piazzette e le stradine, lo strumento migliore per diffondersi tra gli invitati al battesimo, come da copione, e tra i turisti incuriositi. (Alberobello is a beautiful landscape and cityscape that has been used for many films and it is the perfect location for the recent "Che bella giornata")”
“Nelle foto, scattate ad Alberobello, la città famosa per i suoi trulli, immortalavano una scena del film con lo special guest, Michele Salvemini, il rapper pugliese in arte Caparezza. (Alberobello is immortalised by one scene in the film that uses its trulli.)”
“Della storia non dirò altro. Non c’è dubbio però che – dopo una parte iniziale un po’ in sordina – il film decolla e risulta esilarante in maniera quasi liberatoria. Preparatevi, in particolare, alla strepitosa sequenza del battesimo festeggiato ad Alberobello! (The film really takes off at the Baptism scene in Alberobello.)”
CONTEXT, THE AUDIENCE & SOCIAL MEDIA
ILLUSTRATIVE COMMENTARY
44
LPV Scorecard
Mine vaganti (feature film, 2010)
① Mine vaganti generated some significant location-
based commentary, with 31% of the audience
declaring a positive sentiment to the locations they
knew.
VALUE OF LOCATION CONVERSATION (ANNUAL)
The region’s freely ‘earned’ social media conversation value as a least equivalent
advertising cost.
AUDIENCE LOCATION AWARENESS
AUDIENCE LOCATION AWARENESS VISITOR PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON FOR VISIT
55% MALE / 45% FEMALE
30-50
MULTIPLE
POSITIVE
PRODUCTION BASED
€1.7m ② The locations most discussed were Lecce (67%),
Apulia (16%), Punta Suina Bay (6%), and the
remainder being references to Italy in general (11%).
③ The main topic of conversation was the beautiful
landscape (76%).
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Mention Knowledge Desire Intent Visit
Unsentimised
Very Positive
Positive
Mixed
Negative
Very Negative
Sample: 65
45
Key insights
Mine vaganti (feature film, 2010)
Given that Mine vaganti was one of the smaller productions in this project, it generated a relatively large amount of location-based commentary. Most of this commentary was prompted by the audience’s appreciation for the landscape in the film, and this was the main conversation-driver – even inspiring one couple to go on holiday to the region solely as a result of seeing this beauty on screen.
CONTEXT, THE AUDIENCE & SOCIAL MEDIA
ILLUSTRATIVE COMMENTARY
“My husband and I planned to make a holiday in Puglia Area and actually came first to Lecce, because of the inspiration of the movie “Mine Vaganti” directed by Ferzan Ozpetek. And in this beautiful place, we stayed in B&B Palazzo Bernardini for 3 nights. This was such a stunning B&B. The helpful and sincere approach of Isabella ( the owner of the hotel) was really impressive. The suite was furnished with beautiful antiques. A large living room opened to a large bedroom that opened onto a small terrace with a view of beautiful trees and flowers. The breakfast was with local croissant and special breads of Lecce; it was nice… Lecce is one of the nicest and historical little towns in Italy. And if you need a B&B, don’t look further..”
“A very nice comedy based on the following premise: is being gay or straight the right definition of a person? It's well acted, moving and Italy is such a beautiful country!”
“The film is handsomely filmed and the great looking, almost-perfect settings only seem to enhanced the imperfections of the family itself. The editing (and direction) both seem a bit too pleased with themselves: some scenes could have gained something by being trimmed a bit.”
46
Overall summary
Apulia
KEY CONCLUSIONS
Despite the fact that two of Apulia’s productions were
not widely distributed outside of Italy, the region still
managed to perform reasonably well in terms of LPV.
Beautiful scenery will always catch the audience’s eye,
and that they may subsequently visit a region based
on this alone, regardless of production quality/rating.
Just one memorable scene in a production can
associate it with the region, and with lasting effect
(e.g. Che bella giornata’s Alberobello baptism).
A relatively ‘unimportant’ feature location (e.g.
