DEVELOPING AN AUDIENCE THROUGH USER- GENERATED VIDEO Presented in Partial Fulfillment of the Requirements for
The Master of Science in Television Management Drexel University
By
Nnamdi Chidiebere Nnedu * * * * *
Drexel University 2010
Approved by
_______________________________ Albert S. Tedesco, BA, MA, MAC Director, Paul F. Harron Graduate Program in Television Management
Copyright by Nnamdi Nnedu
ABSTRACT
This project is designed to aid the Historical Society of Pennsylvania (HSP)1, in their ongoing efforts to attract college students. Research shows
user-generated videos are popular with college students, and this popularity is not lost on the HSP. The difficulties of attracting and retaining collegiate audiences are not unique to the HSP alone. Representatives from other historical societies in the United States of America reported similar struggles attracting this audience. In response to those struggles, some historical societies implemented film festivals. Those film festivals have had positive results. In fact college students ages 18-24, HSP’s desired demographic, have been receptive to film festivals. This is
illustratedby the success ofthree other historical societies, and the Campus MovieFest, a touring collegiate student film festival.
The HSP is evaluating the possibility of designing an event that employs user-generated videos, as a means of attracting college students ages 18-24. While traditional film festivals have been executed successfully by other
historical societies, this thesis project createda television-based promotional plan that embedsuser-generated videos in a hybrid film festival format. This film festival is a hybrid, in the sense that “hybrid refers to an event containing both ‘live’ and ‘virtual’ components working together” (McCurry, 2009, p. 1).
Freedom Fest, the proposed hybrid film festival, will originate online. The online or virtual component will be the application ofuser-generated video in place of DVD, film, and VHS, coupled with an online campaign that utilizes a variety of social media/networking websites. The top 10 video submissions, as determined by online voting, will then be shown at a one night event to be held on the campus of Drexel University. From those 10 submissions screened at Freedom Fest, a panel of judges from the HSP will decide the winner.
DEDICATION
This Thesis is dedicated to the members of the Nnedu family (Cordelia, Eusebius, Ngozi, Ike, Obinna, and Chika Nnedu).
ACKNOWLEDGMENTS
I would like to acknowledge the many members of my family. These individuals have always been there for me no matter what, and I am grateful.
• To my mother Cordelia: You have exemplified ambition, determination, patience, and have always shown me unconditional and unshakeable love. • To my father Eusebius: Thank you for the little lessons like teaching me to
spell my middle name and cook, and for the bigger lessons of life. • To my oldest sister Ngozi: You have always gone above and beyond to
take care of me, your baby brother. I owe you so much, and am lucky to have you as my sister.
• To my oldest brother Ike: I have learned a lot from you, and it has made me stronger. Your wit has gotten me through a lot, and I have to also thank you for a certain nickname that has lasted in this family for many-many years.
• To my other brother Obinna: You have always gotten it and understood a lot of where I was coming from. Thank you for that calm and steadiness. • To my sister Chika: We were born in the same month and you have
always been there looking out for me, whether I was sick with the chicken pox, or just needing someone to listen to me. Thank you.
Secondly, I would also like to acknowledge members of Drexel University’s Department of Cinema and Television.
• Albert Tedesco: As my advisor, professor, and program director, my amazing graduate experience was shaped by your vision and assistance. I am grateful for getting to serve your Graduate Assistant, and am thankful for the experience that I had as a student in Television Management program.
• Johni Crossland and Sharon Walker: The both of you contributed so much to my time at Drexel University. You guys introduced me to the
university and to the city, and were there every step of the way with humor, encouragement, and advice.
Thirdly, I would like to recognize the Historical Society of Pennsylvania, for all of their assistance with this thesis project.
• Specifically, I would like to thank Kim Sajet, the President and CEO, and Laura Proctor, Administrative Assistant and Coordinator of Board
Materials, for all of their help with this thesis.
Lastly, this acknowledgement would not be complete if I did not close by thanking God, my heavenly father. It is because of him that all my achievements have been possible.
TABLE OF CONTENTS Copyright by ... ii ABSTRACT... iii DEDICATION... iv ACKNOWLEDGMENTS ... v TABLE OF CONTENTS... vi
LIST OF FIGURES ... vii
INTRODUCTION ... 1
THE PROBLEM... 3
Section One: A Shared Problem ... 3
Section Two: Campus MovieFest Consultation ... 8
Section Three: Synthesis and Statement of Assumption ... 9
RESEARCH METHODS ... 10
CHAPTER ONE: LITERATURE REVIEW... 12
Section One: The User... 12
Section Two: User-Generated Video Content ... 14
Section Three: User-Generated Video and College Students (Ages 18-24)... 15
Section Four: Historical Societies and User-Generated Video... 17
Section Five: Summary... 19
CHAPTER TWO: A PROPOSAL INTRODUCED... 20
CHAPTER THREE: FREEDOM FEST PROPOSAL ... 22
Introduction... 22
Section One: The Event ... 22
Section Two: Promotion And Strategy... 24
Social Media/Networking ... 24
Direct Mailing: Three Largest Institutions Approach... 26
Guerrilla Marketing ... 27
Section Three: Event Implementation ... 28
Staffing... 28
Resources ... 30
Timeline ... 31
Section Four: Evaluation and Metrics of Success ... 33
Section Five: Financial Break Down ... 35
CHAPTER FOUR: DISCUSSION AND CONCLUSION ... 36
REFERENCES ... 39
APPENDICES ... 45
1. APPENDIX A: HSP EXPECTATIONS... 45
2. APPENDIX B: EMAIL RESTATING THE HSP’S PROBLEM ... 47
3. APPENDIX C: EVIDENCE OF FORMAL PRESENTATION ... 48
4. APPENDIX D: MINNESOTA HISTORICAL SOCIETY INTERVIEW 49 5. APPENDIX E: KANSAS HISTORICAL SOCIETY INTERVIEW ... 50
