The following reflection is based on the “criticism session” with Rohan Spong and Erin Rosenberg on May 9th. I presented information surrounding the fundraiser event which also occurred on May 9th. This included pre-production, screening licensing, choice of films, location, catering, technical production and logistics. Due to the limited timeframe prior to the critic session; the capacity at which I could gather and collate information to present to the industry professionals was limited.
The importance of pre-production meetings, event risk assessments and location reconnaissance were well received. These procedures have been consistent for the entirety of the planning process for both the fundraiser and the main festival. These tasks are quite often pre-set requirements by venues, councils, etc. We were advised that it was best-practice to always consider them, even if they were not always set requirements.
Rohan had some doubts on the chosen location for the fundraiser, he felt the space had constraints in its usage for screening films. This especially included light, screen choice, sound, and the occupation of the space by other students (especially dancers). For most part all of these issues were addressed with the assistance of onsite trade and technical. Noise generated by other students throughout RMIT was prevalent, ratification in the future could include soundproofing with the usage of drape. Moreover, RMIT should be advised to limit student access when special events are running in the vicinity. In this case a post-event analysis with RMIT faculty would be favourable.
Additionally, Rohan criticised the choice of films being far too polarised in genre. The notion of ‘canned’ films was accepted, however he believed that the films should be closer from a stylistic standpoint. This translated over to the event with most guests enjoying the absurdity of the first film but unfortunately losing attention by the second screening. I also attribute the loss of attention & attendance due to the length of the break between the screenings. Therefore a much more succinct run-sheet should have been organised earlier. Furthermore, greater interactivity with the film text (as many cult festivals do) should have been encouraged in order to create a more enjoyable experience.
The advertising collateral was well received, with messaging and style being in-line with our screening and Melbourne International Youth Film Festival branding. However due to our slow conceptualisation of the screening; posters, ads, facebook events received very little, if any engagement. I felt that the criticisms were well received by the myself and the team however due to being on the same day as the fundraiser itself, very few rectifications could actually be made.