Fasano) can still capture the imagination of the
audience and attract visitors as a result.
1. PRODUCTIONS PERFORM WELL, DESPITE CHALLENGES
3. SCENERY SELLS
2. MAKE IT MEMORABLE
4. FEATURE LOCATIONS CAN STILL WORK
47
Region 4 – Malta
Data summary
Malta
Since all of Malta’s productions are well known, it was very easy to find location-based discussion online for all three. However, since Malta is almost always less ‘featured’ or recognisable as a setting in these productions, they provide a good contrast to the London productions and each produced unique insight as a result.
COMMENTARY VOLUME & QUALITY
ILLUSTRATIVE COMMENTARY
“Oliver Reed at The Pub, Valletta, Malta. #gladiator”
49
Data summary
Malta
€1.3M GAME OF THRONES (2011-present)
GLADIATOR (2000)
POPEYE (1980)
€1.1M
€12.2M
LPV GENDER AGE COUNTRIES REASON FOR LOCATION VISIT
60% MALE 40% FEMALE
70% MALE 30%
FEMALE
50% FEMALE
50% MALE
25-35
45-60
35-60+
MIXED
70% UK 12% US
18% Other
50% US 50% UK
85% OTHER 15% PRODUCTION
50% OTHER 33% PRODUCTION
17% BY CHANCE
ANOMALOUS: Commentators were likely to have watched the production after having
visited a prime filming location in Malta
PRODUCTION
50
LPV Scorecard
Game of Thrones (television series, 2011-present)
① Despite being filmed in many other locations, Game
of Thrones did generate a small amount of location-
based commentary for Malta and many fans of the
series knew that it was partly filmed there (68% of
mentions surrounding the Maltese locations also
knew it was filmed there).
VALUE OF LOCATION CONVERSATION (ANNUAL)
The region’s freely ‘earned’ social media conversation value as a least equivalent
advertising cost.
AUDIENCE LOCATION AWARENESS
AUDIENCE LOCATION AWARENESS DEMOGRAPHIC PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON FOR VISIT
60% MALE / 40% FEMALE
25-35
MIXED (FROM 8 COUNTRIES)
VERY POSITIVE
85% OTHER 15% PRODUCTION
€1.3m ② General tourism was also a topic of conversation, and
this revealed that many people had visited Maltabefore realising that it was used as a filming locationfor Game of Thrones.
③ Aside of Malta mentions in general (32%), locationsreferred to included Mdina (17%), Azure Window(9%) and both Valetta and Dwejra (4%).
0%
20%
40%
60%
80%
100%
Mention Knowledge Desire Intent Visit
Unsentimised
Very Positive
Positive
Mixed
Negative
Very Negative
Sample: 124
51
Key insights
Game of Thrones (television series, 2011)
Attracts a lot of location-based commentary. One theme of the conversation reveals that many fans have visited Malta and then only realised later that it was a setting for the series. This suggests that more could be done to promote awareness of Malta on the Game of Thrones screen tourist trail (since some that knew it was a location did visit).
“Wait, they shot in Mdina? Damn! I was there back in October last year and never even knew they filmed in Malta otherwise I would of made a point of finding that. Damnit.”
“Same here. I was there last month. Gutted.”
“Me Too... Wish i had known...”
“I was there last month! Can't believe I totally missed the opportunity to look up where GoT was filmed. I knew some parts were filmed in Malta, but had no idea I walked right pass some of them!”
CONTEXT, THE AUDIENCE & SOCIAL MEDIA
ILLUSTRATIVE COMMENTARY
52
0%
20%
40%
60%
80%
100%
Mention Knowledge Desire Intent Visit
Audience Location Awareness
Unsentimised
Very Positive
Positive
Mixed
Negative
Very Negative
LPV Scorecard
Gladiator (feature film, 2000)
① There was a surprisingly high location exposure
generated by Gladiator, since none of the locations
featured are easily recognisable as Malta.
② The main topics of conversation were general
tourism (42%), landscape (22%), ‘shrining’ (15%) and
‘pilgrimage’ (4%).
