Quantifying Location Placement Value Research by:

EuroScreen Funders:

European Union

European Regional Development Fund

Contents Project Overview Region 1 – London Region 2 – Ystad Region 3 – Apulia Region 4 – Malta Findings & Appendix Human Digital

Project Overview

Preface Quantifying Location Placement Value This exploratory project, commissioned by EuroScreen’s lead partner Film London, seeks to quantify Location Placement Value (LPV) through considering the total minimum chances a productions’ location has of being mentioned both online and offline and converting this into an equivalent advertising value. Part of this process utilised a cutting-edge methodology which analysed a social media dataset of tourist generated, location-based commentary (an initial dataset of 30,480,732). Social media data provides us with the hard evidence necessary to understand how a tourist feels towards a particular location and why, whether that is the blue door in London (Notting Hill) or Ystad, Sweden (Wallander). In addition natural online commentary surrounding a location is hugely valuable both in its permanence, and is infinitely more engaging than traditional advertising. This data-set brings colour to the claims made in this paper, and represents a brand-new methodology to evaluate location placements. Lastly, it can be used to complement and strengthen other forms of more traditional research in this area. We hope you enjoy the contents.

Sarah Ward CEO, Human Digital

5

Context

The Relentless Pace of Change

2,999,337,706 Global Internet Users 3,000,000,000

2,250,000,000

1,500,000,000

750,000,000

7

Proliferation of Social Media Data During Holiday Engagement continues after consumers return from holiday

60% 50%

40% 30% 20% 10%

DURING HOLIDAY

AFTER HOLIDAY

0%

Text100 Survey 2012 4,600 respondents across 13 markets

8

Tourism Spend vs. Internet Penetration Strong positive correlation A positive correlation exists between tourism spend and internet penetration. Generally speaking, countries with higher internet penetration also tend to have higher tourism expenditure, highlighting the importance of utilising online to understand tourist behaviour. 100% 90%

120 Tourism Spend ($billion)

80% 100

70% 60%

80

50% 60

40% 30%

40

20% 20

10%

0

0% Nigeria

Indonesia

Mexico

India

South Korea

Tourism spend

Brazil

Japan

France

Internet Penetration

United Kingdom

Russia

Germany

United States

China

Linear (Internet Penetration)

9

Internet Penetration (% of total population)

140

Executive Summary (I) Objectives

CONTEXT

A body of academic research suggests film and television productions deliver added marketing value to a region through increased exposure and the “screen tourism” that results from a location being featured in the production. This location exposure represents a valuable commercial opportunity to the tourism sector.

AIM

① Quantify the additional (location advertising) value that film and television productions can deliver through ‘location placement’, beyond the primary production spend. ② Provide a quantitative methodology to assess the LPV of the productions secured (feature films and television) across EuroScreen regions on tourism and brand. ③ Assess the return on investment and media value (in advertising terms) that the respective region/city achieves through featuring in a film or television production.

EXECUTION

① Develop a methodology that allows regions and cities to quantify the LPV of productions filming in the destination beyond the primary production spend and the return on investment/media value generated. ② Test the methodology developed with the following EuroScreen regions: Ystad (Sweden), Apulia (Italy), London (UK) and Malta.

10

Executive Summary (II) Research parameters

Date Range

Content was collected from production release dates to the present. This ensured the most accurate reflection of the audiences opinions.

Languages

English language data was collected for all regions. Productions from Apulia and Ystad that were of particular interest to their native audience include commentary in English and Italian/Swedish.

11

Executive Summary (III) Scope

Ystad Productions: London Productions: ① Harry Potter, 2001-11

① Wallander (both versions, excluding books), 2005-present

② Sherlock, 2010-present

② Kyss mig (Kiss Me), 2011

③ Notting Hill, 1999

③ Maria Larssons eviga ögonblick (Everlasting Moments), 2008

Apulia Productions: ① Mine vaganti (Loose Cannons), 2010 ② Braccialetti rossi (The Red Band Society), 2014 ③ Che bella giornata (What a Beautiful Day), 2011

Malta Productions: ① Gladiator (2000) ② Game of Thrones (2011) ③ Popeye (1980)

12

Executive Summary (IV) Research statistics

QUANTITY OF CONTENT (SAMPLE SIZE)

1,617

ANALYSED CONTENT

30,480,732

TOTAL REACH (APPROX)

2,200,000

NUMBER OF SOCIAL PLATFORMS

12

CHANNELS ANALYSED

238

CHANNELS ANALYSED (EXAMPLES)

13

Findings Summary of findings Through the tech-enabled sampling of 30,480,732 pieces of user generated content, and the human-led analysis of around 1,617 individual unique sources within this set, this research executes the following objectives: 1. THE POWER OF SOCIAL MEDIA

Demonstrates the application of a methodology using social media data as an engagement proxy to measure LPV in 12 unique productions across multiple languages.

3. TELEVISION CAN PERFORM AS WELL AS FILMS

Shows that a television series can perform as well as feature films productions in their LPV – and often perform even better if the location is easily recognisable.

2. LOCATIONS RELATE TO EXPOSURE Exposes a definite link between a production’s setting and subsequent location-based exposure and/or documented visits to a location. To what degree depends on the specificities of the production and the nature of the featured location (fictional, recognisable, etc.).

4. IMPROVE PARTNERSHIPS Provides qualitative insight surrounding each individual production that may be used to improve future place-based marketing efforts and improve integration or partnership between the screen and tourism sectors.

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Methodology – Calculating Location Placement Value (LPV) Quantifying the value as advertising ONLINE

PERCENTAGE OF LOCATION MENTIONS

z z

OFFLINE

MEANINGFUL EXPOSURE

EXPOSURE VALUE

MINIMUM VIEWERS

DUNBAR’S NUMBER

MINIMUM ADVERTISING COST

Percentage of location mentions = The minimum proportion of production-related conversation that also references region-specific locations (which was anywhere between 0.01 and 20% depending on the production). Minimum viewers = The least amount of people that have viewed the production according to box office figures from the European Audiovisual Observatory, other sources, and adjustments for inflation when using older box office figures. Dunbar’s Number = The most meaningful social connections someone might have (this is generally accepted as roughly 150), rather than larger social media ‘follower’ or ‘friend’ figures. Minimum Advertising Cost = The least value that would be spent in generating equivalent exposure, using the present cost of premium online advertising (£0.025/€0.033 per impression).

15

Qualitative Insights The un-prompted voice of the audience By taking a representative and practical sample of location-based commentary we are able to gain a range of insights into the audience and their location-based conversation. These un-prompted voices can offer clues as to how recognisable a location is, how desirable it is, and what type of person it might appeal to. IMAGE BUILDING

SENTIMENT

QUAL-QUANT DEMOGRAPHICS

The effects of location placement once a production has been released/aired are often assessed in terms of image building or image formation (Croy, 2004 and Vagionis, 2011).