6. APPENDIX F: BROOKLYN HISTORICAL SOCIETY INTERVIEW . 52 7. APPENDIX G: CAMPUS MOVIEFEST INTERVIEW... 54
8. APPENDIX H: HSP MAY 3, 2010 FEEDBACK... 56
LIST OF FIGURES
FIGURE 1: HISTORICAL SOCIETIES WITH FILM FESTIVALS... 4
FIGURE 2: COLLEGE STUDENT ATTENDANCE ... 5
FIGURE 3: FILM FESTIVAL BENEFITS ... 6
FIGURE 4: FAMILIARITY ... 7
FIGURE 5: VENN DIAGRAM SHOWING OVERLAP... 10
FIGURE 6: OBJECTIVES... 21
FIGURE 7: BENEFITS CYCLE... 25
FIGURE 8: PHILADELPHIA STUDENT POPULATION ... 26
FIGURE 9: STAFF RESPONSIBILITIES ... 29
FIGURE 10: RESOURCES NEEDED ... 30
FIGURE 11: TIMELINE... 31
INTRODUCTION
The Historical Society of Pennsylvania (HSP)2, founded in 1824, is a nonprofit organization located in Center City Philadelphia. Generally, “historical societies and museums act in a way analogous to the family photo album - and so much more. They are the repositories of an entire geographic area's ‘family album” (Ryan, 2009, p. 1). The HSP is no different, and is one of the oldest historical societies in the United States of America. It is home to “the largest independent library and archive for research on Pennsylvania history…[in addition] it holds more than 15 million manuscripts, 300,000 graphic items, and 500,000 printed works of which 39,000 are of genealogical interest” (Little, 1996, p. 70). The HSP is also home to some truly rare historical documents. According to Collin McNeil, the former Chairman of the HSP, the HSP has “the only known proof copy of the first edition of the United States Declaration of Independence [and] the first photograph ever taken in the United States” (Salisbury, 2007, p. 1).
The HSP is currently under the leadership of Kim Sajet3, and she has served as the President and CEO since 2007. Under her leadership, they have continued to produce numerous educational and informational programming options in the Philadelphia metropolitan area. In 2009 alone, the HSP sponsored numerous events in the Philadelphia Metropolitan region that was open to area
2 Herein after The Historical Society of Pennsylvania will be referred to as The HSP
3 Australia born Kim Sajet, holds a Bachelor of Arts and a Master Business Administration degree from Melbourne University, and a Master of Arts Degree in Art History from Bryn Mawr College.
residents. Some of those events were on topics like: Betsy Ross, slavery, the first American Flag, Abraham Lincoln, and genealogy. In addition to events, the HSP also operates many programs thatbenefit students and researchers locally,
regionally, and nationally. Those efforts include fellowships thatafford many people stipends and the opportunity to use the resources of the HSP. In addition to the fellowships, the HSP also employs interns in several departments,
including: Education, Archival, Conservation, Digital Collection, and Technical Services.
The HSP is continually creating opportunities for learning, as illustrated bytheir events, fellowships, and internships. Continuing in those efforts, the HSP became a charter member of The Civil War History Consortium; a Philadelphia based non profit group that consists of over 65 Philadelphia and Southern
Pennsylvania historical and cultural agencies. The Civil War History Consortium is in the midst of launching The Pennsylvania Civil War 150. It is a “four-year-long commemoration of the 150th anniversary of the Civil War” (Worden, 2009, p. 1). The multi-year commemoration will highlight Pennsylvania’s role in the civil war, and “will include special events, speakers, re-enactments and
exhibitions that aim to make the war's stories personal, accessible and relevant across generations” (Gurman, 2009, p. 1). As a prelude to the 150th anniversary celebration, Freedom Month, a month long Civil War themed celebration running from June 19th -July 18th 2010 was created. The HSP is looking at this particular celebration as an opportunity to attract college students ages 18-24 year olds.
THE PROBLEM
The HSP stated in a document (APPENDIX B) from Kim Sajet, that one of the organization’s problems is attracting college students. As further outlined in (APPENDIX A), this problem is the impetus behind their consideration of user-generated videos. The HSP wants to see if this form of videocan attract college students ages 18-24 in and around the Philadelphia Metropolitan area to HSP programs.
Section One: A Shared Problem
It was important to determine if attracting college students was a problem unique to the HSP, or a problem seen in other historical societies as well.
Administrators at other historical societies were contacted to see if they were facing the same problem. Those administrators were from The Brooklyn Historical Society, Minnesota Historical Society, and Kansas State Historical Society (Figure 1 on the following page), and they were interviewed through email. Since there was some interest on the part of the HSP in user-generated videos and streaming, the interviews also created an opportunity to see how other historical societies use film/video content4. The historical societies interviewed utilized film festivals.
FIGURE 1: HISTORICAL SOCIETIES WITH FILM FESTIVALS Contact Interviewed Position Historical Society Name of Film Festival Kate Fermoile
The VP for Exhibits and Education.
The Brooklyn Historical Society
The Brooklyn Film & Arts Festival Aleah
Vinick,
The Young Adult Program Specialist The Minnesota Historical Society Moving Pictures Film Festival Teresa Jenkins The Public Information Officer
The Kansas State Historical Society
The Sundown Film Festival
From December 2009 through January 20105, administrators from the
Brooklyn Historical Society, Minnesota Historical Society, and Kansas State Historical Society were contacted over the phone and asked to participate in an interview to be conducted through email. The administrators were informed that they were selected based on the fact that their respective historical societies held film festivals, and that their expertise was being sought to help understand and address the problem of attracting college students ages 18-24, for the HSP. Figures 2, 3, and 4 on the subsequent pages will address key questions asked, and an assessment of the collective representative responses6.
