百年电影院的市场之路 — 如何使影院文化更加丰富？

2022｜ PLUS ONE 线上课程

 One Hundred Years of Rio Cinema - How to Make Theatre Culture More Diversified  

 百年电影院的市场之路 

课程导言

One Hundred Years of Rio Cinema —— 聚焦电影产业链下游的展映环节。英国以其各具特色的独立影院闻名世界，导师Andrew Woodyatt的课程则是以东伦敦历史悠久的百年独立影院Rio Cinema 作为案例分析，来介绍独立影院的经营和策展（放映或电影节）活动的策划落地。

相对于多银幕的连锁影院，独立影院更具参考价值。Andrew的工作经历包括在狮门影业担任市场经理，以及在Revolver Entertainment和Metrodome担任发行主管，发行项目包括《画廊外的天赋》和《弗兰西丝·哈》等等。他目前在这家影院担任主理人的职位，因为工作背景的原因，他的视角会更偏重销售和宣发。

One Hundred Years of Rio Cinema — How to make theatre culture more diversified?

百年电影院的市场之路 —— 如何使影院文化更加丰富？

第一课：A Brief Introduction of Rio Cinema 我与百年电影院RIO的成长之路 (上）（免费试听）

第二课：A Brief Introduction of Rio Cinema 我与百年电影院RIO的成长之路 (下）（免费试听）

  以下是付费内容  

第三课：What's On at Rio? RIO电影院在发生什么？

第四课：Create a Film Event at Rio 在RIO电影院举办活动

第五课：Curate a Season or Festival 如何策划电影节目或电影节？

第六课：Venue Coordination 如何协调场地？

第七课：Target Audiences 电影的受众

第八课：Customer Journey 观众之旅

第九课：Young Audiences 年轻观众

第十课：Family Audiences 家庭观众

第十一课：Serious Fans and Intellectual Audiences 影迷知识分子观众

第十二课：Immersive Events 沉浸式电影活动（上）

第十三课：Immersive Events 沉浸式电影活动（下）

第十四课：Marketing Materials Creation 宣传物料创作

第十五课：Planning an Event 活动的执行

第十六课：Collection of Data 收集数据

第十七课：Rio Cinema’s Partners RIO 电影院的合作伙伴

  适用人群 

适合对电影策展、发行感兴趣

想从事影院或者电影节工作的朋友

 特别鸣谢

Rio Cinema

翻译：曾梦笙

剪辑 & 校对：周佳

以下正式进入试听（Free Trial）

 One Hundred Years of Rio Cinema - How to Make Theatre Culture More Diversified  

 百年电影院的市场之路  Unit 1 

“

我与百年电影院RIO的成长之路 (上) 

   A Brief Introduction of Rio Cinema  

Hi, I'm Andrew Woodyatt. Welcome to our first session. 

嗨，我是安德烈·伍迪亚特，欢迎来到我们的第一节课。

My background is that I have worked in the UK film industry for over 30 years. I started out running commercial multiplex cinemas around the UK. Then I moved to head office and I started programming them. 

我在英国电影行业工作了30多年。起初在英国经营商业多厅影院。然后我搬到公司总部，开始从事影院的排片工作。

And then I moved into film marketing and was the head of film marketing for one of the biggest UK multiplex cinema circuits, which meant I dealt with the big studios, the big distributors on a kind of national UK level organising promotions and premieres, sorting out all of the marketing, and we combine that with the programming. 

再后来，我进入电影市场营销业务，并担任英国最大的多厅电影院之一的市场主管。这意味着我要与大制片厂，发行商进行某种程度的联合，在英国全国范围内组织推广活动和首映式，并配合排片整合所有相关的营销策略。

So that made us probably one of the most clued up cinema chains, in that we believed in films and supported film. And we followed that through with marketing right down to grassroots level at the cinemas. So that was kind of a really great experience of the studio side of how film distribution and film exhibition and film marketing works. 