With a human-led approach (rather than ‘automated’ tools) it is possible to examine how an audience feels about a location.

The human-led approach also enables the research to go beyond the limits of a predefined data set in order to gather extra demographic metrics that might not be readily available in initial samples of data from sources such as Twitter or Facebook.

By evaluating individual sources it is possible to place a member of the audience along a journey of location awareness – they either mention a location in general, know and recognise a location, desire to visit it, intend to visit, or have already visited it. This data can then show the development of LPV for each production.

This research uses a scale that reveals the proportions of positive, negative and unsentimised/factual commentary surrounding a production’s locations. Subject to the availability of data, it may also be possible to see how people respond to a location as they move along the image building journey.

For example, a person may misrepresent their location, gender or age in a manner which our researchers are trained to recognise and report within our analysis. This means we can augment the initial scrape with human-verified accuracy.

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Scorecard Format LPV scorecard format for each production (example) QUANTIFIED LPV VALUE

OVERALL SUMMARY

€ XX (average annual figure)

Top-line summary detailing (where possible) location awareness, most prominently discussed locations, other topics of conversation, and other notable findings.

Least value of the free ‘earned’ location exposure/conversation in advertising terms.

DEMOGRAPHIC PROFILE

AUDIENCE LOCATION AWARENESS The image building journey… (e.g. 25% of the audience displays 80% a ‘knowledge’ of the location)

100%

Summary of findings surrounding documented, or potential, visits to locations by production viewers (depending on data availability).

60% 40%

…and sentiment towards location. (e.g. half of visitors were positive about the location)

20% 0% Mention

Very Negative

Knowledge

Negative

Desire

Mixed

Positive

Intent

Very Positive

Visit

Unsentimised

REASON FOR VIST The dominate reasons for visiting the location. Productions with a low volume of data are harder to define accurately. 17

Region 1 – London

London Data summary COMMENTARY VOLUME & QUALITY

Data surrounding productions featuring London was abundant and much of this location-based commentary was very rich in detail. The high amount of documented visits provides a good basis for insights surrounding LPV and audience demographics, but was considered alongside the fact that London is also a major tourist destination in general. ILLUSTRATIVE COMMENTARY

“Myself and my girlfriend of 5 years are heading to London soon, and we're doing the whole Harry Potter thing (WB Studio Tour, visit the various locations etc.). Where would be the most romantic place to propose in your opinion? We're both Potterheads and I definitely know this is something she'll eat up. I was thinking The Great Hall on the WB Studio Tour?”

“Watching movies filmed in London like Notting Hill, makes me miss the city so much more.”

“There are a good few Sherlock locations in London, so I put together walk taking in some of the major filming spots – click on the map at the bottom for full directions if you want to follow it yourself.” – ontheluce.com (Blog)

“Photos I took at the Harry Potter Studio Tour in London, contains pretty much everything for those who cannot make it! Totally! I travelled from Malta just to head there and have no regrets :) If you're a big Harry Potter fan you'll love it, if you just watched the movies and are not really that interested you most probably still will because it's like an interactive museum.”

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London Production overview

PRODUCTION

HARRY POTTER (2001-2011)

NOTTING HILL (1999)

SHERLOCK (2010-present)

LPV

GENDER

€13.3M

65% FEMALE 35% MALE

€24.9M

77% FEMALE 23% MALE

€13.7M

70% FEMALE 30% MALE

AGE

COUNTRIES

REASON FOR LOCATION VISIT

16-24

50% UK 25% US 25% Other

43% PRODUCTION 38% BY CHANCE 19% OTHER

25-35

31% UK 12% US 10% Brazil 47% Other

55% PRODUCTION 45% OTHER

16-35

45% UK 55% Other

56% PRODUCTION 42% OTHER 2% BY CHANCE

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Harry Potter (feature film franchise, 2001-2011) LPV Scorecard VALUE OF LOCATION CONVERSATION (ANNUAL)

AUDIENCE LOCATION AWARENESS

€13.3m The region’s freely ‘earned’ social media conversation value as a least equivalent advertising cost.

① The Harry Potter films generated a large volume of location-aware and visitor commentary. ② Common topics concerned interior settings (39%), cityscapes (19%), and general tourism (17%). ③ Sentiment towards locations was split between positive and factual location commentary.

④ Prominently discussed London-based locations: Kings Cross (39%), The Making of Harry Potter (13%), the Millennium Bridge (7%), and Leadenhall Market (4%). ⑤ However, 19% of commentators mentioned general or fictional locations by people without clearly discernible location knowledge.

AUDIENCE LOCATION AWARENESS

DEMOGRAPHIC PROFILE

100% 90% 80%

Unsentimised

70%

GENDER

65% FEMALE / 35% MALE

AGE

16-24 YEARS OLD

COUNTRIES

50% UK / 25% USA / 25% OTHER

SATISFACTION

POSITIVE

REASON FOR VISIT

43% HARRY POTTER 38% BY CHANCE 19% OTHER

Very Positive

60% 50%

Positive

40%

Mixed

30%

Negative

20%

Very Negative

10% 0%

Mention

Knowledge

Desire

Intent

Visit

Sample: 430

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Harry Potter (feature film franchise, 2001-2011) Key insights CONTEXT, THE AUDIENCE & SOCIAL MEDIA

As a successful film franchise, Harry Potter has undoubtedly raised the profile of London and also brought many people to the city – or the studios in Hertfordshire – either partially or primarily because of the production. The Harry Potter audience is also very sociable online and perfectly demonstrates the manner in which fans recommend, direct and promote locations to one another through social media. ILLUSTRATIVE COMMENTARY

“We visited the King's Cross Station on our trip to England in November 2005. This train station is a beautiful historic building on the outside with very modern facilities on the inside. You can go to platform 9 3/4, located within the station. The personnel were quite happy to assist us with directions. The platform is set up with a shopping cart halfway through the wall, to recreate the scene in a Harry Potter Movie. A great photo opportunity for Harry Potter fans. It's easy to find, and the inside environment is very friendly and comfortable.”

“Leadenhall Market was used to represent the area of London near The Leaky Cauldron and Diagon Alley in the film Harry Potter and the Philosopher's Stone.”

“Where harry potter was filmed!! #londonzoo #harrypottergeek #reptilehouse”

“The spiral staircase in the South-West tower featured in Harry Potter and the Prisoner of Azkaban (2004) as the stairs in Hogwart's where Harry finds a crystal ball and returns it to Prof. Trelawney.”

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Notting Hill (feature film, 1999) LPV Scorecard VALUE OF LOCATION CONVERSATION (ANNUAL)

AUDIENCE LOCATION AWARENESS

€24.9m The region’s freely ‘earned’ social media conversation value as a least equivalent advertising cost.

