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Comment by 文創 庫 on August 14, 2023 at 1:22pm

3 歐洲露天博物館協會（Association of European Open Air Museums），

4參見官方網站

一進入園區就迎面而來的銀行內行員歡迎遊客將英鎊現鈔兌換成維多利亞時期的先令，入園購買的商品皆能以此支付，亦或能直接留存做為紀念品收藏。

在小鎮上遊客能透過窗戶一窺 19 世紀末維多利亞時代家庭生活中進行晚餐的情景，在主要商店街購買布料、雜貨與麵包，各家店主有時還會因為聚在街上和警長閒聊而不在崗位上。
若非能看到現代穿著的遊客來往穿梭，這裡從內到外就像跨越時空般的幻境空間。不僅如此，小鎮還包含了若干「原汁原味」的往昔工業遺址―載運礦產的運河與一座鼓風爐，能夠一窺斑駁老舊的熔爐和低矮的礦坑隧道放任想像遨遊，遊客本身就像是曾經生活在這片土地上的人們。作為一個重建歷史場景的文化觀光景點，它不是人們憑空建造、與地方文化毫無關係的主題樂園，小鎮所在的鐵橋谷本身就是一個富含歷史意義的工業文化地景，被創造的原意本是著重於作為一個博物館的教育與維護保存功能，漸漸其易於親近的特質更提供了民眾一處適合闔家同遊的遊憩場所；每年帶來為數可觀的訪客皆因園區塑造「回到過去」獨特的氛圍，爭相拜訪此地。2009 年時園區內新的興建計畫竣工，除了舊有的工業遺產和建築，新增了遊客中心和舊商店街等更多能讓博物館工作人員與遊客互動的場所，體現此處文化景點詮釋與時俱進的核心價值。

發展與詮釋遺產之策略

 使用工業遺產的特色發展文化觀光，是一種管理者創意運用資產的表現。但工欲善其事，必先利其器；僅擁有文化資產還不夠，如欲發展遊憩活動與文化觀光，管理者需要先以將文化資產轉化成為文化景點為著眼點，學者 McKercher與 du Cros（2010）歸納出，成功的文化觀光產品大多因其具有（一）敘述故事、（二）使資產生動化並讓遊客可參與、（三）使體驗對遊客具有相關性、（四）突出品質和真實性數種關鍵要素而成功吸引遊客。

 以下將藉由上述二位學者的理論分析布里茨山维多利亞小鎮將文化遺產轉化成為景點之策略：

創造文化觀光產品或景點之要素 維多利亞小鎮採取的策略敘述故事 以 1890-1910 年代維多利亞時期為背景使資產生動化 館內身著歷史服裝的解說人員可與遊客互動、技藝演示使產品具有可參與性 除了視覺外還加入其餘四感的體驗，舉辦節慶與主題活動鼓勵遊客參與使產品對觀光客具有相關性針對不同年齡層的學童設計教材教具或提供導覽突出品質與真實性 對展品科學化的研究與嚴謹的考察詮釋遺產時的中立性。

                 表 4.1 由創造文化觀光產品或景點之要素理論分析維多利亞小鎮採取之策略

Comment by 文創 庫 on August 12, 2023 at 5:13pm

（一）敘述故事：

為引人入勝，一個文化景點需經過精心設計、包裝既有的資產成為饒富趣味的故事，藉著故事中的人物或情節和遊客的知識或社會背景產生連結，使人留下深刻的印象，激發遊客想進一步了解資產的遊興，讓資產的內涵達到易於內化吸收的效益。維多利亞時代的城鎮風景以及各式各樣的工業時代機具，這些一景一物不只出現在歷史課本的照片上，而是藉由這個露天博物館活生生的躍於遊客眼前（如圖 4.2）。英國 BBC 電視台曾使用小鎮作為其一系列「維多利亞藥房（Victorian Pharmacy）」紀錄片的拍攝場景，播出後造成廣泛迴響，當遊客來此地參訪時不免聯想至劇中場景，若未來能透過電影電視成功塑造鮮明的目的地形象，他日或許能將文化資產運用於影視觀光之上。