5 Email interviews showing date of interviews can be seen in Appendices D, E, F
6 Collective Representative Response- This will herein refer to the collective response of the representative from the Brooklyn Historical Society, Minnesota Historical Society, and Kansas State Historical Society
FIGURE 2: COLLEGE STUDENT ATTENDANCE Question
Asked
In your experience, do college students (age 18-24) typically attend events sponsored by Historical Societies? If so or if not why do you think that is?
Assessment of collective representative response: While the respective historical societies contacted were receptive to having college students in attendance at their events, they nonetheless admitted to struggling to attract that age group. According to Aleah Vinick of The Minnesota Historical Society, “College students are not a huge part of our audience. I do see them at programs from time to time, particularly if they are researching that topic, or affiliated with a professor who's presenting” (APPENDIX D). It is the same problem facing The Brooklyn Historical Society, according to Kate Fermoile, “College students do not typically attend the events we sponsor” (APPENDIX F). This same problem is seen with the Kansas State Historical Society as well; according to Teresa Jenkins, “This age group is one of our smallest age segments. We compete with multiple other attractions/activities (sports/concerts/school
activities/movies/shopping) for this part of the population. We have had a hard time making our programming relevant to this group, but the Sundown Film Festival is one event where we see an increased share” (APPENDIX E). Positive to note is that according to Jenkins, their film festival has helped them make strides in attracting college students. Also of importance is that all three historical societies, and the HSP, have now all admitted to struggling to attract college students.
FIGURE 3: FILM FESTIVAL BENEFITS Question
Asked
What benefits do you think the film festival has?
Assessment of collective response: The film festivals serve as a way to generate interest across many demographics. The Minnesota Historical Society for example runs the Moving Pictures Film Festival, and in 2008 their festival saw “more than 1,000 filmmakers, families and fans gathered at screenings and the awards ceremony to celebrate the accomplishments of [that] year's festival participants and recognize the winning filmmakers” (Fedoruk, 2008, p. 1). All historical society administrators contacted were very positive in describing the results of their own film festival efforts. In fact, the Kansas State Historical Society7 changed strategies, and began selecting films with general appeal, as opposed to films with a focus on Kansas. Recent films8 they have shown
included “The Muppets Movie”, “Indiana Jones and the Raiders of the Lost Ark”, “The Mummy”, and “Bill and Ted’s Excellent Adventure.” Those in attendance are able to then tour the Kansas Historical Society free of charge prior to the start of the movie. This marks a deliberate choice to attract and entertain as a means of getting the audience to attend. According to Teresa Jenkins, of the Kansas
Historical Society, they “estimate that 15% of the audience is age 18-24, a higher percentage than at our other events” (APPENDIX E). While not the majority in attendance, the film festival does bring in more college students for the Kansas State Historical Society than their other events do. Similar results are seen with
7 The Kansas Historical Society’s approach is found in question 5 in Appendix E 8 For films shown see Appendix E question 4
the other administrators as well. Kate Fermoile of the Brooklyn Historical
Society estimated that college students made up “15-20%” (APPENDIX E) of the audience at their film festival. Perhaps one of the greatest endorsements though comes from Aleah Vinick of the Minnesota Historical society who reported:
“The Sundown Film Festival has brought new visitors to the museum and has built its own following of people who call each spring to inquire about the films for that summer. When there was a chance we wouldn't have a festival for 2009 due to the state budget crisis, we received many phone calls expressing disappointment. We decided to try the festival for one more year and saw record attendance” (APPENDIX D).
FIGURE 4: FAMILIARITY Question
Asked
Are you familiar with web streaming and user-generated videos?
Assessment of collective response: There was knowledge of
user-generated videos, but not a familiarity on statistics involving demographics. Kate Fermoile of the Brooklyn Historical Society said, “I'm familiar with web
streaming and user-generated videos, I watch them myself sometimes. But, I have no idea what demographic is watching them regularly” (APPENDIX F). On the other hand, Teresa Jenkins of the Kansas State Historical Society did
recognize the promise of user-generated video, and said that “We are currently developing this area to reach tourists, students, and teachers” (APPENDIX D). Much like the HSP, it appears that plans and considerations are being made to see how user-generated videos can help the Kansas State Historical Society.
Section Two: Campus MovieFest Consultation
In addition to the consultations with representatives from historical societies that program film festivals, Jessica Reynoso, the Event Coordinator for Campus MovieFest, was contacted for further consultation. The Campus
MovieFest, “the brainchild of four alumni from Atlanta's Emory University…was created in 2001” (Colloton, 2005, p. 1). It is a nationwide film festival that travels across the campuses of many universities across the United States of America. Yet what distinguishes this film festival from others is that its participants armed with free filming equipment to use, “are college students who have one week to write, shoot and edit a five-minute movie” (Milly, 2008, p. 1). According to Reynoso:
The level of participation, spirit, and creativity often amazes student leaders and administrators who describe their school as apathetic and unlikely to participate in creative pursuits. At many of the largest CMF schools, over 200 teams -- representing over 2,000 students -- will participate in the movie-making process (APPENDIX F).
Section Three: Synthesis and Statement of Assumption
The administrators9 at Campus MovieFest and the three other historical
societies are reporting success with collegiate attendance and involvement at film festivals. This is important because the HSP wants that kind of attendance and involvement (APPENDIX A, B). Based off of those four administrator
interviews10, it appears that:
1. Film festivals can be a successful event for historical societies. 2. Film content can be a successful tool for attracting audiences. The operative word is ‘can’, because there are no guarantees. It is possible what is successful for one organization in one region, may not be successful by another organization in another region. Even with that caveat, a film festival could help the HSP attract a larger collegiate audience. As illustrated in Figure 5 on the following page, given the interest in user-generated video (APPENDIX B), this film festival could showcase user-generated videos.