① Notting Hill generated a huge location-aware discussion and a strong positive desire to visit Notting Hill (23% of location mentions also cited some kind of positive desire to visit). ② Conversation topics concerned cityscapes (63%), general tourism (21%) or nostalgia (11%).

③ Sentiment towards the location was almost entirely positive except for the odd complaint about the ‘reality’ of present day Notting Hill from those who knew the location well. ④ Notting Hill (38%) and London overall (33%) accounted for most location mentions. Specific location mentions included Portobello Road (11%), the bookshop (9%), and the blue door (8%).

AUDIENCE LOCATION AWARENESS AUDIENCE LOCATION AWARENESS

DEMOGRAPHIC PROFILE

Audience Location Awareness 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0%

Unsentimised

GENDER

77% FEMALE / 23% MALE

AGE

25-35 YEARS OLD

COUNTRIES

31% UK / 12% USA / 10% BRAZIL / 47% OTHER

SATISFACTION

POSITIVE

REASON FOR VISIT

55% PRODUCTION 45% OTHER

Very Positive

Positive Mixed Negative Very Negative Mention

Knowledge

Desire

Intent

Visit

Sample: 124

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Notting Hill (feature film, 1999) Key insights CONTEXT, THE AUDIENCE & SOCIAL MEDIA

The audience not only knows that this is set in London, but also clearly identifies the Notting Hill location as a specific area of London. Whilst they may subsequently visit London for other reasons as well (around 70%), their visit to Notting Hill specifically, is strongly inspired by the film (just over half of the audience who had visited London then visited Notting Hill as well). ILLUSTRATIVE COMMENTARY

“Yay Notting Hill bookshop from the movie! London in 24 days!”

“'The Blue Door' from Notting Hill and a very excited Emma ”

“I loved going to Notting Hill. Notting Hill really became famous because of the movie starring Hugh Grant and Julia Roberts. It's a great location in London. It has a more "home" feel than the rest of the city. Don't forget to stop by the bookshop and the blue door apartment that were featured in the movie.”

“I love going to Notting Hill. Of course, one looks for the blue door of 'Notting Hill' fame and does not find it. Julia Roberts is also absent! However, the street is an interesting mix of older shops and the inevitable supermarket. Daunt's Books is along the road, Recipease is on the corner and there is a cheerful pub with good meals. Portobello markets are fun and every year there is the Notting Hill Carnival...”

24

Sherlock (television series, 2010-present) LPV Scorecard VALUE OF LOCATION CONVERSATION (ANNUAL)

AUDIENCE LOCATION AWARENESS

€13.7m The region’s freely ‘earned’ social media conversation value as a least equivalent advertising cost.

③ Whilst Sherlock generated a lot of unspecific location mentions, most of the audience recognised and discussed the contemporary London setting. ④ The mostly ‘geeky’ and fact-based commentary concerned 27 specific London-based locations including Speedy’s Café (26%), “221b Baker Street” (25%), St Bart’s (12%) and many others (1-3%).

③ Most commentary concerned the city setting (72%) but a great variety of small discussions concerned other factors – general tourism, interiors and other attractions; especially nostalgia from ex-pats, ‘shrining’ locations, seeing the live filming or cast, ‘pilgrimages’ and ‘cosplay’.

AUDIENCE LOCATION AWARENESS

DEMOGRAPHIC PROFILE

Audience Location Awareness 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0%

Unsentimised

GENDER

70% FEMALE / 30% MALE

AGE

16-35 YEARS OLD

COUNTRIES

45% UK / 55% OTHER

SATISFACTION

POSITIVE

REASON FOR VISIT

56% PRODUCTION 42% OTHER 2% BY CHANCE

Very Positive

Positive Mixed Negative Very Negative Mention

Knowledge

Desire

Intent

Visit

Sample: 320

25

Sherlock (TV Series, 2010-Present) Key insights Fan culture around a production can generate significant visitor numbers for small featured locations –such ‘shrining’, ‘cosplay’ and other active fan performances might then feed back into promoting the production to others. Audience members who already live in a region will go out of their way to visit locations. Therefore, a production that uses a contemporary setting with ‘real’ locations can generate a very significant LPV.

CONTEXT, THE AUDIENCE & SOCIAL MEDIA

ILLUSTRATIVE COMMENTARY • •

Shrining: making a pilgrimage to a location with an almost religious fervour Cosplaying: to dress up as a fictional character with a degree of accuracy that elevates It from fancy dress

“..a while back when I was in London, my friend and I tracked down some Sherlock locations and I took printed pictures with me to catch the exact scene…”

“ …St. Bart’s Telephone Box Is The Most Heartbreaking Thing Ever./ Took me a while to find it, but I walked around a corner and suddenly found myself here: People still leave notes in the phone box and it’s heartbreaking. Here are a couple of notes:/ We need season 3 now. My heart can’t deal with this… ”

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London Overall summary KEY CONCLUSIONS 1. LONDON HAS HIGH LPV It is clear that many visits to the region are partially or fully inspired by a production featuring London, and these have contributed to the high LPV of the productions analysed in the city.

3. CULT FILMS HAVE HIGHER LPV

Fan culture activities like ‘shrining’, ‘cosplay’ and urban fan art, mean that LPV feeds back into promoting the production alongside the location.

2. REALITY TRUMPS FANTASY London performs better for LPV the more ‘real’ and recognisable its presentation. e.g. Harry Potter has been seen by far more people than Sherlock, but its use of fictional locations means that London gets less exposure.

4. PRODUCTION ASSOCIATIONS WITH LOCATION

In the best cases of location placement, it can be hard to separate an audience’s association between a production from its location – in this respect, London is integral to Notting Hill and now perhaps vice versa. 27

Region 2 – Ystad

Ystad Data summary COMMENTARY VOLUME & QUALITY

Overall, there was ample data surrounding the Ystad region to draw insight from user-generated content, but it varied in amount and richness. Wallander performed exceptionally well, and Maria Larssons eviga ögonblick viewers also provided plenty of mentions for Malmö. However, Kyss Mig suffered from few regional mentions, as data was mostly limited to statements associated with Sweden. ILLUSTRATIVE COMMENTARY

“I am Kurt Wallander.”

“It was great to see the Amalteaman Anton Nilson and the Meeting of Three Kings on Stortorget in Malmö – not to mention the scenes in the old house on Hasselgatan in Malmö. We were living right next to it for 10 years in Björkgatan in Sofielund.” – http://bertilius.wordpress.com (Blog)

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Ystad Production overview

PRODUCTION

KYSS MIG (2011)

MARIA LARSSONS EVIGA ÖGONBLICK (2008)

WALLANDER (2005-Present)

LPV

GENDER

AGE

COUNTRIES

REASON FOR LOCATION VISIT

40,900

81% FEMALE 19% MALE

16-60+

27% UK 20% US 17% SWE 36% Other

50% KYSS MIG 50% OTHER

260,800

50% FEMALE 50% MALE

16-60+

70% SWE 30% Other

NO VISITS

22.8M

50% FEMALE 50% MALE

25-60

44% UK 20% US 11% IRE 25% Other

35% WALLANDER 65% OTHER

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Kyss mig (feature film, 2011) LPV Scorecard VALUE OF LOCATION CONVERSATION (ANNUAL)

AUDIENCE LOCATION AWARENESS

€40,900 The region’s freely ‘earned’ social media conversation value as a least equivalent advertising cost.