这使我们成为最受关注的电影院之一，因为我们相信电影和支持电影。随后，我们一直在电影院进行基层营销，包括电影发行，电影展映和电影营销。通过与电影制片厂合作，了解这些运作方式，是非常棒的体验。

Then after doing that for nearly 13 years, I moved over into film distribution. I became head of specialised film for Lionsgate. And at that time, I was dealing with UK independent productions and documentaries, and a lot of good quality foreign language films. 

在做了近13年的电影市场营销后，我成为了狮门影业的专业电影负责人，开始从事电影发行。那时，我负责发行英国的独立制作和纪录片，以及许多高质量的外语电影。

And also films that were Oscar and BAFTA’s titles like The Lives of Others, the German film, and a French British film called I've Loved You So Long starring Kristin Scott Thomas, which won a load of BAFTAs, as well as some Oscar winning documentaries. 

还有奥斯卡和英国电影电视艺术学院(BAFTA)获奖的电影，如德国电影《窃听风暴》，以及由克里斯汀·斯科特·托马斯主演的英法合拍片《爱你长久》，《爱你长久》也赢得了BAFTA的重量级奖项，还发行过一些奥斯卡获奖纪录片等。

So that was really great insight into how distribution works, but also how during production you can make certain decisions that influence how marketable the film is at the end of production, and therefore makes the distribution of it a lot easier in terms of you've got all your marketing materials ready. You thought through your trailer, your poster, you've got really good film stills. And you've got the right certificate for you film. All of this is stuff that we will touch on in future sessions. 

这些经历让我对电影发行有了深刻的见解，也同时让我意识到，若能在电影制作过程中，提前做出某些影响影片适销性的决定，这能使得影片的发行更加轻松，充分准备的物料也会让发行更有效果。那些出色的电影预告片、电影海报、电影剧照，以及能够获得相应的分级认证，这些我们将在后面的课程中会谈到的。

After I had worked for Lionsgate for about five years, I moved over to another independent distributor called Revolver Films. And here I was doing kind of similar kind of thing working on good quality foreign language (films). A lot of independent British films and a lot of youth films, a lot of films aimed at urban teens that were very heavily influenced by urban music like grime, dubstep, garage, and also very heavily influenced by fashion. 

在Lionsgate工作约五年后，我转到了另一家独立发行商，Revolver Films。在这里，我们做的事情类似，即发行高质量的外语（电影）。许多英国独立电影和许多针对都市青少年的电影，都深受都市流行乐的影响，例如英式说唱，电子乐，车库摇滚等，同时也深受时尚的影响。

So this was a very different way of working and a very different way of targeting films to a young urban audience, who are very led by more the music and the look and the style and themes of the films, rather than genre or some of the more mainstream kind of tropes in the way the films are marketed to in a more mainstream, broad manner.

因此，这是一种截然不同的发行方式，不是电影流派相关，也不是某些更主流，更广泛的方式将电影推向市场，而是将电影发行更准确定位到不同类型的年轻城市观众上，因为这些年轻观众受电影的音乐，造型，风格和主题的影响更大。

This can be a really good insight into identifying audiences and kind of niche audiences and how you target them, and also how you create the materials, and how you need to have believability, and originality and something that in your marketing campaign that is really eye-popping and has really good marketing hooks. 

这对于定位受众，特别是小众受众，是非常有参考性的，通过针对性地创建具有可信度和独创价值的物料，在营销活动中真正引起他们的关注，因为流行具有非常好的营销优势。

That means that you really engage with an audience and also the use of influences. 

这意味着您确实可以与观众互动，也可以利用流行的影响力。

Who is this audience? 

观众到底是谁？

Who influences their decisions?

谁影响他们的决定？

Whose judgment and recommendations do they follow? 

他们遵循谁的判断和建议？

And therefore, how can you engage with these influencers and therefore reach this kind of younger audience? 

