Finding an audience

I’ve written previously about Comic Book City being rejected by film festivals and, taking off from a post at the Raindance blog, I’ve also written about working in an academic mode and how that may put my film in a different frame than those used by festivals when evaluating of submissions.

In thinking about the last several months of trying to secure formal review and screening opportunities for my film, I should thank Elliot Grove for his Raindance piece. That blog entry, followed by a couple of rejections from festivals that I had had some hope for, prompted me to think more critically about who the potential audience for Comic Book City might be.

While I had already given thought to submitting the film to conferences and journals in film and media studies, and that, at some point, I would try to negotiate opportunities to screen the documentary at a geography venue, it was not until the aforementioned retrenchment that I started looking closely at comics studies events.

I initially focused on festivals for the simple reason that film festivals are set up to exhibit films. Most academic conferences, let alone journals, are not. In addition, acceptance into a film festival struck me as a kind of peer review that would be readily understood by colleagues and administrators on my campus, which will have value to me when I finally decide to apply for promotion to full professor.

However, if that route is a dead end, obviously I need alternatives, and as recently announced, I seem to have discovered that a significant part of the potential audience for the film is with comics studies scholars.

As I’ve suggested before (see my response to Grove above) I can understand why festival programmers/selectors are not finding Comic Book City to be appropriate for their events. My mom, (yes, my mom) remarked after watching the film that she could see how if someone were not already interested in comics (or Portland) that the documentary would lack appeal. The film doesn’t have a conventional narrative structure (in fact, I think of it more as creative non-fiction than as a documentary, but the latter is better shorthand for most purposes). It doesn’t address a critical social or political issue. It doesn’t tell any stories about the triumph of the human spirit (at least not in a significant or highlighted way). It has an experimental visual design. The themes that it explores – place, creative process, the spatiality of different media – are fairly abstract. Which is all a way of saying that the academic roots of the project show. If I were a festival programmer, I don’t think I would see the film as something that would sell tickets or passes, or that would contribute to my event’s reputation in ‘the industry’.

While most academic conferences are not organized for film screenings, what they do have are specialized audiences, and I suspect that with Comic Book City, I need to find those audiences, that is, the people for whom the film has intrinsic interest. I am grateful for the interest shown so far by my colleagues in comics studies and only wish that I did not have to wait until May for the first conference.

I am showing the film, and have shown related works, under a Creative Commons Attribution-ShareAlike license. Ultimately, I want to release it, and significant parts, into the wild and let the larger audience find it in their own time and own ways. Refereed screenings, like the ones I have coming this spring and summer are important to me, though, not just for the base professional reasons I’ve already noted, but also for the opportunity to watch and discuss the film with an interested audience, which, I imagine, is what any filmmaker wants for their work.

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  1. COMIC BOOK CITY updates: screenings & video excerpts on Vimeo | A Weird Fish

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