① Kyss mig generated some location-based commentary but scored low in overall value due to a lack of recognition for the Ystad or Skåne region – but almost everyone did recognise it as a story set in contemporary Sweden. ② The only negative comment about the production misidentified it as a Norwegian film.

③ Discussion surrounding the location was often very positive and talked about the ‘beautiful’ or ‘bucolic’ countryside and landscapes (67%), nostalgia for Sweden (7%) or other attractions including the Swedish language and culture (20%).

AUDIENCE LOCATION AWARENESS

DEMOGRAPHIC PROFILE

Audience Location Awareness 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0%

Unsentimised

GENDER

81% FEMALE / 19% MALE

AGE

16-60+

COUNTRIES

27% UK / 20% US / 17% SWE / 36% OTHER

SATISFACTION

POSITIVE

REASON FOR VISIT

50% KYSS MIG 50% OTHER

Very Positive

Positive Mixed Negative Very Negative Mention

Knowledge

Desire

Intent

Visit

Sample: 49

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Kyss mig (feature film, 2011) Key insights CONTEXT, THE AUDIENCE & SOCIAL MEDIA

Sentiment towards the production and the location was overwhelmingly positive (only 6% of comments about the film and 2% of the location comments were in any way negative), the setting was almost always recognised as Sweden and not the region of Ystad. Therefore, it is possible that the film did not contain enough regional prompts to firmly associate with Ystad or Skåne – and at worst, was thought by some foreign audiences to be elsewhere. ILLUSTRATIVE COMMENTARY

“The love scenes are beautifully directed with both passion and tenderness. The gorgeous Swedish countryside is a perfect setting for this story, which illustrates that love, can be lurking in unexpected places.”

“…beautiful people, beautiful scenery and beautifully shot…”

“We really enjoyed watching this, great Swedish country side, familiar faces (although Ruth isn't as glam or as skinny as she is in recent Call girl). Found it very moving, real, edge of seat, will they wont they, brilliant... and then the ending was pure Hollywood rom com and I went to bed in a terrible mood.”

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Maria Larssons eviga ögonblick (feature film, 2008) LPV Scorecard VALUE OF LOCATION CONVERSATION (ANNUAL)

AUDIENCE LOCATION AWARENESS

€260,800 The region’s freely ‘earned’ social media conversation value as a least equivalent advertising cost.

① Maria Larssons generated some location-based commentary and many viewers recognised Malmö as the setting for this production. ② The only locations that were specifically identified were either Malmö (54%) or Sweden (46%).

③ Conversation topics chiefly concerned cityscapes (65%), historical interiors and settings (18%) or

strong feelings of nostalgia for Sweden and Malmö, mostly in the past but occasionally in the present.

AUDIENCE LOCATION AWARENESS

DEMOGRAPHIC PROFILE

Audience Location Awareness 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0%

Unsentimised

GENDER

50% FEMALE / 50% MALE

AGE

16-60+

Very Positive Positive

COUNTRIES

70% SWE / 30% OTHER

Mixed Negative

SATISFACTION

POSITIVE

REASON FOR VISIT

NO VISITS

Very Negative Mention

Knowledge

Desire

Intent

Visit

Sample: 50

33

Maria Larssons eviga ögonblick (feature film, 2008) Key insights CONTEXT, THE AUDIENCE & SOCIAL MEDIA

Maria Larssons eviga ögonblick was almost always recognised as a Swedish production, and often as being set in a historical period of Malmö. However, much of this recognition came from native audiences, and foreigners tended to focus their awareness on Sweden. Also, as it is a historical film it was praised for its period-specific props and settings. There are far less ‘real life’ locations to visit and so it was harder for the audience to desire a visit to any locations. ILLUSTRATIVE COMMENTARY

“Maria Larssons eviga ögonblick reminded me about Troell’s unusual class awareness and clarity about gender issues. I was inspired by the film’s theme about the role of the artist (photography in this case). I was taken back to the years I lived in Malmö, where most of the film takes place, with the city’s history of the workers’ movement and “barnrikehus” (special housing for working class families with many children), etc.” – pellehanaeus.se (Blog)

“While the words were in Swedish, I'm sure that every nuance came through clearly. We were taken to the Malmo of a hundred years ago, when even a simple photograph was the product of a skilled hand, and an inspired vision. This film, simple yet true, reflected the same spirit.”

“The settings and the story give a good insight in life at the turn of last century in a small town in Sweden (Malmo). Fine photography throughout and a story that sweeps you up...”

“Filmen utspelar sig under början av 1900talets Sverige och handlar om arbetarkvinnan Marias liv. Hon får en dag en kamera och börjar att fotografera allt i sin omgivning. Hennes bilder visar ett samhälle i förändring; fattigdom, vardagsglädje och krigsutbrott.”Maria Larssons eviga ögonblick” filmades i Malmö och bl a bland gatuhusen på Sofielund. (Set in early 1900s Sweden involving working woman Maria's life. Her new camera shows a changing society from poverty, to joy and the outbreak of war. "Everlasting Moments" was filmed in Malmö and among street houses on Sofielund.)”

– idabloggen.wordpress.com (Blog)

34

Wallander (television series, 2005-present) LPV Scorecard VALUE OF LOCATION CONVERSATION (ANNUAL)

AUDIENCE LOCATION AWARENESS

① Wallander generated an enormous LPV. Whilst many

€22.8m

mentions did not recognise Ystad itself (Sweden was not included here as ‘knowledge’ awareness), much of the audience knew it was set in Ystad and some

The region’s freely ‘earned’ social media conversation value as a least equivalent advertising cost.

had also visited.

