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MORE ABOUT THE FILM
DEMOGRAPHIC / AUDIENCES
Bringing together a diverse range of partners around the project, including NGO’s, brands, corporates and high profile influencers, the distribution strategy will be planned in conjunction with a bespoke, wide-reaching marketing & media plan to attract new audiences to the cinema.
We plan to organise a number of community engagement and taste-maker screenings, Q&A’s lectures and concert tours featuring our contributors to raise awareness about women in electronic music and guide audiences towards two interactive online projects (see below).
Because the film uncovers a new history of electronic music spanning six decades with a host of internationally renowned contributors, we envisage the film will appeal to broad audiences interested in music, cultural history, technology and feminism, with our core audiences being male and female (25 - 45 year olds, ABC), and our secondary audiences being teens and youth (ages 18 - 25).
With our team’s experience and relationships in media, we anticipate broad presence in key national and international media, as well as film, music, women, technology and arts press. We’ll push the film as a compelling and important new story and capitalise on the film’s key participants in the press & marketing campaign around the release with strong social media support.
Bringing together a diverse range of partners around the project, including NGO’s, brands, corporates and high profile influencers, the distribution strategy will be planned in conjunction with a bespoke, wide-reaching marketing & media plan to attract new audiences to the cinema.
We plan to organise a number of community engagement and taste-maker screenings, Q&A’s lectures and concert tours featuring our contributors to raise awareness about women in electronic music and guide audiences towards two interactive online projects (see below).
Because the film uncovers a new history of electronic music spanning six decades with a host of internationally renowned contributors, we envisage the film will appeal to broad audiences interested in music, cultural history, technology and feminism, with our core audiences being male and female (25 - 45 year olds, ABC), and our secondary audiences being teens and youth (ages 18 - 25).
With our team’s experience and relationships in media, we anticipate broad presence in key national and international media, as well as film, music, women, technology and arts press. We’ll push the film as a compelling and important new story and capitalise on the film’s key participants in the press & marketing campaign around the release with strong social media support.
We anticipate that the film’s success at festivals will garner a positive run of coverage in Trade media such as Indiewire, Screen, Variety, Film media such as Little White Lies, Sight & Sound and in the film & arts sections of The Guardian, The Times, and The New York Times. To further spread the word, we have approached Frances Morgan from The Wire to come on board as a story advisor and expect The Wire to be one of our key media partners. Nowness has also singed up as a media partner. Other music outlets we will engage with include Pitchfork, Q, Uncut, Thump (Vice), BBC 6 Music.
We will partner with women’s media including The Pool, BBC Radio 4 Woman’s Hour, Vogue, Elle, Stylist, Harper’s Bazaar, etc, and men’s media such as Wired, GQ, Monocle, New Scientist, Esquire, Shortlist. We will engage with teens and youth through interviews on online platforms such as ID, Vice, and Dazed & Confused.
CROSS MEDIA POTENTIAL
We believe the film will act not only as a tool for discussion, but as a spark to fuel creative flames. To complement its release we’ll create companion digital interactive platforms.
On the WEB...
We’ll take audiences on a musical road trip around the world in a time traveling music streaming website, similar to a geographically collaborative Spotify: select a decade and pick a country, a medium (tape/synth/computer) and be thrown into a musical labyrinth where everyone across the globe is a contributor and language has no borders. Listen to a radio stream of musique concrete in France from the ‘50s, tape music from London in the ‘60s, ‘70s computer music in New York seamlessly - all made by women. Through user generated content, we’ll use the film’s momentum to uncover and share more stories of the countless uncelebrated female electronic musicians, across time and the globe.
We believe the film will act not only as a tool for discussion, but as a spark to fuel creative flames. To complement its release we’ll create companion digital interactive platforms.
On the WEB...
We’ll take audiences on a musical road trip around the world in a time traveling music streaming website, similar to a geographically collaborative Spotify: select a decade and pick a country, a medium (tape/synth/computer) and be thrown into a musical labyrinth where everyone across the globe is a contributor and language has no borders. Listen to a radio stream of musique concrete in France from the ‘50s, tape music from London in the ‘60s, ‘70s computer music in New York seamlessly - all made by women. Through user generated content, we’ll use the film’s momentum to uncover and share more stories of the countless uncelebrated female electronic musicians, across time and the globe.
On the RADIO...
We’ve talked to BBC Radio3 about teaming up to broadcast the film’s stories in segments, potentially narrated by well known musicians, Jarvis Cocker for example.
Via an APP...
Working with PhD student Tom Richards at Goldsmiths who built Daphne Oram’s unfinished mini oramics, as a more portable version of her famous Oramics machine, which transformed drawings on 35mm film into sound, we’ll create an interactive app through which one can explore how the technology works, all the while creating new sounds that can be saved and shared.