（二）使資產生動化：

 會敘述故事還不夠，要能活用各種方法生動呈現文化遺產，讓體驗不致於呆版無趣，這點小鎮這個露天博物館可說是提供了多樣化的景點類型，體驗型態不再侷限於以往凝視告示牌上平鋪直敘的說明文字（圖 4.3），還為了促進可參與性，館方加入了多媒體（入口遊客中心的影片介紹、坐著採礦小車進入礦坑的數分鐘聲光秀）、觸覺（在銀行將英鎊兌換為舊時的先令、手工工作坊、試穿維多利亞戲服攝影）嗅覺（走訪陶土礦坑）味覺（炸魚薯條店販賣舊時使用牛油烹調的炸魚薯條、糖果店則有當時孩童最喜歡的零嘴小食），遊客可獲得多重感官上輕鬆有趣的體驗，這樣的經驗會使他們願意花費更多時間停留，進而有更多深度消費資產的可能性（McKercher & du Cros, 2010），而穿著維多利亞戲服的博物館人員、專業演員與志工們除了各司其職、演繹小鎮居民的生活外，更有意思的是與遊客進行互動，不僅娓娓道來此地的文化脈絡，也接受遊客開口詢問任何關於這個博物館的問題，可說是知無不言，言無不盡。

（三）使產品具有可參與性：

觀光體驗最好的方式莫過於漫步遊覽，館方提供的地圖上並無設定路線，只有將建物標註號碼，遊客可不受限的漫遊於六公頃的園區間。每幢小房子的門只要是敞開的，都歡迎遊客隨意進出。由於並非每處都有解說人員，對於遊客而言更增加了一種探險似的氛圍。根據鐵橋谷博物館群參觀手冊（An Access Guide toThe Ironbridge Gorge Museums），小鎮於部分景點設有特殊設備以服務視覺與聽覺上有困難的遊客，並歡迎由館方人員的解說和帶領下觸摸物品，這般措施保障了弱勢族群的參與和體驗機會。

如何兼具教育性與娛樂性，是近年來詮釋文化遺產逐漸開始重視的議題。遊客造訪小鎮的目的不是來強記填鴨，需跳脫僵化的知識傳遞方法，藉由遊客身歷其境後源自環境的啟發取代教育機構中制式化上對下的教導，達到輕鬆愉悅的「寓教於樂」式體驗，才是詮釋遺產的上策。遺產詮釋之父費曼（Freeman Tilden）（1957）認為，詮釋主要的目的不在教導，在於激發，另外詮釋並非單純提供訊息而已，更重要的是揭示背後更為深層的真理與價值。

詮釋遺產的方式有動有靜，能給予遊客最直接參與體驗的莫過於邀請遊客同樂的活動了。維多利亞小鎮的節慶與活動種類繁多有目共睹（如圖 4.4），鐵橋谷博物館群網站的整體形象營造中也將她描繪成一個無時無刻充滿熱鬧氣氛，適合大人小孩同樂的活動場所；透過運動會、扮裝主題週、遊行、聖誕節，無形中傳達給民眾文物或文化場所的意涵和價值，讓大眾理解英國文化遺產屬於每位人民，提升遊客親近文化資產的意願。維多利亞小鎮頻繁地作為教育團體校外教學的指定場所，教師與博物館人員藉由落實上述詮釋資產的方式，比起背誦千遍歷史課本上生硬的年代數字，倒不如讓學生們穿上維多利亞時代的服裝、體驗工業時代時需要積極工作以支撐家計的男孩和學習操持繁重家務的女孩，他們如何度過一整天疲憊又忙碌的生活。對文化遺產的愛護與認同可從日常小處日漸培育起，不但對於文化觀光層面可說是形塑未來的潛 圖 4.4 在客層，了解並愛護資產的人於參觀文化景點時會自發自律將破壞行為減到最低，對於文化資產保存層面也是正向的。

（四）使產品對觀光客具有相關性：

 身為歷史文化遺產，不論是物理上的距離或是知識上的認知都應該要具備易於到達或是易於理解內化的特質，以建立情感上的連結，增進學習的動機。

欲建立資產與遊客之間的相關性，首先要與遊客的知識框架相連結，應盡量以清晰易懂的方式詮釋；每一位造訪遊客的文化資本皆不相同，若只是一味的豎立寫滿晦澀難懂文字的告示牌，只會得到事倍功半的反效果。相較之下館方鐵橋谷信託特別為小學的孩童設計結合歷史與故事的遊戲學習單（如圖 4.5）與教具、小屋牆上陳設的一張張斑駁的老舊照片，甚至是以前工人們遺留下的隻字片語等輔助媒材都更有助於了解過去那段歷史。搭配上述提及的體驗形式，讓造訪的遊客都給予十分正面的回應，表示擁有愉悅充實的參訪經驗與學習體驗。

