A Second Look - The Series - 2019

A Second Look

The Other Story of Canadian Art A Six Part Documentary Series on Canadian Art

19 - 03 - 01

Audience Reach Plan

A comprehensive outline for marketing A Second Look and an overview of the projects core demographics and target audience.

Not For Sale Not For Sale Selwyn Owen

When a City Dreams‌ Anne -Laure Djaballah

The Grain in the Light A Manual for Immigrants About Face

A Manual For Immigrants Fraser Sutherland

The Grain in the Light Paul Young

About Face

When a City Dreams‌ End of the Night Music

End of the Night Music Rudolf Stussi

A Project Lifeworld Production - for more information go to projectlifeworld.com

A Second Look

The Other Story of Canadian Art Audience Reach Plan Lifeworld Image - A Brief Biography Lifeworld Image is the visual media extension of Project Lifeworld devoted to the production and representation of visual works across disciplines and media. Drawing from a variety of perspectives and approaches, it aims to support the artistic vision of lesserknown visual artists by focusing on their works, their creative processes and practices.

Along with the documentary form, several other approaches are also integral features of the interactive discursive visual environment that is Project Lifeworld. These include: • standalone virtual galleries for artist’s works; • critical essays and other forms of written analysis; • interactive platforms (like blogs) devoted to commentary and discussion regarding works and artists; • E-Publications—Electronic books on artists’ work available for download and sale.

Series Overview Only a very small portion of the significant art produced in Canada ever comes to the attention of the general public. Consequently a great deal of interesting, challenging and inspiring work goes unnoticed until media projects such A Second Look—Other Stories of Canadian Art allow for the shared discoveries of these truly remarkable examples of Canadian art.

Each artist’s story, work and approach in the series is vastly different from the other, however, they share a common ambition in projects pursued primarily outside of the mainstream art institutions and systems of exhibition. As outsiders of one type or another, each artist has worked at the margins of the prevailing sites of cultural representation, cultivating instead a deeply personal vision unconstrained by market demands and the vagaries of fashion and popular taste. It is this single-minded pursuit, inscribed in a deeply-held sense of the necessity and relevance of art that has produced truly remarkable works and allowed for the production of another significant series of television programs on Canadian art.

A Lifeworld Image Production - for more information on Project Lifeworld go to projectlifeworld.com

A Second Look

The Other Story of Canadian Art Audience Reach Plan Audience The demographics for this venture could be divided into three principal categories: Category I Documentaries on art and artists attract older middle-class individuals who make up the core audience of public and educational television. They are regular visitors to museums and art shows and engage regularly in the cultural life of their communities. They also have disposable income and possess and acquire cultural objects, services and products.

Public broadcasters like TVO, show, on average, 2 or 3 documentary programs per week— each an hour long—and that public broadcasters often create documentary series, like The Passionate Eye on CBC, which run over a period of years.

Category II Art students, cultural industry professionals and other individuals who wish to know more about the individual artists in the series, having heard about them in other contexts, such as gallery openings and art publications constitute a secondary level audience.

Category III The emerging market for art documentaries on the internet offers a staggering array of sites each offering a unique variety of documentaries on art and artists, ranging from the more traditional discussions of famous artists like Van Gogh or Rodin to commentaries on street artists like Banksy http://en.wikipedia.org/wiki/Banksy as well as presentations on lesser-known artists, such as those presented in A Second Look – Other Stories of Canadian Art.

Hitchens # 3 Selwyn Owen

Eye of the Tiger Paul Young

A Manual For Immigrants Fraser Sutherland

Facing North John Reeves

A Lifeworld Image Production - for more information on Project Lifeworld go to projectlifeworld.com

A Second Look

The Other Story of Canadian Art Audience Reach Plan Audience Category III - Continued These downloadable or streamable documentaries appeal to young adults for whom the computer has become the primary source of media information and entertainment and they acquire visual material at little or no cost. We propose having a proprietary website where individual programs and the series as a whole will be available for download and will be supported by second-party marketers such as iTunes and Vimeo.

Markets and Sales There are three primary sources of revenue for a series on the art like A Second Look – Other Stories of Canadian Art. In order of potential revenue, these are 1. Broadcast License(s) A first-window broadcast license with a public broadcaster should cover the initial production costs of the series (60K + per episode). In the absence of such a licensing arrangement, we would pursue an educational licensing deal (25-30K per episode) and the exploitation of other licensing deals with cable outlets – other educational broadcasters (Access Alberta) and the newly emerging PPV services such as Netflix and Vimeo.

2. Foreign Language Versioning The series has been designed to facilitate foreign language versioning – starting with French – and we can provide a foreign version of the programs for about 20% of the cost of the English original (12K per program). Obviously the size of the foreign market has a significant bearing on the economic viability and value of versioning. For instance, a French version for the Quebec market would prove more expensive to produce on a percapita basis than would an Indian market version.