VALUE OF LOCATION CONVERSATION (ANNUAL)
The region’s freely ‘earned’ social media conversation value as a least equivalent
advertising cost.
AUDIENCE LOCATION AWARENESS
AUDIENCE LOCATION AWARENESS DEMOGRAPHIC PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON FOR VISIT
70% MALE / 30% FEMALE
45-60
70% UK / 12% US / 18% OTHER
POSITIVE
50% OTHER 33% PRODUCTION
17% BY CHANCE
€1.1m ③ Key locations mentioned were the bar where Oliver
Reed died (52%), Malta in general (13%), Fort
Ricasoli (8%) and Valetta (3%). Other mentions were
general references to fictional or unrecognised
locations (21%).
Sample: 77
53
Key insights
Gladiator (feature film, 2000)
Gladiator is strongly associated with Malta through online location-based commentary, however this is not necessarily solely because of the impressive buildings and landscape featured (which was also a factor). It is also possible to observe the location-association effect that has been produced by the unfortunate and unexpected circumstance of Oliver Reed’s death in Malta during the filming. Therefore, location placement is not solely limited to on-screen representation, and off-screen events can also have an effect.
“I’ve been to The Pub in Republic Street Valletta where Olly Reed spent his last liri on loads of booze before going to sleep forever. It’s only tiny but worth a visit for any Olly fans.”
“What a great place Olly’s last pub really nice to pay your respects and have a drink to the legend Oliver Reed me and my dad even got to sign a condolences book which was really nice and took some great pictures of inside the pub. the owner is a bit miserable but the pub itself is well worth a visit.”
“I went by the bar where Oliver Reed died in Valletta, Malta. I want to find other places where they filmed Gladiator”
CONTEXT, THE AUDIENCE & SOCIAL MEDIA
ILLUSTRATIVE COMMENTARY
54
0%
20%
40%
60%
80%
100%
Mention Knowledge Desire Intent Visit
Audience Location Awareness
Unsentimised
Very Positive
Positive
Mixed
Negative
Very Negative
LPV Scorecard
Popeye (feature film, 1980)
① Popeye has generated a large location-basedconversation for Malta, and many viewers are awarethat it was shot on a set in Malta.
② Topics of conversation entirely revolve around eitherthe film set (68%), general tourism (24%) or feelingsof nostalgia (7%) for both visiting the set as a child orseeing it in the movie.
VALUE OF LOCATION CONVERSATION (ANNUAL)
The region’s freely ‘earned’ social media conversation value as a least equivalent
advertising cost.
AUDIENCE LOCATION AWARENESS
AUDIENCE LOCATION AWARENESS DEMOGRAPHIC PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON FOR VISIT
50% MALE / 50% FEMALE
35-60+
50% UK / 50% US
VERY POSITIVE
ANOMALOUS: Commentators were likely to have watched the production
after having visited
€12.2m ③ This conversation is almost entirely driven byreferences to the Sweethaven film set (Popeyevillage) that still stands in Malta as a touristattraction. Sentiment towards this location isgenerally very positive, albeit with a few referencesto its age and poor maintenance.
Sample: 129
55
Key insights
Popeye (feature film, 1980)
Location-based commentary for Popeye is abundant online due to the entire film set of ‘Popeye village’ – or ‘Sweethaven’ – being still intact on the island as a popular tourist attraction in its own right. Many people visit the set before having seen the movie, and thus this production presents an anomaly whereby the location serves to provide powerful ongoing promotion for the movie.
“I bought this DVD for my grandson's birthday after visiting the film set in Malta. He'd never heard of Popeye, but has watched the film six times and he loves it.”
“Bought this originally on video in Malta after visiting the film set about 20 years ago. Wanted to show my kids before we went back - they loved it, and every time we visit the film set we have to watch it again!”
“Just sharing a quick photo I took with my phone this morning, at Popeye Village, Malta. Salutations!”