Comment by 文創 庫 on August 11, 2023 at 8:37pm

（五）突出品質與真實性：

實際經營觀光活動或旅遊套裝行程中展現給旅客的文化，其實是對一地的本真文化 面進行了選擇、提煉、添加、甚至是再造後形成的， Barbara Kirshenblatt-Gimblett（1988）將這樣的揀選過程稱為「策展干預（curational interventions）」，將物件抽離其原有文化社會背景，將它重新分類、貼上標籤、神聖化成為文化遺產。這種汰除陰暗面，呈現光明面甚至於糾正歷史的步驟若不經審慎思慮其客觀性與妥善使用，可能致使一處文化遺產淪為個彰顯權力或榮耀的空殼，對於歷史的真實性有欠偏頗。為了夠滿足、迎合或者創造旅遊者的需求，文化遺產表現出來的是一種文化的「舞臺性」。

這種 MacCannell（1973）提出的「前台」（Front stage）文化展示給遊客一個與原真文化不完全相同的形象、符號來滿足人們求異、求新、求知的心理。因而，某種意義上觀光客看見的真實是經過市場選擇、提煉、創造後形成了舞臺化的旅遊文化商品（Timothy & Boyd，2003）。的確，在小鎮這個露天博物館內極少提及工業革命晦暗的一面，關於這一部分的歷史鐵橋谷信託將它安排至了陶瓷博物館內的社會歷史常設展另外著墨。

5 訪客意見來自 Tripadvisor 網站，瀏覽時間 (2012/6/25)

 對於真實性方面的議題，小鎮身為一個博物館，對於維護著工業遺產和維多利亞式建築的「客觀真實性（objective authenticity）」標準有嚴格的自我要求，在詮釋遺產部分也十分謹慎的採用「第三人稱」口吻，博物館解說人員以「他們」來稱呼維多利亞時代的人民，避免用過於主觀的角度代入自身，致使遊客質疑正當性。

 現代的觀光客的眼睛是雪亮的，尤其是那些擁有相當程度文化資本的文化觀光客，他們不會願意花錢消費低品質的文化商品，因此文化景點要能提供足以使人信服的和滿意的體驗。學者 McIntosh（1999）的研究顯示，造訪 19 世紀英國工業遺址時，參訪景點對個人的意義主導了真實性的建構，遊客會因為個人經驗、旅遊動機與對於過去親身經歷歷史的認同與否，而對景點產生或褒或貶的評價，所感知到的真實性因人而異。

《國外實習體驗書寫》

工業遺產文化創意產業

《藝頻道》電影達人

文創觀光發展

Comment by 文創 庫 on August 11, 2023 at 8:35pm

（續上）John Urry（1990）指出後現代的觀光客（post-tourist）具有以下的三大特性：（1）經過電視、網路、虛擬實境等媒介，即可享受觀光者的凝視；（2）喜歡多樣化的觀光項目選擇；（3）不局限於單一和真實的觀光體驗。在這樣的特性之下，對於某些觀光客而言比起展品、環境的真實性，更在意親身參與脫離常規生活慣習、時空的活動，以收集到特殊的符號與沉浸於異於日常生活的體驗。現在一般觀光客大多不會詢問一座古董印刷機是否真的是從當時的工廠中拆卸下來原封不動的保存至今，重要的是親眼見到人員從製版到操作印刷機印製出一張又一張的報紙，或是參加工作坊親身當一回印刷工人。觀光客追求的「真實性」並非「實際性」，所認為的「真實」定義取決自個人的知識框架與背景（McKercher & du Cross, 2010），因此多數人並不瞭解工業革命的沿革與 1900 年的時代背景，卻對於維多利亞小鎮的生活體驗趨之若鶩。