② Cityscapes (67%) or landscapes (26%) were by far the

③ Apart from Sweden (31%), specific location mentions either referred to Ystad (52%), the police station (6%) or the Hotel Continental (3%). ④ The only negative location sentiment referred to the gloomy nature of the setting.

most common topics of conversation. AUDIENCE LOCATION AWARENESS

DEMOGRAPHIC PROFILE

100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0%

Unsentimised

GENDER

50% FEMALE / 50% MALE

AGE

25-60+

COUNTRIES

44% UK / 20% US / 11% IRE / 25% OTHER

SATISFACTION

POSITIVE

REASON FOR VISIT

35% WALLANDER 65% OTHER

Very Positive

Positive Mixed Negative Very Negative Mention

Knowledge

Desire

Intent

Visit

Sample: 144

35

Wallander (television series, 2005-present) Key insights CONTEXT, THE AUDIENCE & SOCIAL MEDIA

Wallander generated a large amount of online exposure for the town of Ystad, and all global audiences displayed a significant location awareness for both Sweden and Ystad (especially in the UK). As a result of its modern and recognisable setting with many key locations in one small area, it also generated a significant desire to visit the town and this was actively documented online. ILLUSTRATIVE COMMENTARY

“We stayed here partly because it's some of the best value accommodation in Ystad and partly because it was the filming location for the police station in the second season of Swedish Wallander films. All the rooms are named after the roles they played in Wallander - we stayed in the Advokat's room, and Wallander, Martinsson and Svartmann's rooms are also all available. [...] It goes without saying that it's also a brilliant place for Wallander fans! I loved it here and can't wait to visit again!”

36

Ystad Overall summary KEY CONCLUSIONS 1. TELL US WHERE IT’S FILMED

2. THE SCENIC ROUTE

Viewers will rarely have trouble recognising a national

Landscape and scenery almost always attract positive

setting but representations of a region need to be

location sentiment and usually contribute to online

clearly identifiable to increase LPV.

location exposure.

3. MODERN SETTINGS WORK BEST

4. STORYLINES DON’T MATTER MUCH

Modern settings are more likely to contribute to

Production genre is part of the location conversation,

location awareness since people can more easily

but has an indiscernible effect. Audiences will still visit

imagine themselves visiting present-day locations.

locations which are backdrops to tough storylines.

37

Region 3 – Apulia

Apulia Data summary COMMENTARY VOLUME & QUALITY

Apulia was the most challenging region for this research since even the most successful production (Che bella giornata) had almost no commentary outside of Italy – in fact, Mine vaganti was the most popular production outside of Italy – and nor was it entirely shot in Apulia. Nonetheless, it was still possible to gain a picture of the location awareness for all productions. ILLUSTRATIVE COMMENTARY

“Lovely views of a southern Italian town, peppered with good food and hearty familial ties make this a charming, enjoyable experience. I really liked the opening & ending sequences with the family matriarch.”

“Durante i quasi 100 minuti di proiezione si ride, spesso di gusto, sopratutto nella seconda parte del film. Se infatti i primi minuti non scorrono del tutto fluidi e mancano veri e propri spunti comici degni di tal nome, le scene migliori sono quelle del battesimo in Puglia, con tanto di festa paesana organizzata fra gli stretti vicoli di Alberobello, con un insolito Caparezza costretto suo malgrado a cantare "Non amarmi" o brani dei Ricchi e Poveri, cosa di per sè comica per un pubblico giovane che conosca lo spessore delle canzoni dell'autore pugliese. (The best scenes are the baptism and festival in the streets of Alberobello.)” – cinemarecensionilab.blogspot.co.uk (Blog)

39

Apulia Production summary

PRODUCTION

BRACCIALETTI ROSSI (2014)

CHE BELLA GIORNATA (2011)

MINE VAGANTI

LPV

GENDER

AGE

COUNTRIES

REASON FOR LOCATION VISIT

€8.8M

65% FEMALE 35% MALE

16-25

96% ITA 4% Other

83% BRACCIALETTI ROSSI 17% BY CHANCE

€1.1M

50% FEMALE 50% MALE

16-60

100% ITA

UNRELATED TO PRODUCTION

€1.7M

55% MALE 45% FEMALE

30-50

MIXED

PRODUCTION BASED

40

Braccialetti Rossi (television series, 2014) LPV Scorecard VALUE OF LOCATION CONVERSATION (ANNUAL)

AUDIENCE LOCATION AWARENESS

€8.8m The region’s freely ‘earned’ social media conversation value as a least equivalent advertising cost.

① Braccialetti Rossi generated a very significant volume of location-based conversation for the Apulia region, with around half of the audience knowing where the series was set. 21% of the audience discussed a desire or intent to visit and around 8% of commentators had done so.

② However, the location mentions were largely unsentimised factual references to Fasano (94%) as the setting for the series, and desires to visit were usually focused on seeing the filming or cast members rather than anything specific about the town or landscape.

AUDIENCE LOCATION AWARENESS

DEMOGRAPHIC PROFILE

Audience Location Awareness 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0%

Unsentimised

GENDER

65% MALE / 35% FEMALE

AGE

16-60

COUNTRIES

96% ITA / 4% OTHER

SATISFACTION

POSITIVE

REASON FOR VISIT

83% BRACCIALETTI ROSSI 17% BY CHANCE

Very Positive

Positive Mixed Negative Very Negative Mention

Knowledge

Desire

Intent

Visit

Sample: 50

41

Braccialetti Rossi (television series, 2014) Key insights CONTEXT, THE AUDIENCE & SOCIAL MEDIA

Braccialetti Rossi fans recognise the setting of their favourite show as Fasano, but their discussion of the location is largely fact-based and does not seem to be regarded as integral to the story. However, there are documented visits to the town that are usually the result of a desire to meet the cast at a special event, or as a result of other online promotion. ILLUSTRATIVE COMMENTARY

“Peccato che il nome di Fasano non compaia da nessuna parte, neppure nei titoli di coda... (It is a pity that the name of the city Fasano doesn't appear anywhere, not even in the credits)”

42

Che bella giornata (feature film, 2011) LPV Scorecard VALUE OF LOCATION CONVERSATION (ANNUAL)

AUDIENCE LOCATION AWARENESS

€1.1m The region’s freely ‘earned’ social media conversation value as a least equivalent advertising cost.

① Despite much of this film being set elsewhere, much of the audience knew that part of it was set in the region of Apulia. ② The region’s beautiful landscape, Alberobello’s streets, and rural Italian culture were the key conversation topics and generated some desire to visit the area.

③ This knowledge particularly stemmed from the baptism scene set in and around Alberobello’s “trulli” (49% of location mentions), but Apulia in general (45%) and Bari (4%) also gained exposure. NB: The production was not distributed widely outside of Italy

AUDIENCE LOCATION AWARENESS

DEMOGRAPHIC PROFILE

Audience Location Awareness 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0%

Unsentimised

GENDER

50% MALE / 50% FEMALE

AGE

16-25

COUNTRIES

100% ITA

SATISFACTION

POSITIVE

REASON FOR VISIT

UNRELATED TO PRODUCTION

Very Positive

Positive Mixed Negative Very Negative Mention

Knowledge

Desire

Intent

Visit

Sample: 51

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Che bella giornata (feature film, 2011) Key insights CONTEXT, THE AUDIENCE & SOCIAL MEDIA

It is important to note that only a small part of the film takes place in Apulia – and it is often this part that is well documented online (especially, the baptism in Alberobello). Overall, Che bella giornata demonstrates that a production can benefit and promote a region through having one key and memorable scene take place in that location.