9 These interviews are found in Appendices D,E,F, G 10 Appendix D, E, F, G
FIGURE 5: VENN DIAGRAM SHOWING OVERLAP
It is the statement of assumption that Freedom Fest, a hybrid film festival event, could be created to address the problem of attracting college students ages 18-24 for the HSP. Freedom Fest will build off of the traditional film festival by showcasing online user-generated videos. It will be that showcase of online videos that will distinguish it from other film festivals, and will create the hybrid element; because “technically a hybrid event is a face to face event that includes at least one virtual component” (Fryatt, 2010, p. 1).
RESEARCH METHODS
In preparation for this project, some time was spent in July and August of 2009 as an intern/participant observer at the offices of the HSP in Philadelphia, Pennsylvania (APPENDIX A). This experiential component was utilizedto
facilitate an understanding of the needs of the HSP. As explained in (APPENDIX A), the experiential component consisted of onsite visits, phone calls, and emails, that were arranged around the schedules of all parties involved.
In addition to spending time at the HSP facilities, interviews were conducted with administrators from other historical societies11 and a student
oriented film festival12. This allowed for a greater understanding of the problem, namely attracting college students. It provided a means to learn the efforts of other historical societies trying to attract college students, and to see how those efforts could be married with the newer technology of user-generated video content.
The research herein is descriptive in nature, as it focuses on recognizing and describing user-generated video consumption and use, amongst the target 18-24 age demographic, and amongst historical societies in general across the United States of America. Lastly, this project utilizes information found from interviews conducted, to support the possibility of creating Freedom Fest, a hybrid film festival.
11Historical society administrator interviews are found in APPENDICES D, E, F 12 Student oriented film festival administrator interview found in APPENDIX G
CHAPTER ONE: LITERATURE REVIEW Section One: The User
“The internet stands apart from other media in enabling its "users" to
interact. From this perspective, the internet will always be, at its core, a tool for
interpersonal communication” (Riegner, 2007, p. 436). This and similar statements can be seen with “sites like MySpace, Facebook, and YouTube, [which] represent the convergence of user commentary with video, photos, and music sharing” (Browning, 2008, p. 6). This online interpersonal communication comes with its own code of conduct. In the online world, “membership in social media spaces ultimately depends on a user’s visibility to other participants and…in an online environment there are no other clues to a user’s presence than their contributions to the space itself (in the form of comments, uploaded
materials, or other contributions)” (Bruns, 2009, p. 9). In other words, the user must participate in some way, in order to be a part of the flow of communication. Thus the user may opt to play an active or passive role. “The active users are pleased to have a platform for their communication to the public or to other users, [and] passive users may find it interesting to read what others think” (Schweiger & Quiring, 2005, p. 10).
In addition to the two roles, ‘active and passive’, that a user may play, “there are two types of users. One is a content creator and the other is a reviewer. However, these two types are not mutually exclusive. Namely, a creator can be another user for another content” (Han, Kim, & Cha, 2009, p. 349). In other words, the user types are not static classifications, instead they change depending
on type and degree of participation. When being a creator, the user is responsible for “the basic process for creating streaming video” (S. Smith, 2006, p. 171). They have to “capture the video and/or audio, digitize and edit it, encode the digitized file with the appropriate codec, and deliver the file through a Web site” (S. Smith, 2006, p. 171). Generally, “a creator has a channel or a personal page that can be accessed by other users and, thus, builds a connection with other users by adding them as friends. Other users can also subscribe to one or several channels and the subscription creates a connection” (Han, Kim, & Cha, 2009, p. 349). These creators can also upload their content “to any of the more than 100 Web sites catering to ‘user generated video’… [And] can reach a global audience” (von Lohmann, 2007, p. 128).
The second type of user is a reviewer, and “a reviewer contributes to the measurable-scoring scheme by giving comments to channel, comments to contents, favorites, ratings and scoring content comments” (Han, Kim, & Cha, 2009, p. 349). That scoring scheme is how videos are rated and/or ranked, other ways of rating and/or ranking videos include rating systems “from 1 star to 5 stars…and honors/awards (most viewed or top rated)” (Han, Kim, & Cha, 2009, p. 349). Therefore, although scoring schemes are based off of the website’s intrinsic features and functions, they in fact represent evaluations made by the reviewers.
Section Two: User-Generated Video Content
According to Tom Smith of The International Journal of Marketing, “over the last few years the web has fundamentally shifted towards user-driven
technologies such as blogs, social networks and video-sharing platforms.
Collectively these social technologies have enabled a revolution in user-generated content” (T. Smith, 2009, p. 559). This shift has seen user-generated content being “produced minute by minute throughout the world, in multiple languages, using varied media, to different quality levels, by a huge, diverse population” (Cosh, Burns, & Daniel, 2008, p. 723). While this is a relatively new
phenomenon, “there has been video online since the late 1990s in forms such as QuickTime streaming, Flash animation, and downloadable files” (Russo, 2009, p. 125). User-generated video is a type of online video that:
Needs to fulfill three basic requirements in order to be considered as such. First, it needs to be published either on a publicly accessible website or on a social networking site accessible to a selected group of people; second, it needs to show a certain amount of creative effort; and finally, it needs to have been created outside of professional routines and practices (Kaplan & Haenlein, 2010, p. 61).
In other words, creation is for creative and personal reasons, as opposed to
professional obligations. After production, those videos can be streamed online, a “process of broadcasting in real time, either live or taped video, over the Internet, from one computer to another” (Morris, 2009, p. 18).
Section Three: User-Generated Video and College Students (Ages 18-24)
There is a report published in the College Teaching Methods & Styles
Journal, a publication focused on the collegiate world, that says that while
“internet usage is increasing rapidly among the general population…[it is] even greater among college students” (Budden et al., 2007, p. 5). One of the most popular activities amongst those students is watching videos online. “The data shows that 18-to-24-year-olds — generally college students and new entrants into the work force…watch the most online video” (Stelter, 2009, p. 1). Those were the findings from Researchers at Ball State University’s Center for Media Design, and they arrived at this after studying the viewing patterns of 350 participants over 952 days. According to a similar study conducted by Impsos Media CT13, “in September 2008, around 18% of people aged 18-24 had seen a show online within the past month…now that number is up to 51%” (Klurfeld, 2009, p. 1). So in less than two years, the amount of people aged 18-24 streaming videos online nearly tripled. Granted, the Impsos Media CT and the Ball State Studies, focused
on online videos in general and not user-generated videos specifically, it is relevant in establishing some viewing habits amongst individuals ages 18-24.