結語

 時光洪流推動著歷史巨輪疾疾而去，社會瞬息萬變，而現代生活步調的驟變使人們對於往昔的歷史感到興趣與懷念，成為遺產觀光興起的契機；學者 Zepp & Hall（1991）的研究發現民眾喜歡造訪歷史主題公園是因為對於過往之人的生活產生興趣。藉由賦與豐富的故事性，文化資產可以塑造跳脫常規生活的體驗，造就一個趣味歷史幻境。布里茨山维多利亞小鎮身為一個露天博物館，將文化遺產的意義和社會價值發揚光大，她不僅兼具教育與遊憩娛樂的特質，並結合歷史空間的營造、原汁原味的遺址保存與多重感官體驗，帶領遊客穿梭時空，回味過去。

在管理層面上，鐵橋谷信託整合所有資源，將小鎮與谷內其餘博物館及景點串聯成線，形塑成一片完整的工業文化地景，成為貼近民眾又適合闔家參與的文化觀光景點。

 就規劃層面而言，管理方不能只短視近利的只專注於開發現有資產，主動創造資產並擁有宏大的遠見視野才是良策。為了使鐵橋谷維持良好的發展空間，將既有資產加入新元素以創造新的文化資產、導入創意觀光與遺址維護修復後再利用皆是鐵橋谷詮釋自身文化資產朝向長期發展所使用的策略。反身地思考台灣目前沒有正式命名為露天博物館的博物館類型，相似的民俗村及歷史主題公園主要標榜迪士尼遊樂園般的娛樂體驗以招攬遊客，由此可見仍需在體驗類型與詮釋文化遺產方面下一番功夫，希望藉由觀摩英國的案例以增進此類文化景點的吸引 力，給予前來的遊客更為鮮明與富含教育意義的體驗。

參考資料

Boyarin, J. (1994). Remapping Memory: The Politics of TimeSpace. Minneapolis: University of Minnesota Press.

Ironbridge Gorge Museum Trust. (2011). Blists Hill Victorian Town Souvenir Guidebook. Norwich: Jigsaw Design & Publishing Ltd.

Kirshenblatt-Gimblett, B. (1988). Destination Culture: Tourism, Museums and Heritage. Los Angeles: University of California Press.

MacCannell, D. (1973). Staged Authenticity: Arrangements of Social Space in Tourist Settings , American Journal of Sociology , 79(3), 589-603.

McIntosh, Alison J. and Prentice, Richard R. C. (1999). Affirming Authenticity: Consuming Cultural Heritage. Annals of Tourism Research, 26(3), 589-612.

McKercher, B., & Cros, H. d. (2010). 文化觀光：觀光與文化遺產管理（劉以德, Trans.）: 桂魯.

Tilden, F. (1957). Interpretation our Heritage. Chapel Hill: University of North Carolina Press.

Timothy, D. J., & Boyd, S. W. (2003). Heritage Tourism. (1st. ed) Harlow, England: Pearson Education.

Urry, J. (1990), The tourist gaze: leisure and travel in contemporary societies. London: Sage Publica tions Ltd.

Zepp, H. and Hall, C. M. (1991). Selling art and history: cultural heritage and tourism, Journal of Tourism Studies, 2(1), 29-45.

鐵橋谷官方網站（Ironbridge Gorge Museum） 

鐵 橋 谷 遊 客 資 訊 （ Ironbridge Tourist Information and Visitor Guide ）

（見《大英風華，精焠文化》戴瑋琪·第 4 章·露天博物館發展文化觀光策略―以英國鐵橋谷布里茨山维多利亞小鎮（Blists Hill Victorian Town）為例）

Comment by 文創 庫 on July 5, 2023 at 2:17pm

楠楓書院·文創設計大賽

楠楓書院首屆文創設計大賽啟動以來，受到社會各界的廣泛關注，吸引了衆多設計機構、專業人士和愛好者踴躍參賽。

經過網絡投票、專家評審等環節，最終10件作品脫穎而出，其中二等獎1名、三等獎2名、優秀獎7名！

本次大賽秉持高標準，經專家組慎重評議，一等獎及其他獎項有所空缺，我們期待也相信將來會有更多更優秀的作品能夠實至名歸。

讓我們一起欣賞獲獎的“最美文創”吧！

SECOND PRIZE 二等獎

鐘俊偉：尋味嶺南——家鄉的味道

創意闡釋：

設計初衷是探索文創産品更多的可能性及渠道廣度，突破文創産品固有形態，嘗試與消費者建立一個情感的橋梁。

文創産品不只有視覺和觸覺，其他感官會帶來的不同體驗，比如味覺。在快消零食品類中，很難找到嶺南風味的産品；在手信品類中，嶺南風味的産品形式僵化，受衆多爲外省遊客。

如果用味覺去闡述嶺南，是一種什麼樣的體驗？而家鄉的味道又能引出什麼回憶和故事？

專家點評：

創意新穎，調動了視覺和味覺，同時融入了嶺南文化元素，在文創産品中具有獨特性，有很大的想象和拓展空間。（原題：2022楠楓書院首屆文創設計大賽獲獎作品 設計競賽網 2022-11-19）