ILLUSTRATIVE COMMENTARY

“Un paesaggio come quello di Alberobello non può non prestarsi come location di set cinematografici, dal 1930 con “Idillio infranto” fino al recentissimo “Che bella giornata” di Checco Zalone, dove la musica del pugliese Caparezza ha trovato, tra le piazzette e le stradine, lo strumento migliore per diffondersi tra gli invitati al battesimo, come da copione, e tra i turisti incuriositi. (Alberobello is a beautiful landscape and cityscape that has been used for many films and it is the perfect location for the recent "Che bella giornata")”

“E' una comicità semplice, ma accettabile quella di Zalone, con alcune partecipazioni speciali che fanno dei camei e la Puglia in primo piano. (It's a simple comedy, with some special participations with Puglia as a highlight)”

“Nelle foto, scattate ad Alberobello, la città famosa per i suoi trulli, immortalavano una scena del film con lo special guest, Michele Salvemini, il rapper pugliese in arte Caparezza. (Alberobello is immortalised by one scene in the film that uses its trulli.)”

“Della storia non dirò altro. Non c’è dubbio però che – dopo una parte iniziale un po’ in sordina – il film decolla e risulta esilarante in maniera quasi liberatoria. Preparatevi, in particolare, alla strepitosa sequenza del battesimo festeggiato ad Alberobello! (The film really takes off at the Baptism scene in Alberobello.)”

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Mine vaganti (feature film, 2010) LPV Scorecard VALUE OF LOCATION CONVERSATION (ANNUAL)

AUDIENCE LOCATION AWARENESS

€1.7m

① Mine vaganti generated some significant locationbased commentary, with 31% of the audience

declaring a positive sentiment to the locations they The region’s freely ‘earned’ social media conversation value as a least equivalent advertising cost.

knew.

② The locations most discussed were Lecce (67%), Apulia (16%), Punta Suina Bay (6%), and the remainder being references to Italy in general (11%). ③ The main topic of conversation was the beautiful landscape (76%).

AUDIENCE LOCATION AWARENESS

VISITOR PROFILE

100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0%

Unsentimised

GENDER

55% MALE / 45% FEMALE

AGE

30-50

COUNTRIES

MULTIPLE

SATISFACTION

POSITIVE

REASON FOR VISIT

PRODUCTION BASED

Very Positive

Positive Mixed Negative Very Negative Mention

Knowledge

Desire

Intent

Visit

Sample: 65

45

Mine vaganti (feature film, 2010) Key insights CONTEXT, THE AUDIENCE & SOCIAL MEDIA

Given that Mine vaganti was one of the smaller productions in this project, it generated a relatively large amount of location-based commentary. Most of this commentary was prompted by the audience’s appreciation for the landscape in the film, and this was the main conversation-driver – even inspiring one couple to go on holiday to the region solely as a result of seeing this beauty on screen. ILLUSTRATIVE COMMENTARY

“A very nice comedy based on the following premise: is being gay or straight the right definition of a person? It's well acted, moving and Italy is such a beautiful country!”

“The film is handsomely filmed and the great looking, almost-perfect settings only seem to enhanced the imperfections of the family itself. The editing (and direction) both seem a bit too pleased with themselves: some scenes could have gained something by being trimmed a bit.”

“My husband and I planned to make a holiday in Puglia Area and actually came first to Lecce, because of the inspiration of the movie “Mine Vaganti” directed by Ferzan Ozpetek. And in this beautiful place, we stayed in B&B Palazzo Bernardini for 3 nights. This was such a stunning B&B. The helpful and sincere approach of Isabella ( the owner of the hotel) was really impressive. The suite was furnished with beautiful antiques. A large living room opened to a large bedroom that opened onto a small terrace with a view of beautiful trees and flowers. The breakfast was with local croissant and special breads of Lecce; it was nice… Lecce is one of the nicest and historical little towns in Italy. And if you need a B&B, don’t look further..”

46

Apulia Overall summary KEY CONCLUSIONS 1. PRODUCTIONS PERFORM WELL, DESPITE CHALLENGES

Despite the fact that two of Apulia’s productions were not widely distributed outside of Italy, the region still managed to perform reasonably well in terms of LPV.

3. SCENERY SELLS

2. MAKE IT MEMORABLE Just one memorable scene in a production can associate it with the region, and with lasting effect

(e.g. Che bella giornata’s Alberobello baptism).

4. FEATURE LOCATIONS CAN STILL WORK

Beautiful scenery will always catch the audience’s eye,

A relatively ‘unimportant’ feature location (e.g.

and that they may subsequently visit a region based

Fasano) can still capture the imagination of the

on this alone, regardless of production quality/rating.

audience and attract visitors as a result.

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Region 4 – Malta

Malta Data summary COMMENTARY VOLUME & QUALITY

Since all of Malta’s productions are well known, it was very easy to find location-based discussion online for all three. However, since Malta is almost always less ‘featured’ or recognisable as a setting in these productions, they provide a good contrast to the London productions and each produced unique insight as a result. ILLUSTRATIVE COMMENTARY

“Oliver Reed at The Pub, Valletta, Malta. #gladiator”

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Malta Data summary

PRODUCTION

LPV

GAME OF THRONES (2011-present)

€1.3M

GLADIATOR (2000)

POPEYE (1980)

GENDER

60% MALE 40% FEMALE

€1.1M

70% MALE 30% FEMALE

€12.2M

50% FEMALE 50% MALE

AGE

COUNTRIES

REASON FOR LOCATION VISIT

25-35

MIXED

85% OTHER 15% PRODUCTION

45-60

70% UK 12% US 18% Other

50% OTHER 33% PRODUCTION 17% BY CHANCE

50% US 50% UK

ANOMALOUS: Commentators were likely to have watched the production after having visited a prime filming location in Malta

35-60+

50

Game of Thrones (television series, 2011-present) LPV Scorecard VALUE OF LOCATION CONVERSATION (ANNUAL)

AUDIENCE LOCATION AWARENESS

€1.3m The region’s freely ‘earned’ social media conversation value as a least equivalent advertising cost.

① Despite being filmed in many other locations, Game of Thrones did generate a small amount of locationbased commentary for Malta and many fans of the series knew that it was partly filmed there (68% of mentions surrounding the Maltese locations also knew it was filmed there).

② General tourism was also a topic of conversation, and this revealed that many people had visited Malta before realising that it was used as a filming location for Game of Thrones. ③ Aside of Malta mentions in general (32%), locations referred to included Mdina (17%), Azure Window (9%) and both Valetta and Dwejra (4%).