Hitchens # 3 detail Selwyn Owen A Lifeworld Image Production - for more information on Project Lifeworld go to projectlifeworld.com

A Second Look

The Other Story of Canadian Art Audience Reach Plan Markets and Sales 3. Second Look Website We propose having a proprietary website where individual programs and the series as a whole will be available for download and will be supported by second-party marketers such as iTunes and Vimeo.

4. General Internet Sales The series will further enter into complementary licensing agreements with third-party on-line retailers who offer favourable revenue-sharing schemes such as iTunes and Amazon (for DVDs). These partnership arrangements are intended to broaden the visibility and access to the videos in the series and reach potential markets outside of the core demographics previously outlined.

5. Retail Boutique Sales We have the ability to manufacture our own videos and are in a position to offer these in limited quantities to retail art outlets such as art galleries, museums and bookstores who specialize in art documentaries. The public presence of the products will have a positive effect on market presence and may lead to other product and marketing opportunities around the artists and the works themselves.

Hitchens # 3 Selwyn Owen

Found Object detail Anne-Laure Djaballah

71 Baffin Dorsett John Reeves

Facing North John Reeves

A Lifeworld Image Production - for more information on Project Lifeworld go to projectlifeworld.com

A Second Look

The Other Story of Canadian Art Audience Reach Plan A Sponsorship Approach The low cost of production (60K per episode) would assure investors of a favorable ROI. However, a sponsorship approach to partially funding the production through a sponsorship deal with one or two major players in the fields of cultural production would open the door for an ongoing relationship and further programs of a similar nature conceived under the same premise and using the same general approach and production values.

Little needs be said about the benefits for a private institution to enter into partnership with a cultural project. Scotia Bank, for example, is a primary sponsor for the Contact festival http://scotiabankcontactphoto.com and the Royal Bank has, for the past 15 years, offered awards in an annual competition for painters. http://www.rbc.com/communitysustainability/community/emerging-artists/rbc-painting-competition.html .

As well, the grocery giant Sobey sponsors the arts through its foundation and annual awards show http://www.sobeyartfoundation.com/Foundation/English/history.php .

The sponsors gain through the ongoing positive impact of their brand image’s association with cultural production and practices.

What a View detail Anne-Laure Djaballah A Lifeworld Image Production - for more information on Project Lifeworld go to projectlifeworld.com

A Second Look

The Other Story of Canadian Art Audience Reach Plan A Sponsorship Approach Under the sponsorship model, we might have a funding formula as follows:

15% 18%

50%

18%

License 1

Primary broadcast license 1. 50% Secondary broadcast license 2. & 2.1 Sponsor 1 – 17.5%

Sponsor 2 – 17.5%

30K per episode* 12 K per episode 10K per episode 10K per episode

Other revenues from internet and DVD sales (2 & 3)

sponsor 1

sponsor 2

License 2

*note: Primary broadcast license to a Canadian public broadcaster such as the CBC or a private network such as CTV should more than cover all the initial production costs of the series (60K per episode) and might even exceed this amount.

A sponsorship deal would thus provide very inexpensive brand recognition for the sponsor whose name and logo would be an integral part of the presentation—displayed in the opening credits, for example.

Anne-Laure Djaballah

Selwyn Owen

Paul Young

John Reeves

A Lifeworld Image Production - for more information on Project Lifeworld go to projectlifeworld.com

A Second Look

The Other Story of Canadian Art Audience Reach Plan Expanding the Project The rationale for creating a series of programs rather than a singular one on the topic of outliers in Canadian art is based, in part, on the wealth of material and stories that conform to the initial intuition about the richness of Canadian art produced outside the cultural mainstream. Through the various examples, opinions and perspectives provided by the artists themselves, the viewer experiences the unique realities of artistic vision and production in Canada.

A series of this nature should, by its very nature, be ongoing both in terms of subject matter and individual artists, organized according to any number of categories such as geographical or regional expressive characteristics or historical moments or even periods.

Six programs on Western artists would complement another six programs on their fellow artists from the East Coast. Foundational Canadian artists from another era – such as Painters 11 from Toronto and Les Automatistes from QuÊbec, all originally considered outsider artists, would be fascinating subject matter for another series, and so forth.

Using the narrative and visual model established for the existing six programs, a series of 24 or more shows could be produced over a period of 3 or 4 years, employing the same marketing and sales approach as outlined earlier in this document.

Cabin and Trees Paul Young

71 BaďŹƒn Dorsett John Reeves

A Lifeworld Image Production - for more information on Project Lifeworld go to projectlifeworld.com

A Second Look

The Other Story of Canadian Art Audience Reach Plan All About the Social Media A Second Look – Other Stories of Canadian Art will make extensive use of social media to both promote artists and the programs about them and their work. Some of the examples of these approaches are: • extracting and uploading clips from individual programs to Lifeworld Image website; • using Twitter for information and updates on artists’ work – exhibition – events etc.; • creating Facebook pages for each individual artist’s program as well as for the series; • using Instagram and other photo displays to create singular virtual galleries for the artists’ work; these might be accompanied by audio clips by the artists themselves or other commentators; • second-party videos about the artists and their work: one might have music composer for a program to briefly discuss their approach to scoring for the show.