Comment by 文創 庫 on June 7, 2023 at 1:08pm

賴國芳·馬來西亞中文文創市場粗計

關於馬來西亞中文文創市場的規模，我是這樣粗略推算的：

大馬華人人口：660 萬（2016年，維基數據）

受中文教育人口：600萬（超過90%）

對文化創意內容和産品可能感興趣的人口，或稱“文親”：20萬

文親在人口中的百分比，我從業界和朋友間的訪談中得出的數據，大約在1% 到 5% 之間。取其中間值再取整數，20萬應是一個合理數目。即是説：假如在100個讀懂中文的大馬人當中，有3到4個對文化和創意有興趣，那麼，整個馬來西亞有20萬個“文親”。

文創市場可觀

再假定，這20萬個文親每年花在類文化創意産品的數額，包括書刊、影劇、音樂、餐飲、遊覽等等領域，保守估計爲1000令吉，大馬中文文創市場（或“文親市場”）的年份額便是2億令吉。這是一個不大也不小的市場規模。一個公司或組織若能爭取到其中5% 的市場份額，年營業額便是1000萬令吉，若毛利率爲10%，就有100萬令吉去養活一個超過10人的團隊，不必經過政治尋租，不必賣臉皮去尋求捐助，純粹通過市場接軌，真真正正的爲文創生態做一些有意義和影響深遠的事。

要做到此事，我覺得有3個主要挑戰：

1.由於文創行業的碎片化：文親在類文創市場的花費，尤其是餐飲、遊覽和娛樂等等領域，大幅度擴散並掉入麻瓜業者的口袋。結果是一條街上開了幾間奶茶店，一座城市卻養不起一間像樣的藝文咖啡屋；到一個城鎮不知如何找到高質導覽，只好去參考吹水站的吃喝玩樂資訊，或跑到國外去花泰銖、歐羅和美元。

2.垂直行業的碎片化：做出版的只做出版，演劇的留在戲劇圈，文創産品業者專跑市集……，雞犬不相聞，老死不相往來。這種做法，換成美國或中國的大市場，甚至是3倍中文人口的台灣，或許還行得通。在只有20萬文親的大馬，有多少人會去買文學書籍或期刊，或每個月去看《雲門舞集》？

3.地域的碎片化：西馬説大不大，説小也不小，從吉隆坡開車到怡保超過兩個小時，到檳城和新山接近4小時。除了雪隆區，地域加上垂直行業切割，受衆人數極其稀少。在檳城做付費文化表演，潛在市場隻有大約 70萬x2% = 大約 1萬4000人中對文化表演有興趣的人口（5%？700人。其中多少人會去買票？）。如果你在怡保開書店或文創基地，整個霹靂州的華人人口也不過70萬，推算結果無異。

所以，我認爲，大馬文創業者假如繼續只留在小圈子中互相取暖，糊口養家或許尚可，“天降大任於斯人”可以免談。在20萬文親市場規模的大馬，文創行業必須平台化，以網絡爲主，跨行業跨地域，聚集全馬文親消費力量，儘量避開實體商店的租金及人力開銷，與各地據點合作接觸當地人群。這便是《人間菸火》的策略，和 Uber 及 Airbnb 的商業模式，在本質上是一樣的。（2019年08月07日南洋商餘）

Comment by 文創 庫 on May 25, 2023 at 10:14am

Craft and the creative economy

Why craft is intimately related to what we commonly understand as innovation.

In her foreword to an important new report today from the Crafts Council, Annie Warburton cites David Pye's The Nature and Art of Workmanship from 1968 where he considers the skilled manipulation of material that affords unplanned breakthroughs. This characterisation of craft should make it clear why it is intimately related to what we commonly understand as innovation.