AUDIENCE LOCATION AWARENESS

DEMOGRAPHIC PROFILE

100% 80%

Unsentimised

GENDER

60% MALE / 40% FEMALE

AGE

25-35

COUNTRIES

MIXED (FROM 8 COUNTRIES)

SATISFACTION

VERY POSITIVE

REASON FOR VISIT

85% OTHER 15% PRODUCTION

Very Positive

60%

Positive 40%

Mixed Negative

20%

Very Negative 0% Mention

Knowledge

Desire

Intent

Visit

Sample: 124

51

Game of Thrones (television series, 2011) Key insights CONTEXT, THE AUDIENCE & SOCIAL MEDIA

Attracts a lot of location-based commentary. One theme of the conversation reveals that many fans have visited Malta and then only realised later that it was a setting for the series. This suggests that more could be done to promote awareness of Malta on the Game of Thrones screen tourist trail (since some that knew it was a location did visit). ILLUSTRATIVE COMMENTARY

“I was there last month! Can't believe I totally missed the opportunity to look up where GoT was filmed. I knew some parts were filmed in Malta, but had no idea I walked right pass some of them!”

“Wait, they shot in Mdina? Damn! I was there back in October last year and never even knew they filmed in Malta otherwise I would of made a point of finding that. Damnit.” “Same here. I was there last month. Gutted.” “Me Too... Wish i had known...”

52

Gladiator (feature film, 2000) LPV Scorecard VALUE OF LOCATION CONVERSATION (ANNUAL)

AUDIENCE LOCATION AWARENESS

€1.1m The region’s freely ‘earned’ social media conversation value as a least equivalent advertising cost.

① There was a surprisingly high location exposure generated by Gladiator, since none of the locations featured are easily recognisable as Malta. ② The main topics of conversation were general tourism (42%), landscape (22%), ‘shrining’ (15%) and ‘pilgrimage’ (4%).

③ Key locations mentioned were the bar where Oliver Reed died (52%), Malta in general (13%), Fort Ricasoli (8%) and Valetta (3%). Other mentions were general references to fictional or unrecognised locations (21%).

AUDIENCE LOCATION AWARENESS

DEMOGRAPHIC PROFILE

Audience Location Awareness 100% 80%

Unsentimised

GENDER

70% MALE / 30% FEMALE

AGE

45-60

COUNTRIES

70% UK / 12% US / 18% OTHER

SATISFACTION

POSITIVE

REASON FOR VISIT

50% OTHER 33% PRODUCTION 17% BY CHANCE

Very Positive

60%

Positive 40%

Mixed Negative

20%

Very Negative 0% Mention

Knowledge

Desire

Intent

Visit

Sample: 77

53

Gladiator (feature film, 2000) Key insights CONTEXT, THE AUDIENCE & SOCIAL MEDIA

Gladiator is strongly associated with Malta through online location-based commentary, however this is not necessarily solely because of the impressive buildings and landscape featured (which was also a factor). It is also possible to observe the locationassociation effect that has been produced by the unfortunate and unexpected circumstance of Oliver Reed’s death in Malta during the filming. Therefore, location placement is not solely limited to on-screen representation, and off-screen events can also have an effect.

ILLUSTRATIVE COMMENTARY

“What a great place Olly’s last pub really nice to pay your respects and have a drink to the legend Oliver Reed me and my dad even got to sign a condolences book which was really nice and took some great pictures of inside the pub. the owner is a bit miserable but the pub itself is well worth a visit.”

“When I last visited the colosseum in 2003, I walked to the center, stretched out my arms and yelled, "Are you not entertained?" There was a small rumble of laughter and a few people (sounded like Brits) chanted "Maximus! Maximus!" My girlfriend was mortified.”

“I’ve been to The Pub in Republic Street Valletta where Olly Reed spent his last liri on loads of booze before going to sleep forever. It’s only tiny but worth a visit for any Olly fans.”

54

Popeye (feature film, 1980) LPV Scorecard VALUE OF LOCATION CONVERSATION (ANNUAL)

AUDIENCE LOCATION AWARENESS

€12.2m The region’s freely ‘earned’ social media conversation value as a least equivalent advertising cost.

① Popeye has generated a large location-based conversation for Malta, and many viewers are aware that it was shot on a set in Malta. ② Topics of conversation entirely revolve around either the film set (68%), general tourism (24%) or feelings of nostalgia (7%) for both visiting the set as a child or seeing it in the movie.

③ This conversation is almost entirely driven by references to the Sweethaven film set (Popeye village) that still stands in Malta as a tourist attraction. Sentiment towards this location is generally very positive, albeit with a few references to its age and poor maintenance.

AUDIENCE LOCATION AWARENESS

DEMOGRAPHIC PROFILE

Audience Location Awareness 100% 80%

Unsentimised

GENDER

50% MALE / 50% FEMALE

AGE

35-60+

COUNTRIES

50% UK / 50% US

SATISFACTION

VERY POSITIVE

REASON FOR VISIT

ANOMALOUS: Commentators were likely to have watched the production after having visited

Very Positive

60%

Positive 40%

Mixed Negative

20%

Very Negative 0% Mention

Knowledge

Desire

Intent

Visit

Sample: 129

55

Popeye (feature film, 1980) Key insights CONTEXT, THE AUDIENCE & SOCIAL MEDIA

Location-based commentary for Popeye is abundant online due to the entire film set of ‘Popeye village’ – or ‘Sweethaven’ – being still intact on the island as a popular tourist attraction in its own right. Many people visit the set before having seen the movie, and thus this production presents an anomaly whereby the location serves to provide powerful ongoing promotion for the movie. ILLUSTRATIVE COMMENTARY

“I bought this DVD for my grandson's birthday after visiting the film set in Malta. He'd never heard of Popeye, but has watched the film six times and he loves it.”

“We were here a few years ago with kids they had an absolute ball and we enjoyed it too!! Got the video out when we got home and they really enjoyed picking out the houses they had been in.”

“Just sharing a quick photo I took with my phone this morning, at Popeye Village, Malta. Salutations!”

“This is where they filmed the Popeye film, and it is exactly as it was in the film, it is superb, and brilliant for the kids. One tip watch the film before you go you will appreciate it more.”

“Bought this originally on video in Malta after visiting the film set about 20 years ago. Wanted to show my kids before we went back - they loved it, and every time we visit the film set we have to watch it again!”

“I thought the set (Sweethaven), was very comical yet useable, liveable and the "no sense of time" previously mentioned just brings it out more. I'd visit it if I were ever to travel near Malta.”

56

Malta Overall summary KEY CONCLUSIONS

1. TELL US WHERE IT’S FILMED

2. LOCATION VALUE TRANSCENDS FILM PLACEMENT

The audience of fantasy productions – or any

Events surrounding productions can often become as

productions that use ‘stand in’ locations – will benefit

famous as the production itself, and often become

from clarity as to where their production was filmed.

forever associated with the location as a result.