“We were here a few years ago with kids they had an absolute ball and we enjoyed it too!! Got the video out when we got home and they really enjoyed picking out the houses they had been in.”
“This is where they filmed the Popeye film, and it is exactly as it was in the film, it is superb, and brilliant for the kids. One tip watch the film before you go you will appreciate it more.”
“I thought the set (Sweethaven), was very comical yet useable, liveable and the "no sense of time" previously mentioned just brings it out more. I'd visit it if I were ever to travel near Malta.”
CONTEXT, THE AUDIENCE & SOCIAL MEDIA
ILLUSTRATIVE COMMENTARY
56
Overall summary
Malta
KEY CONCLUSIONS
The audience of fantasy productions – or any
productions that use ‘stand in’ locations – will benefit
from clarity as to where their production was filmed.
A location’s novelty can result in the lasting promotion
of a production, even 34 years after it was originally
released (i.e. Popeye, 1980).
Events surrounding productions can often become as
famous as the production itself, and often become
forever associated with the location as a result.
Given that Malta is not widely known to be a featured
location in any of the three productions chosen, it has
performed exceptionally well.
1. TELL US WHERE IT’S FILMED
3. NOVELTY AND LEGACY
2. LOCATION VALUE TRANSCENDS FILM PLACEMENT
4. GENERAL NOTE
57
Findings & Appendix
Overall Summary
Demonstrates the successful application of a social media-based methodology to the measurement of LPV in 12 unique productions across multiple languages (including one series of films).
Shows that television series’ perform as well as feature films in their LPV – and often perform even better if the location is both contemporary or easily recognisable.
1. SOCIAL WEB RESEARCH IS APPROPRIATE
3. TELEVISION AND FILMS BOTH PERFORM WELL
2. PRODUCTION SETTING IS RELATED TO EXPOSURE
4. LPV RELIES ON LOCATION AND PRODUCTION QUALITY
Exposes the link between a production’s setting and subsequent location-based exposure and/or documented visits to a location. To what degree depends on the specificities of the production and the nature of the featured location (fictional, recognisable, etc.).
Shows that LPV is a product of both the location and the production’s intrinsic qualities, and should not be seen as dependent on either alone.
Key conclusions
59
Recommendations for Further Research Tracking, expansion & data blending
Consider a ‘tracking’ programme to investigate how LPV may change over time (e.g. before, during, and after production releases) and adjust the scope of the research’s timeframe accordingly.
Consider integrating GDP and tourist value statistics if working in partnership with tourism agencies (e.g. place a value on the conversation/visitor origin to increase granularity of the digital landscape’s value).
1. TRACK OVER TIME
3. DATA BLENDING
2. LANGUAGE SUPPORT
4. MEASURE COUNTRY LEVEL & FANTASY LOCATIONS
Increase language support for productions that are
only known within their country of origin or are
exported into markets with a different language.
Structure and rank ‘location awareness’ for country as
well as region. Also, consider incorporating and
ranking fictional locations as well.
60
Appendix: Data Visualisation & Access Dashboard
For added transparency and future
discussion, Human Digital have provided a
sample of the data used in this study at the
following address:
http://dash.human-digital.com/euroscreen
This dashboard features content used in
the qualitative analysis of the report. The
sample displayed represents the top 75% of
our total sample when ranked by ‘relative
influence’ – i.e. how influential a piece of
content is online in relative terms of reach
(visibility) and engagement (amount of
people that have interacted with it).
The data is also ranked by location
sentiment (on the x-axis), and is filterable
by production, region, user demographic,
and platform/channel type.