For all the limitations of the official statistics in measuring craft activity, and thanks to the Crafts Council's earlier research we know that these limitations are many, they do show one undeniable feature: namely, the embeddedness of craft activity across different sectors of the economy. In fact, it turns out that craft occupations are amongst the most widely distributed of creative occupations across industries.

This combination – the intrinsic potential of craft to contribute to innovation, and the high degree of embeddedness of craft – raises the possibility that craft may be making very significant contributions to innovation – and therefore growth – in the UK economy. Or, as the report puts it, innovation through craft as opposed to innovation in craft.

Although it is intuitive, finding quantitative evidence of the causal linkages between different activities like craft and business innovation is exceptionally difficult, because a business's propensity to undertake activities like craft is likely anyway to be correlated with its propensity to innovate. That is why rigorous qualitative research of the type undertaken by KPMG for the Crafts Council in today’s report is so important.

This work should be seen as an example of a wider effort to understand the role of creativity in driving economic growth – an effort which has in the UK, given the understandable focus on fast-growing individual sectors (the creative industries), paid insufficient attention to the cross-sectoral innovation that is the subject of this report. This is a theme that Nesta has long championed in studies like Beyond the Creative Industries, Creating Innovation, and Creative Credits.

Comment by 文創 庫 on March 14, 2023 at 11:22am

A24, The Future of Film

“Yeah, they don’t need to know what it’s about. They just need to know how it feels.”
- Barry Jenkins, Director, ‘Moonlight’

Moonlight.

Ladybird.

The Disaster Artist.

A Most Violent Year.

It Comes at Night.

Spring Breakers.

The Lobster.

The Florida Project.

Amy.

Supersonic

Ex Machina.

(Below: A24's Everything, Every time, At Once, is the big winner of 95th Oscar [2023], including the first ever Asian Best Actress. A Malaysia born star who first began her movie career in Hong Kong)

Almost every movie that has meant something to me over the past five-plus years has been made by A24, an independent film company started in 2012 in New York. When I see their logo (an awesome one, by the way), I anticipate I’ll be taken on a journey of emotional discovery, experiencing a life or points of view that provoke deep thought and consideration.

Early on, while admiring their logo and loving their films, I didn’t know much about A24 and how they became such prolific enablers of great creative work. But in writing this book, I began researching the company, watching it more closely, and marveled repeatedly at the way A24 has proved exceptional at strategic sharing. Not only do does this studio foster superlative films, it demonstrates a profound understanding of how digital media, storytelling, collaboration, direct influence, and trust-building can propel a company from zero to sixty in the Age of Ideas.

Like Supreme, David Chang, or Ian Schrager, A24 makes a product that intrigues me, that inspires excitement, aspiration, and irrational loyalty. What do I mean by irrational loyalty? (Call out Curtis) I mean the willingness to pay more for a branded product or service with minimal added practical benefit. I listen to the A24 podcast and I’m signed up to the A24 email list. I follow their social media feeds. This isn’t the way I usually engage with movie companies. A24 has developed a direct-to-consumer relationship with me and become my trusted film curator. When their latest release comes out, I don’t even need to check reviews because I believe in them and the work they’re doing. They’ve consistently delivered great films, and this has led me to trust them with my entertainment needs.

And now I know their origin story.

Comment by 文創 庫 on March 14, 2023 at 11:22am

In 2012, Daniel Katz, David Fenkel, and John Hodges left their jobs at Guggenheim Partners, Oscilloscope, and Big Beach, respectively, to start a new, independent film company aimed at redefining the way indie movies were made and marketed. As Katz explained, “I always had dreams of [starting a company]. And on some level, honestly, I was afraid to go out on my own and try to make it work. And I was with a bunch of friends [driving] into Rome and I kind of had this moment of clarity. And it was on the A24 [motorway]. And in that moment I was like: Now it’s time to go do this.”

Katz and his fellow founders had been great admirers of 1990s independent cinema and felt there was now a void when it came to films with that kind of boldness and artistic quality. They decided to start a New York-based company focused on “the films and filmmakers, not us.” This meant they would give the creatives—the directors and the writers—control of their work. As Harmony Korine, director of Spring Breakers, puts it, “Hollywood is run by accountants at this point. And so anytime you speak with someone who’s not a pure accountant, is not a pencil pusher, it’s exciting. They had heart to them.”