Other Areas of Synergy and Collaborative Support • Selected episodes from the series will be entered into appropriate film festivals where the publicity from such appearances will help promote sales and distribution of individual programs or the entire series.

• There will be an educational outreach program for the series that will help fine art and film programs in colleges and universities organize viewings and panel presentation around a given program and artist or within the larger theme or context – specific sponsorship will be sought for this program for lodging and transportation.

• Programs from the series will be made available on a similar basis to film societies and other cultural and social groups who might wish to view them for other reasons – For example, Not For Sale – the art of Selwyn Owen might be part of an awareness campaign by the ALS society of Canada to raise funds for research into this terrible disease.

Studio Anne-Laure Djaballah A Lifeworld Image Production - for more information on Project Lifeworld go to projectlifeworld.com

A Second Look

The Other Story of Canadian Art Audience Reach Plan Grants, Canadian Content and Supportive Cultural Financing.

The series A Second Look – Other Stories of Canadian Art will also look at any number of grants available for Canadian programming and will approach alternative government funding programs to support the production and distribution of the programs, present and future.

Federal agencies like Telefilm http://www.telefilm.ca/en/?q=en and the Canada Council for the Arts can provide help with research, travel and language versioning of the programs. http://www.canadacouncil.ca Other funds like the Bell broadcast and new media fund http://bellfund.ca, the Bravo/Fact funds http://www.bravofact.com, the Canadian Independent Film and Video Fund http:// www.cifvf.ca or the TVO documentary fund http://docstudio.tvo.org/documentarysubmission can all be approached on an individual program or series basis to provided support and funding in specific areas of production and distribution as deemed necessary.

We will also seek support from the National Film Board of Canada http://www.nn.ca as they continue to offer support and innovation approaches to Canadian media productions such as ours.

Finally, in terms of Canadian content, all programs in the series A Second Look – Other Stories of Canadian Art meet the eligibility requirements for CanCon certification http:// www.crtc.gc.ca/eng/info_sht/tv11.htm.

Logjam detail Selwyn Owen A Lifeworld Image Production - for more information on Project Lifeworld go to projectlifeworld.com

A Second Look

The Other Story of Canadian Art Audience Reach Plan Summary and Conclusions For art lovers, the programs in the series will offer intimate encounters with fascinating individuals whose strong work and original thought might have otherwise been hidden from us forever. Since the documentation of the art itself is a central concern of each program, the viewer will be offered a comprehensive overview of the artist’s oeuvre in a manner that would be difficult to arrange even in a major retrospective of his work.

For investors and sponsors, the low production costs and the high production values of the project will assure a more than reasonable ROI and the association with such an innovative and creative project will moreover pay dividends in terms of cultural capital, social profile and the deep satisfaction of discovery itself – taking a second look, as it were, at the unique expressions of the Canadian creative spirit in art.

More Internet Information http://docstudio.tvo.org http://topdocumentaryfilms.com/category/art-artists/ http://www.complexmag.ca/art-design/2013/07/artdocumentaries-netflix/ http://www.imdb.com/search/title? genres=documentary&keywords=art&sort=user_rating http://www.documentarytube.com/category/art/ http://vimeo.com/artdocumentaries http://art.docuwat.ch/videos/? channel_id=0&skip=0&subpage=channel http://flavorwire.com/255015/film-on-the-fringe-10-intriguingoutsider-art-documentaries/

Hints detail Anne-Laure Djaballah A Lifeworld Image Production - for more information on Project Lifeworld go to projectlifeworld.com

A Second Look

The Other Story of Canadian Art Series Budget - Production - Single Program Pre-Production Research Consultation and Technical Support Art Preparation

$1,800 $1,800 $1, 400

Production

Location related costs Cinematography Equipment Rental Video/Audio Preparation and Transfer Video Editing Assembly - Rough Cut Graphics and Titles

$2,500 $4,000 $2,000 $2,000 $4,600 $1,000

VFX & Animation and Credits

$1,500

Post-Production Sound Design Original Music Audio Post and MIx Fine Cut

$2,000 $3,500 $2,000 $5,000

General

Administration Legal and Accounting Insurance (when applicable) Packaging Contingency Salaries Marketing - Web etc.

$2,000 $1,000 $1,000 $1,000 $4,100 $14,000 $3,500

Total:

$60,000

Nest detail Anne-Laure Djaballah A Lifeworld Image Production - for more information on Project Lifeworld go to projectlifeworld.com