The following article will be highlighting key topics raised within the Kuhn (2015) reading. Especially surrounding the prevalence of production team members and venue selection. This reading was focused on Human Rights Film Festivals and NFP (Non-For-Profit) models however could be easily adapted and re-contextualised to suit other screening and festival activities.
Kuhn (2015) establishes the importance of acquiring production team members (initially through volunteer pathways) in order to participate in generalist festival duties. This includes tasks such as becoming the ‘face’ of the festival through client servicing and liaison, developing the overall form and function of the festival, intersecting with other festival departments, and venue reconnaissance.
Assignment of clear responsibilities to various people, if they cannot complete said task have a designated individual to takeover when required. Starting each day with a staff meeting outlining the events for the day and tasks which need to be completed. Creating clear methodologies of communication which is accessible to everyone. Finally to ensure consistency, creating checklists in which each individual can utilise. Thus improving processes for future festivals.
Team positions vary according to the lifespan and size of the festival. Core positions include that of director(s), programmer(s), program coordinator, technical coordinator and production department. For larger festivals with international guests, a dedicated guest coordinator is also required (guest coordinators will also need to organise: visas, accomodation, tickets, welcoming letter, itinerary etc.)
The importance of planning and operational activities should not be overlooked, including tasks such as: scheduling labor logistics, purchasing of materials and consumables, and ongoing festival budgeting.
Production staff should be mindful of the permissions and licensing that will be required to run the festival in various states and countries. Most commonly includes event licensing which covers things including: censorship license, broadcast license, event license, building or distribution regulations, and food and liquor licensing. Most venues or public spaces will require event public liability insurance.
Venue selection is of critical importance as it quite often determines the success of the festival. Factoring in an appropriate size venue for the festival is of critical importance, ensuring that it is reasonably accessible for a wide range of audiences. Traveling festivals need to be planned well in advance with relevant logistical information predetermined. This includes multiple site visits and liaison with relevant authorities. Festivals in remote locations or within the traveling circuit often need to supply basic amenities such as power, water and sewage.
Screening venues are quite often regarded as an easier option for festivals due to the infrastructure already in place. Identifying areas around the venue for signage or other festival related activities is ideal. Orientation around the area is critical especially of that of International Film Festivals due to some guests limited language abilities.
The importance of accessibility should not be overlooked when factoring in venue selection. This includes accessibility for all ages, demographics and physical abilities. Thus considering things such as: public transport costs, centralised location, disability access, time of day etc.
Additionally the development and implementation of a festival centre is critical as it can act as a hub for day to day activities. This space can be used for ticket selling, wifi, displaying of promotional marketing materials and additional services (including guest services, press office etc). Contemplating a particular festival look within these areas is of utmost importance as it creates consistency during the events eg. flowers, banners, and hand crafted items.
In terms of festival ticketing, even if it is being listed for free it’s important to keep it ticketed in order to control the particular amount of seats which are available at each event. Tickets should be distributed online and offline with suitable points of control (eg. festival hub). Creating ticketing will also allow for quantitative figures to be generated.
By following the aforementioned ideas and processes, production teams can ensure a seamless, professional and enjoyable festival experience for all individuals.
References
Kuhn, A 2015, “Who Is Organising It? Importance of Production and Team Members” in Setting Up a Human Rights Film Festival, vol. 2, Human Rights Film Network, Prague, pp. 71-83.