And that heart has made all the difference with filmmakers. While this approach is not new or novel, it’s rare. Entrepreneurs and business leaders who are open-minded and intelligent enough to enable creatives while providing them support and expertise to realize a truly differentiated vision are few and far between, but the ones who do it well are able to leave their mark on culture and exponentially improve their returns.

Viewed through the lens of the Age of Ideas, A24 represents a prime example of the Creator’s Formula in action. The studio enables gifted filmmakers—experienced creatives—to tell distinct, emotionally generous stories from a personal perspective. And it has developed marketing expertise and credibility after repeated, flawless execution. The way A24 supports its filmmakers’ creative expression while also doing everything right when it comes to the strategic sharing of its movies with the world has created a brand has few peers in the world of entertainment.

Four years after its inception, the company’s first original production, Moonlight, won the Academy Award for Best Picture. As of 2018, A24 has received a total of twenty-four Academy Award nominations, including a Best Picture nomination for Lady Bird, plus a Golden Globe nomination (Best Motion Picture–Musical or Comedy) for The Disaster Artist.

A24’s marketing is innovative, even brilliant. Out of necessity early on, they turned to lower-cost digital platforms and creative guerrilla marketing tactics to build buzz around their films. And while these tactics cost less, such platforms, as we’ve been exploring, are also notably effective in the modern market, especially with the under-forty demographic.

Their film Ex Machina premiered at the 2015 SXSW Festival, and A24 used the dating app Tinder to market to unwitting festival visitors. When Tinder users clicked on an attractive woman named Ava, she would engage and eventually invite them to check out her Instagram. When potential daters visited her Insta page, it featured only a trailer for Ex Machina. This was not only an incredibly creative and engaging marketing tactic to target socially active festivalgoers, it reinforced the film’s premise of artificial intelligence and in itself was buzzworthy. The film ended up being received very positively at the festival and went on to become a hit at the box office, grossing $35 million on a $15-million production budget.

Comment by 文創 庫 on March 14, 2023 at 11:21am

Lady Bird has been A24’s greatest financial success to date, grossing over $75 million on a $10-million production budget, and the company has recently expanded into the growing television-content business. While A24 has had its share of financial misses as well, it has succeeded beyond compare at building a deep connection to filmgoers and consumers of entertainment programming. And it’s done this by establishing a direct relationship with its audience and telling meaningful, beautiful stories.

Let me say a bit more about this relationship to audiences. Imagine if Steven Spielberg had a personal email list and multiple social media channels personally connecting him with all the filmgoers who have seen his movies during the last forty or so years. While Spielberg does have an immense brand, the main way he communicates with his audience is through mass media and expensive, metric-resistant platforms such as billboards and television commercials. By contrast, A24 has a direct relationship with a young, active audience and personal relationships with filmmakers who themselves enjoy close connections to their audiences. Both A24 and their collaborators can reach their audience directly at little or no cost to the parent company and the project they’re promoting. These one- or two-degree separations between brand and consumer give A24 reliable and growing influence in the entertainment industry. The studio not only has created an ideal platform for genuine creative storytellers, they have a machine in place to directly share with their customers and the expertise to collaboratively amplify their messages.

But none of this would have been possible without them first building trust. [https://theageofideas.com]

mission of A24

A24 was founded in 2012 with a mission to shake up the production industry and create films and TV shows with a distinct point of view.

A24 is a fully integrated, global entertainment company with a cult following, creating films and TV shows that are both unique and distinctive in style and story

A24 was founded in 2012 with a mission to shake up the production industry and create films and TV shows with a distinct point of view. Over the last 10 years, A24 has cultivated relationships with talented storytellers and creatives to deliver high-quality, original content through a unique lens.

A24 has built a premium library of films and TV shows that have been met with exceptional commercial and critical success. The team has continued to build upon the success of films such as ‘Moonlight’, ‘Uncut Gems’ and ‘Lady Bird’ with more than 100 other films and numerous successful TV releases, including ‘Euphoria’.

In building a relationship with the A24 team for many years, we have been amazed by the impact of their iconic storytelling globally. A24 is synonymous with incredible content, and their commitment to supporting creative talent is unmatched. In 2022, Stripes was chosen to lead A24’s first institutional financing since inception because of our experience in scaling global brands. We are excited to partner with the A24 team as they continue to expand the breadth and reach of their storytelling capabilities globally.

The information noted above is representative as of the time noted/March 2022 and has not been updated.[https://www.stripes.co]

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