In regard to user-generated video specifically, Alex Woodson, of The
Hollywood Reporter, reports that adults “ages 18-24 watch the most, with about
45% responding that they regularly watch online user-generated content”
(Woodson, 2007, p. 1). This means almost half of all people within that age range
admitted to watching user-generated videos. Furthermore, another study by Alloy Media Marketing reported that “among 18-24 year old students, one-third (33%) stated that they have increased their consumption of webisodes or user-generated videos over the past year” (J. Smith, 2009, p. 2).
All those studies begin to paint a picture. The picture suggests that user-generated video consumption is common amongst college students ages 18-24, with almost half using it, and another third increasing their frequency of usage. This growing rate of consumption amongst college students can be attributed in part to the “ease of posting, finding, watching, and sharing videos, along with the incorporation of webcams and basic editing tools like Windows Movie Maker into standard computer bundles” (Russo, 2009, p. 125).
A lot of that ease in finding and watching videos, is because of the interpersonal communication that goes on in those social networking/media websites. A prime example of this is seen with YouTube14, a website that many consider “the 900 pound gorilla in the user-generated space” (J. Ali, 2006, p. 1). Published reports reveal that a lot of YouTube’s success comes from social media/network websites. This is because “47% of all [its] videos have incoming links from external sites…[and] the top five web sites linking to videos in
YouTube are myspace.com, blogspot.com, orkut.com, Qooqle.jp, and
friendster.com; four of them [being] social networking sites” (Cha et al., 2007, p. 3). In other words, almost half of all videos viewed on YouTube, are linked from social media/networking websites.
14 www.youtube.com
The assistance that user-generated video gets from social
media/networking websites is enabling more and more creators to start “doing it themselves — paying for their own distribution, marketing films through social networking sites and Twitter blasts, [and] putting their work up free on the Web15 to build a reputation” (Cieply, 2009, p. 1). In terms of content creation, “online content comes more often from younger people… [although] older people are sharing photos and videos [as well]. It's disseminated fairly evenly throughout the broadband population at this point” (Burns, 2006, p. 1). This means that both “teens and adults alike [are] embracing the ability to gather, chop, blend, and re-blend content” (Lenhart & Madden, 2005, p. 10).
Section Four: Historical Societies and User-Generated Video
Content creators are not the only ones using user-generated video and social media/networking websites to generate attention. There are “a variety of history organizations [that] are experimenting in the social media realm” (Grove, 2009, p. 1). According to Tim Grove, of the American Historical Association, the social media realm offers “new types of marketing opportunities and new ways to engage young audiences” (Grove, 2009, p. 1). One of those ways is through user-generated video, because in essence “user-generated content can be seen as the sum of all ways in which people make use of Social Media” (Kaplan & Haenlein,
15 To see data on average traffic to social networking sites, Twitter, and Internet video streaming sites, see Figure 4 in the Appendices Section
2010, p. 61). According to Kaywin Feldman, President and Director of the Minneapolis Institute of the Arts, “people want to be part of the learning. They want to participate” (Schneider, 2010, p. 1), and user-generated content is a way for them to do just that. It has increasingly become common for these museums and historical societies “to solicit fan participation…in the form of user-generated content that helps build their brand” (Lothian, 2009, p. 135). After all, “to ignore social media is to risk alienating your organization from a large percentage of users, specifically the youngest generations that use social media the most (Grove, 2009, p. 1).
The fact that those individuals ages 18-24 are more receptive to social media means they are more likely to visit websites offering social media and user-generated videos. According to the findings of a 2006 Nielsen/NetRatings study, “user-generated content sites…comprised five out of the top 10 fastest growing Web brands” (Bausch & Han, 2006, p. 1). This means sites offering this kind of content are growing at a faster rate than other web brands, and if younger
generations are more receptive to that kind of content, it follows that they are likely the ones contributing the most to the growth amongst those brands.
While “the big question that many history organizations are confronting now is whether to tap into the so-called Web 2.0 or social media revolution” (Grove, 2009, p. 1), based on brand growth online and consumption rates of user-generated videos by college students ages 18-24, perhaps “the question history organizations should be asking is how social media can help expand their
Section Five: Summary
“The fundamental draw of user generated content is its ability to empathize and appeal to its audience in significant and personal
ways…connecting events and emotions in the content to that of the viewers own experiences” (Bardzell, Bardzell, & Pace, 2008, p. 15). User-generated content is
popular amongst college students 18-24, and much of that popularity is derived through social media/networking websites. In addition to being a platform to promote videos and communication, websites utilizing user-generated videos have become some of the fastest growing web brands. This has led to many historical societies implementing and considering increasing their user-generated content offerings. This implementation allows those historical societies to engage their audiences, and for their audiences to become involved with the historical societies in return. It represents an attempt on the part of those historical societies to appeal to individuals ages 18-24, because after all “nine in ten internet users ages 18-29 use video sharing sites, up from 72% one year [earlier]” (Madden, 2009, p. 3). This amounts to ninety percent of the young American adult
population contributing to this burgeoning recreational activity. By appealing to them, it could amount to a significant percentage of young adults contributing their time to historical society events.