3. NOVELTY AND LEGACY

4. GENERAL NOTE

A location’s novelty can result in the lasting promotion

Given that Malta is not widely known to be a featured

of a production, even 34 years after it was originally

location in any of the three productions chosen, it has

released (i.e. Popeye, 1980).

performed exceptionally well.

57

Findings & Appendix

Overall Summary Key conclusions

1. SOCIAL WEB RESEARCH IS APPROPRIATE Demonstrates the successful application of a social media-based methodology to the measurement of LPV in 12 unique productions across multiple languages (including one series of films).

2. PRODUCTION SETTING IS RELATED TO EXPOSURE Exposes the link between a production’s setting and subsequent location-based exposure and/or documented visits to a location. To what degree depends on the specificities of the production and the nature of the featured location (fictional, recognisable, etc.).

3. TELEVISION AND FILMS BOTH PERFORM WELL

4. LPV RELIES ON LOCATION AND PRODUCTION QUALITY

Shows that television series’ perform as well as feature films in their LPV – and often perform even better if the location is both contemporary or easily recognisable.

Shows that LPV is a product of both the location and the production’s intrinsic qualities, and should not be seen as dependent on either alone.

59

Recommendations for Further Research Tracking, expansion & data blending

1. TRACK OVER TIME Consider a ‘tracking’ programme to investigate how LPV may change over time (e.g. before, during, and after production releases) and adjust the scope of the research’s timeframe accordingly.

2. LANGUAGE SUPPORT

Increase language support for productions that are only known within their country of origin or are exported into markets with a different language.

3. DATA BLENDING

4. MEASURE COUNTRY LEVEL & FANTASY LOCATIONS

Consider integrating GDP and tourist value statistics if working in partnership with tourism agencies (e.g. place a value on the conversation/visitor origin to increase granularity of the digital landscape’s value).

Structure and rank ‘location awareness’ for country as well as region. Also, consider incorporating and ranking fictional locations as well.

60

Appendix: Data Visualisation & Access Dashboard For added transparency and future discussion, Human Digital have provided a sample of the data used in this study at the following address: http://dash.human-digital.com/euroscreen This dashboard features content used in the qualitative analysis of the report. The sample displayed represents the top 75% of our total sample when ranked by ‘relative influence’ – i.e. how influential a piece of content is online in relative terms of reach (visibility) and engagement (amount of people that have interacted with it). The data is also ranked by location sentiment (on the x-axis), and is filterable by production, region, user demographic, and platform/channel type.

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Bibliography Buchmann, A.K In the Footsteps of the Fellowship – Understanding the Expectations and Experiences of Lord of the Rings Tourists on Guided Tours of New Zealand. Lincoln University, Lincoln, 2007. Cloudberry Communications, The Millennium Report Economic Impact and Exposure Value for the Stockholm region in the Swedish Millennium Feature Films. Cloudberry Communications, Stockholm, 2011. Croy, G The Lord of the Rings, New Zealand and Film Tourism: Image Building with Film. Department of Management Monash University, Melbourne, 2004.

European Audiovisual Observatory, Database on Admissions of Films Released in Europe (http://lumiere.obs.coe.int/) EuroScreen, Case Studies 2013. London, 2013. Kraaijenzank, M Movie Induced Tourism an Analytical Report on how The Lord of the Rings Trilogy has Affected Tourism in New Zealand. Aalborg University, Aalborg, 2007. Mansson, Maria & Eskilsson, Lena, EuroScreen - The Attraction of Screen Destinations: Baseline Report Assessing Best Practice, 2013. Olsberg SPI, Stately Attraction How Film and Television Programmes Promote Tourism in the UK, 2007. Oxford Economics, The Economic Impact of the UK Film Industry, 2012. Vagionis, N ‘Movies as a Tool of Modern Tourist Marketing’ – Tourismos Volume 6, Autumn 2011, pp. 353 -362. Ystad Kommun, The Movie Town Ystad, Media Analysis, 2012.

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About Human Digital

Project Team – Quantifying Location Placement Value

OSMAN JUNAID

[email protected]

SIMON RICHARDSON

[email protected]

HUMAN DIGITAL PORTLAND HOUSE 4 GREAT PORTLAND STREET LONDON W1W 8QL

+44 020 7404 6434 [email protected]

63

Who we are

2008: Founded by Sarah Ward (CEO)

2011: Becomes part of the M&C Saatchi Group

2014: Partnership with Capgemini Consulting

Who We Are PROFESSIONAL SERVICES

CONSUMER

PUBLIC SERVICES

EVENTS & ENTERTAINMENT

ADVERTISING / PR AGENCY

Context: Quantification of Words and Pictures Social media data is challenging to quantify since much of it appears as word, picture and video (as opposed to more binary forms such as transactional or sales data). For this reason, it is critical for early human intervention during the verification process to ensure high levels of accuracy. Human Digital applies an indexing methodology that allows words and pictures to be quantified using engagement, reach and share of voice metrics. It is for this reason that we remain the agency of choice for Transport for London, RBS, Pearl and Dean and Unilever amongst others. SENTIMENT Geordie phrase: “howay man!” Translation: Proclamation of exhortation or encouragement (crucially, it can be both positive and negative!) Usage 1: "Howay man! We gannin' doon Morrisons to beat the queue?” (Unsentimised) Usage 2: “HOWAY THE TOON!!!” (Positive) Usage 3: “Howay, then” (Based on context, negative) SLANG Scouse word: “scran” Translation: Food Usage: 'Off to me ma's for tea - she does proper boss scran, y'know.’ CHARACTER BASED LANGUAGES Urdu phrase: Transliteration: Mujhe Daktar Ki Zururat He! Translation: I need a doctor!

Context: The Asymmetric Web Our methodology is not constrained to the ‘Surface Web’ – the section of the web accessible to machine-collecting technologies. We consider every local social platform across every market. Doing so enables us to establish where target audiences naturally exist.

Deep Web

CONTENT VISIBILITY

500 x bigger than the Surface Web

Unreadable by machines

Requires native speaking, human-led verification

Surface Web The machine readable web

Our Research Process

SOURCE

ORGANISE

ANALYSE

REPORT

Unstructured data collection

Data structuring

Human-led analysis

Reporting

1) Accounting for linguistic nuance & idiom 2) Foreign language analysis 3) Cultural context 4) Utilising our team’s expertise

Not just answering questions, but defining them, based on what consumers really feel.

1) Viewing the world through the consumers’ eyes 2) Locating primary locations of engagement & content creation 3) Collecting all relevant UGC

1) Topics of discussion 2) Sentiment codification 3) Consumer journey stages 4) All other KPIs

EuroScreen Partners

Agenţia pentru Dezvoltare Regională Bucureşti-Ilfov

EuroScreen Consultants

Film London Partner

www.euroscreen.org.uk @EuroScreen2 [email protected]