Screening (film)

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In the film industry, a screening describes the special showing of a film , usually as part of post-production and distribution. Screenings are also called screenings at film festivals . Special venues can be chosen to show the film to its best advantage . A supporting program with aperitif and speeches by the producer, screenwriter and actors is often organized. These special screenings usually take place outside of normal screening times.

The different types of screenings are described here in the order in which a film was made and distributed.

Test screenings

Films are often shown one or more times in the final phase of production in informal test screenigs to small groups of the target audience to assess whether a film is going well or whether it requires further editing, recording or rewriting of the script. At this stage the film may still be incomplete, with missing or unfinished special or sound effects, the dialogues may not have been re-recorded yet. The reactions of the audience are usually recorded informally. The test audience must undertake not to discuss the film before it is launched.

Focus group screenings

For large film productions, especially from Hollywood , focus group screenings are carried out: formal test screenings of a film with a very detailed documentation of the audience's reactions. The participants, selected from the target group of the film, have to answer questionnaires and are interviewed, sometimes with video recording. Group discussions with 25 to 30 spectators are often held after a screening. Here, too, the audience must undertake not to spread anything about the film.

During the screening, the test subjects can often express their approval or disagreement for individual scenes by pressing buttons. The facial expressions of the audience are partially recorded on video during the test demonstration. The involuntary reactions of the audience can be recorded using skin resistance , EKG or fMRI . Focus group demonstrations are expensive because of the equipment required. Large amounts of data have to be recorded. They are therefore less common than informal test screenings. Fully equipped permanent focus group screening rooms simplify the process, but limit the location of the presentation.

Press screenings

Press screenings are held for media representatives and film critics , usually only by invitation. In national or international film marketing , the deadlines of the print and TV production cycles must be taken into account. This step can be omitted if a studio expects negative critical ratings, or if a film is being edited until immediately before approval.

Private demonstrations

Private screenings ( vernissages ) are generally carried out for investors, marketing and sales representatives and eminent media people. Screenings of this kind can also take place at film festivals, film markets or otherwise in order to win over distributors for the film.

Pre-premieres

Public previews take place in studio cinemas or other cinemas, not necessarily in the cinema where the film will later be shown. These screenings are important for local marketing. Often a limited number of free tickets are made available to the local media for competitions or giveaways. Sometimes viewers have to answer a question about the film; this is to ensure that they fit the target audience of the film. At this point in time, it is highly desirable for the “test audience” to speak privately and publicly about the film and thus make word of mouth .

Sneak preview

A sneak preview is an unannounced film showing (preview) before the official release, generally with the usual entry price. When purchasing tickets, visitors do not know which film is being shown.

rental

After some or all of the above screenings, the film will go to the cinemas through the film distribution .

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Individual evidence

  1. ↑ Jolliffe & Zinnes, p. 357, sidebar.
  2. ↑ Marich, Fig. 2.2 Example questionnaire.
  3. ↑ James, Caryn (March 15, 1988). % 2C6597570 Previews: do they help or harm films? . Anchorage Daily News p. 24, accessed April 9, 2010.
  4. ^ A b Wallenstein, Andrew (Feb 27, 2008). WB's rebooted Media Lab has multiplatform launch The Hollywood Reporter . Retrieved April 9, 2010.
  5. ^ Brown, Scott (January 25, 2010). How Movies Activate Your Neural G-Spot . Wired . Retrieved April 9, 2010.
  6. ^ AP (April 12, 2006). Studios trying to keep critics from bad movies . MSNBC.com . Retrieved April 9, 2010.
  7. ↑ Kerrigan, p. 42.
  8. ↑ Kerrigan, p. 50.