CHAPTER TWO: A PROPOSAL INTRODUCED
“When done well, social networking, media, and user-generated content sites tap into…core human emotions” (Lacy, 2008, p. 96), and one of those emotions according to marketing expert Elizabeth Mansfield is belonging, because “everybody wants to be cool [and] everybody wants to belong” (Mansfield, 2008, p. 28). This project’s proposed strategy of utilizing user-generated video rests on transformingparticipation from an online activity, to a successful real life hybrid film festival16. This event will be marketed as something for every college student, regardless of: major, specific collegiate institution, class rank, and finances, as it will be a free event. Since the popularity of user-generated videos has been “facilitated by countless blogs, forums, chat rooms, and social networking sites” (Riegner, 2007, p. 437), those elements will be kept in place, and official HSP sanctioned social media/networking websites will be created.
The film festival has been successful17 for The Brooklyn Historical Society, Minnesota Historical Society, and Kansas State Historical Society, as well as the Campus MovieFest. Freedom Fest18, the proposed film festival is a
hybrid event, in the sense that “hybrid refers to an event containing both ‘Live’ and ‘virtual’ components working together” (McCurry, 2009, p. 1). It will be comprised of user generated video submissions popularized through social
16 APPPENDIX A AND C, the HSP wants a Film Festival Format 17 Evidence of Success is found in APPENDICES D, E, F, G 18 To view full event proposal for freedom fest view CHAPTER 3
networking/media websites, and will be exhibited at a one night event on June 19th 2010. “Hybrid events are demonstrating over and over the power of social media to extend the reach and impact of a face [to] face event by connecting virtual attendees with those on site at the event. The ensuing collaboration and conversation is remarkable” (McAllen, 2010, p. 1). There will be four objectives that this event aims to solve, and they are shown in Figure 6.
FIGURE 6: OBJECTIVES
Awareness Generate awareness by Use direct mailings, press releases, and social networking websites. Interest Generate interest by creating social
media/networking website groups/followers and speaking with them and allowing them to speak with each other through those websites.
Participation Generate participation by encouraging those registered on HSP sanctioned social
media/networking websites to vote, upload videos, and to tell their friends to do the same. Loyalty Generate loyalty for the HSP through social
media/networking websites by listening and incorporating feedback expressed through comments on the social media/ networking sites.
CHAPTER THREE: FREEDOM FEST PROPOSAL
Introduction
Freedom Fest is a one-night film festival. The festival will be the culmination of a contest where applicants will upload original user-generated videos that they created. The festival will showcase the top 10 user-generated videos, based on votes from a year round contest. The 10 videos shown will be interspersed between lectures presented by the HSP about Philadelphia’s role in the Civil War and the importance of Freedom in the United States of America.
Section One: The Event
Freedom Fest is a one night event that will celebrate the efforts of a user-generated video contest. The contest will be open to any currently enrolled college student in the Philadelphia metropolitan region, and the user-generated videos should address the theme of ‘Freedom’. This theme has been selected by Kim Sajet, President and CEO, of the HSP. This event will be a test run, to determine if an annual and expanded film festival could be regularly programmed by the HSP. Given that Freedom Fest is a student film festival, the rules and regulations will be inspired from the current rules and regulations of the Campus
MovieFest19, the largest student festival in the country. The rules for Freedom Fest as they will appear to participants are as follows:
• Eligibility: Any student currently enrolled in a Philadelphia based collegiate institution is eligible. This will be determined by the address of the
institution, working university sanctioned email address, and will be left to the sole discretion of the HSP and their staff.
• Materials: Each participant is responsible for funding their submissions; this includes all supplies and editing equipment that is used.
• The Submissions: There are two types of possible submissions, they are: Film and Music. Both types of submissions are uploaded through an online service called withoutabox.com. This is also how submissions will be viewed and voted on. At the end of the voting window, the top 5 Film and top 5 Music submissions as determined by votes will be revealed. Thus a total of 10 submissions will be shown at the actual Freedom Fest Event.
• Winners: A panel consisting of 3 staff members from the HSP will select the winning film and music submission, at the end of the Freedom Fest event. • Copyrights and Trademarks: No copyrighted or trademarked video clips,
songs, etc. can be used in any submissions. Any submission discovered to have copyrighted or trademarked material, without evidence of consent for use, will be disqualified.
19 Campus MovieFest rules can be viewed in its entirety here: http://www.campusmoviefest.com/events/index.php
• Discretion: Any submissions deemed inappropriate for any reason by the HSP, will be disqualified.
Section Two: Promotion And Strategy
The primary messaging of this event, will serve to promote the idea of sharing amongst a social group. The target audience will be encouraged to talk about the videos on the website, stream the videos on the website, and immerse themselves via social media/networking websites.
Social Media/Networking
Social media/networking websites will be heavily involved in promoting and generating interest for Freedom Fest. The review of the literature as
presented earlier in this thesis, described that “the promise of User Generated Content is…being hyper-realized with social media” (Browning, 2008, p. 6). This is seen with YouTube, a popular user-generated website. Part of that website’s success is because of external websites that link its users to select videos on YouTube. Specifically, “47% of all [YouTube] videos have incoming links from external sites…[and] the top five web sites linking to videos in YouTube are myspace.com, blogspot.com, orkut.com, Qooqle.jp, and
friendster.com; four of them [being] social networking sites” (Cha et al., 2007, p. 3).
Freedom Fest will include elements of the YouTube model, namely using social media/networking to promote videos. Within the past year the HSP has hired a Full Time Director of IT, and has launched www.philaplace.org, a website
that boasts “a strong social media component and allows people to upload audio, video, and other types of materials” (APPENDIX H). In addition to that HSP owned and operated site, it is recommended to also use more established web brands. This proposal suggests the use of websites like Facebook which has “groups”, Twitter which has “followers”, and MySpace which has “friends”. Those sites are already popular amongst the target collegiate audiences, and they offer online groupings (followers, friends, etc.), that allows people to be
aggregated and contacted. Once aggregated, it will be easier to introduce them to www.philaplace.org and other HSP related online offerings.
The benefits of social media/networking are illustrated in the Benefits Cycle of Figure 7.