61
Buchmann, A.K In the Footsteps of the Fellowship – Understanding the Expectations and Experiences of Lord of the Rings Tourists on Guided Tours of New Zealand. Lincoln University, Lincoln, 2007. Cloudberry Communications, The Millennium Report Economic Impact and Exposure Value for the Stockholm region in the Swedish Millennium Feature Films. Cloudberry Communications, Stockholm, 2011. Croy, G The Lord of the Rings, New Zealand and Film Tourism: Image Building with Film. Department of Management Monash University, Melbourne, 2004. European Audiovisual Observatory, Database on Admissions of Films Released in Europe (http://lumiere.obs.coe.int/) EuroScreen, Case Studies 2013. London, 2013. Kraaijenzank, M Movie Induced Tourism an Analytical Report on how The Lord of the Rings Trilogy has Affected Tourism in New Zealand. Aalborg University, Aalborg, 2007. Mansson, Maria & Eskilsson, Lena, EuroScreen - The Attraction of Screen Destinations: Baseline Report Assessing Best Practice, 2013. Olsberg SPI, Stately Attraction How Film and Television Programmes Promote Tourism in the UK, 2007. Oxford Economics, The Economic Impact of the UK Film Industry, 2012. Vagionis, N ‘Movies as a Tool of Modern Tourist Marketing’ – Tourismos Volume 6, Autumn 2011, pp. 353 -362. Ystad Kommun, The Movie Town Ystad, Media Analysis, 2012.
Bibliography
62
About Human Digital
Project Team – Quantifying Location Placement Value
OSMAN JUNAID
SIMON RICHARDSON
63
HUMAN DIGITAL PORTLAND HOUSE
4 GREAT PORTLAND STREET LONDON W1W 8QL
+44 020 7404 6434 [email protected]
Who we are
2011: Becomes part of the M&C Saatchi Group
2014: Partnership with Capgemini Consulting
2008: Founded by Sarah Ward (CEO)
Who We Are
PROFESSIONAL SERVICES
CONSUMER
PUBLIC SERVICES
EVENTS & ENTERTAINMENT
ADVERTISING / PR AGENCY
CHARACTER BASED LANGUAGES Urdu phrase: Transliteration: Mujhe Daktar Ki Zururat He! Translation: I need a doctor!
SENTIMENT Geordie phrase: “howay man!” Translation: Proclamation of exhortation or encouragement (crucially, it can be both positive and negative!) Usage 1: "Howay man! We gannin' doon Morrisons to beat the queue?” (Unsentimised) Usage 2: “HOWAY THE TOON!!!” (Positive) Usage 3: “Howay, then” (Based on context, negative)
SLANG Scouse word: “scran” Translation: Food Usage: 'Off to me ma's for tea - she does proper boss scran, y'know.’
Context: Quantification of Words and Pictures
Social media data is challenging to quantify since much of it appears as word, picture and video (as opposed to more binary forms
such as transactional or sales data). For this reason, it is critical for early human intervention during the verification process to ensure
high levels of accuracy. Human Digital applies an indexing methodology that allows words and pictures to be quantified using
engagement, reach and share of voice metrics. It is for this reason that we remain the agency of choice for Transport for London, RBS,
Pearl and Dean and Unilever amongst others.
CO
NTE
NT
VIS
IBIL
ITY
500 x bigger
than the
Surface Web
The machine readable web
Unreadable
by machines
Deep Web
Requires native speaking,
human-led verification
Surface Web
Context: The Asymmetric Web
Our methodology is not constrained to the ‘Surface Web’ – the section of the web accessible to machine-collecting technologies. We consider every local social platform across every market. Doing so enables us to establish where target audiences naturally exist.
Our Research Process
SOURCE ANALYSE ORGANISE REPORT
Unstructured data collection 1) Viewing the world through the
consumers’ eyes 2) Locating primary locations of
engagement & content creation 3) Collecting all relevant UGC
Data structuring 1) Topics of discussion 2) Sentiment codification 3) Consumer journey
stages 4) All other KPIs
Human-led analysis
1) Accounting for linguistic nuance & idiom
2) Foreign language analysis 3) Cultural context 4) Utilising our team’s expertise
Reporting
Not just answering questions, but defining them, based on what consumers really feel.
EuroScreen Partners
Agenţia pentru Dezvoltare Regională Bucureşti-Ilfov
EuroScreen Consultants
www.euroscreen.org.uk@[email protected]
Film London Partner