FIGURE 7: BENEFITS CYCLE
As shown in the benefits cycle, online social media/networks will aggregate college students online. Once aggregated, it will enable users and the HSP to promote video submissions, the event, future events, and also gather feedback without a middle man. It in essence creates a way for communication to be exchanged between students and the HSP.
Aggregate Target Audience Free Feedback Free Promotion
Direct Mailing: Three Largest Institutions Approach
According to the 2000 census20, performed by the United States Census Bureau, Philadelphia had a population of 1,517,550 people. As illustrated in Figure 8, of that population, 115,671 were college or graduate school students.
FIGURE 8: PHILADELPHIA STUDENT POPULATION21
Presently, the three largest institutions based on the student enrollment information on their respective official websites in descending order, are Temple University22, with 36,915 students; The University of Pennsylvania23, with 24,107 students, and Drexel University24 with more than 19,500 students. Those three institutions account for 80,522 students in the Philadelphia metropolitan area,
20 Complete Philadelphia Census information is available at http://quickfacts.census.gov/qfd/states/42/4260000lk.html 21 http://factfinder.census.gov/servlet/QTTable?_bm=y&-qr_name=DEC_2000_SF3_U_DP2&-ds_name=DEC_2000_SF3_U&-_lang=en&-_sse=on&-geo_id=16000US4260000 22http://www.temple.edu/ir/factbook/ir-factbook.html 23 http://www.upenn.edu/about/facts.php 24 http://www.drexel.edu/about/history/brief.aspx
which is approximately 70% of the student population based off of the 2000 census.
Therefore in using direct mailing, it is more cost effective to reach the most students at concentrated locations. In this case that location will be Temple, Drexel, and the University of Pennsylvania. Part of the responsibility of the interns, will be to check in with these three institutions specifically and check on the status of direct mailings. (Other responsibilities of the interns are explained in Section Three, on Page 33). Given the population and size of the Philadelphia collegiate body, coupled with the presence of over 80 institutions in the region, selecting Temple, Drexel, and the University of Pennsylvania as the only
institutions to receive direct mailings and follow up from the interns, saves money and valuable man hours.
Guerrilla Marketing
The direct mailing campaign and the social networking/media website usage will all be complimented by on campus blitzes. The Philadelphia
metropolitan area has numerous collegiate institutions, and given the quantity, all institutions can not have a campus blitz. The blitz is designed to have the team of interns appear on the campuses of Temple, Drexel, and the University of
Pennsylvania, with video and still cameras, upon approval from the respective universities. The interns will film Man-On-the-Street style interviews and take photos, which will be uploaded to HSP social media/networking sites (Facebook, MySpace, etc.). This helps to accomplish the following things:
1. Promotion: actively promotes the event directly to the highest concentration (three largest institutions) of the Philadelphia Collegiate Population and gives that population a reason to visit the social media/networking websites. The reason being they can see videos and photos of their friends and themselves online.
2. Contingency plan: serves as a contingency, because upon approval from the institutions, blitzes can be scheduled many times and perhaps expanded beyond the three institutions. This is valuable, because should the direct mailings not generate enough interest to upload videos or join HSP related social networking/media websites, then this allows for a more active and flexible (in terms of scheduling) marketing campaign.
3. More Content: It leads to the creation of more content (still photos and video) that the HSP can then use in other ways. The Man-On-the-Street style
interviews can easily be expanded to include questions about the HSP. Thus, they can be used not only to generate interest for this event, but some of the footage can be used as testimonials on www.hsp.org.
Section Three: Event Implementation
Staffing
This event will need a special team consisting of 3-5 college interns, working 10-20 hours a week at the HSP. They will be upper classmen and/or graduate students with a shared interest in film, music, history, social
networking, event planning, etc. These will be unpaid positions, and interns must receive academic credit from their collegiate institutions to be hired. The team will serve as primary resources and point persons for refining strategies, as well as helping to promote the event within their peers. They will be based at the offices of the HSP, and will report to Laurie Cielo, Director of Programs and Communications at the HSP. They will perform other duties as needed for the HSP, but their primary assignment will be to assist in Freedom Fest related planning. These positions will help increase the event planning and marketing skills of the interns, by allowing them to work hands on with an actual event. Maturity and previous experience will be required, as the interns will have to be relatively self-sufficient. This event is not designed to require a lot of time, as time can be a costly resource; therein most of the required components are being outsourced to other companies (mailings, marketing, social media/networking websites). Figure 9 lists many of their responsibilities.
FIGURE 9: STAFF RESPONSIBILITIES STAFF: Intern Responsibilities
1. Maintaining, updating, and responding to comments on
official HSP Freedom Fest social networking/media websites. 2. Screening both the social networking/media websites and the
video submissions for any offensive content.
3. Developing press releases to be released by PR Newswire. 4. Monitoring status of direct mailing campaigns
5. Corresponding with the offices of the Mandell Theatre at Drexel University.
Resources
In addition to a team of interns, as Figure 10 illustrates, certain resources will be used. These resources comprise the most important elements to making Freedom Fest a reality.
FIGURE 10: RESOURCES NEEDED
Resource Role Suggestion
Direct Mailings
Target the three largest institutions in the Philadelphia area (Temple University, University of Pennsylvania, and Drexel University).
Cactus Mailing Company: a full service direct mailing company, services include a free consultation, 5,000 post card mailings, creation of a custom design, and they will mail the post cards to the desired universities.
Venue This is where the actual Freedom Fest 2010 event will be held.
Drexel University’s Mandell Theatre: It is located on the campus of Drexel University, close to the University of Pennsylvania, and minutes away from 30th street station (a major transportation hub).
Register with PRNewswire and
Withoutabox
These Services will handle press releases, and the mechanics of the uploading, viewing, and voting of videos respectively.
PRNewswire.com: One of the best media pickup frequency rates in the country.
Withoutabox.com (see below): Allows videos to be viewed, judged/voted, and aggregated
Withoutabox.com: This 10 year old service has “online tools that connect more than 150,000 filmmakers to nearly 3,000 film festivals in 200 countries…. Withoutabox's Film Submission system enables…filmmakers to search nearly 3,000 worldwide film festivals and then submit their work online to more than 700 festivals. The system also helps the film festivals to manage and market their events” (R. Ali, 2008, p. 1). In other words this service will be responsible for aggregated video submissions, streaming the video submissions, and will handle the voting for the video
Timeline
Figure 11 illustrates the projected target timeline, including the activity and who is responsible for it.
FIGURE 11: TIMELINE
Projected Date Activity Responsible
parties January 15th,
2010
Laurie Cielo and interns will meet with the representatives of the Drexel University Mandell Theatre, and finalize arrangements for Freedom Fest to be held there on June 19th, 2010.
Laurie Cielo and Interns
January 22nd,
2010 Registration with: www.withoutabox.com, Cactus Mailing Company, and Social networking/media websites like Facebook, MySpace, Twitter, will be complete.
Laurie Cielo and Interns
TBD (based on scheduling with
schools)
Campus Blitzes Interns
By January 29th, 2010.
A press release will be created, that will then be sent to PRNewswire, for the purposes of making the news media and its readers aware of Freedom Fest
Laurie Cielo and interns From 12 a.m. on February 1st- 2010, until 12 a.m. on May 31st, 2010.
User-generated video submissions Contestants
From 12 a.m. on June 1st, and
last until 12 a.m. on June
14th.
Streaming of videos, along with voting, will begin at Contestants and Voters Freedom Fest Event: 6pm on June 19th, 2010
The top submissions will be screened, and it will intersperse throughout an evening that will include presentations from the HSP.
Contestants, HSP Staff, Interns
Section Four: Evaluation and Metrics of Success
The evaluation and metrics of success25 will be determined if implemented, by the HSP. Tentatively, the proposed benchmarks are the following:
1. The number of college students that register on HSP sanctioned Social networking/media websites and groups. The tentative goal is to have 150 people register on the social media websites.
2. The number of videos submitted and votes garnered. The tentative goal is to have between 30 and 50 videos uploaded.
3. The number in attendance at Freedom Fest. The tentative goal is to have 150 people in attendance.
In addition to those three benchmarks, a post event evaluation sheet will be passed out to everyone in attendance. This sheet can be viewed in Figure 11 on the next page. This evaluation sheet will serve to gauge immediate feedback from the audience in attendance.
25 Evaluation of success- The truest metric of success will be collegiate attendance and
participation at subsequent events. All mentioned metrics are tentative, and more defined goals will be determined at a later date by the HSP.
CHAPTER FOUR: DISCUSSION AND CONCLUSION
The challenge of attracting college students ages 18-24 is a shared one amongst the HSP, The Brooklyn Historical Society, The Minnesota Historical Society, and The Kansas State Historical Society. This thesis project took a look at one problem, namely attracting college students ages 18-24, and sought to solve it by using user-generated videos. This challenge/problem is important because “continually attracting young patrons is crucial to any organization's
future…They are the buffer against economic downturns, state and federal spending cuts, and the inevitable loss of older donors” (Medland, 2002, p. 1). This is especially true of historical societies, because they are non-profit organizations that solicit donations to help fund many of their programs. Commenting on this need to attract younger audience, Larry Horne, Director of planning and development at the Public Theater/New York Shakespeare Festival, said that “attracting them requires more thought and needs focused attention to understand their interests -- what they want to see and what they want to do -- and to keep the momentum going” (Medland, 2002, p.1).
What many college students ages 18-24 are seeing and doing, is consuming and creating user-generated video content, and there is definite momentum for this burgeoning activity. Research shows that online web streaming is trending upwards, in fact “ABI Research26 predicts more than a trillion videos will be streamed worldwide in 2013, up from 32 billion in 2006”
(Siklos, 2008, p. 1). This thesis project sought to follow that trend and harness the popularity of user-generated videos in a format that could attract college students ages 18-24.
The chosen format was a film festival, an event the Brooklyn, Minnesota, and Kansas State Historical Societies reported success at attracting college students ages 18-24 with. Further support was given from an interview with an administrator with Campus MovieFest, a student oriented touring film festival. These interviews with administrators showed that it was possible to attract college students with film festivals. In building the case in this project for utilizing user-generated videos and creating Freedom Fest, there were some limitations. This project included a small sample of interviews with historical societies, as well as a small sample of student oriented film festivals. Also, the project was not
designed to explore the technical/engineering aspect of creating the user-generated content, or to address any social implications that have arisen from user-generated videos. Instead, this project tried to present a solution to the challenge of attracting college students ages 18-24 to an HSP sponsored event.
In conclusion, though this project had some limitations, by understanding the interests of the target audience (college students ages 18-24), and
programming to capitalize on those interests by creating a user-generated film festival, an attempt is being made to develop a relationship with the target audience. That audience enjoys consuming user-generated videos, and therein is to be found an opportunity for the HSP. By adopting user-generated videos as bait, the HSP can make students aware of their programs and their resources, and
attract them to Freedom Fest and subsequent events. A strategy like this could signal to HSP’s target audience that they are wanted and desired. This project promotes the idea of meeting the target audience where they are, in the social media/networking and the video sharing websites, and letting them know that the HSP offers similar activities and wants them to be a part of it.
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APPENDICES
8. APPENDIX H: HSP MAY 3, 2010 FEEDBACK
• On April 17, 2010, Kim Sajet was sent another draft of this thesis. From there, phone calls and emails were exchanged discussing parts of this thesis. Then when changes were made, this email below was sent to both Mr. Al Tedesco, and Nnamdi Nnedu.
Some of the suggested corrections that were made included:
• Making Laurie Cielo point of contact for Freedom Fest related activities. • Referenced freedom month and 150th anniversary slightly more
• Made the change to acknowledge that attracting college students was not their only problem, but was the focus of this project.