因此，您如何与这些有影响力的人互动，从而吸引更年轻的受众？

And that tends to work with younger audiences more so than older audiences who are slightly more wary and know what they like and are more settled in their ways. Whereas with younger audiences, they're much more open to things. 

与年轻的观众相比，年长的观众更加警惕，也更了解并坚持自己的喜好。而年轻的观众呢，他们对事物的态度则更开放。

But they're also in that respect, harder to catch in the first place. 

不过也因为如此，想要一开始牢牢地抓准年轻观众的口味就变得更难。

So working in distribution and having worked in exhibition meant that, I had really all-round 360 degree view of the whole process of filmmaking. And after working in distribution for a while, at Revolver, we started making films as well. 

因此，从事发行工作和电影展映意味着，我对电影制作的整个过程，拥有真正全方位360度的了解。在发行公司Revolver工作了一段时间后，我们也开始制作电影。

So I actually got experiences as a film producer, developing scripts, developing casting, developing partners to work with during film production. And in that process, we had some very successful films.

开发脚本，选角，寻找合作伙伴，我们拍摄了一些非常成功的电影。在过程中，我获得了电影制片人的经验。

And I won a whole load of marketing awards for things like creative marketing campaigns, early social media campaigns designing film posters, cutting trailers, and also winning awards for creative and innovative film premiere events, beating big studio red carpet events in Leicester Square. So that was really really interesting and a really instant insight into how all of that worked.

我在创意营销方面，早期的社交媒体电影海报设计，预告片剪辑等活动中，赢得了许多营销奖项，还赢得了创意和创新电影首映活动的奖项，击败了莱斯特广场的大型制片厂红毯首映活动。这真的很有趣，并且可以很快了解整个产业链的运作原理。

What do I do now? About four years ago, I started teaching, actually took a teaching certificate and got qualified as a teacher. And now what I want to do is to pass on my experience. But also I'm still learning. I'm still working on the odd films, still working in film production, helping producers develop ideas and package them up and release films. 

现在我在做什么？大约四年前，我获得了教学证书和教师资格，并开始教学。我想做的就是传递我的经验，即便我也仍然在学习，仍在制作一些口味奇怪的电影，还在电影制作中工作，帮助制片人发展创意并将其打包并发行电影。

And I teach MA Film Marketing at two of the leading London film schools and at Goldsmiths University. And importantly, which is what this first chapter is about, I work a couple of days a week at my local independent cinema in East London, which is the legendary Rio Cinema in Dalston.

我在伦敦的一些电影学校和金史密斯大学教授电影市场营销学。这一章想要重点提及的是，我每周在东伦敦达尔斯顿的一家独立电影院工作几天，也就是传奇的RIO电影院。

Rio Cinema at Dalston, London

The Rio is a very special cinema that's existed showing films in various forms since 1909, which means it's 111 years of cinema history, which pretty much tells the story of the evolution of cinema, the evolution of the film industry, of cinema going itself and the changes in technology and the social history of: east London, London in general, Europe and the world… and Hollywood. 

Rio是一家非常特别的电影院，自1909年以来就开始放映各种形式的电影，目前拥有超过111年的历史。它在很大程度上见证了电影艺术的发展，电影行业的发展，观影行为的演变以及讲述了包括伦敦东部，整个伦敦，欧洲和世界……以及好莱坞等技术和社会历史的变化。

Because its history is right through from the beginning of the invention of film, and right through the 20th century. And now into the 21st century. And it's not stopped. It's still evolving. 

因为它的历史从电影发明之初就一直贯穿到20世纪。而现在进入21世纪，它并没有停止，仍在往前推进。

And that's what's really amazing about the Rio, it’s not only its history up to this date, it's how it has maintained its credibility and its attraction to audiences and how audiences are still flocking to that cinema right now. 

这就是RIO真正令人惊奇之处，不仅是迄今为止的历史，还在于它如何保持其信誉和对观众的吸引力，以及如今仍备受观众喜爱。

In a period where technology, in the way we consume films, is changing on a very, very rapid basis. But the important thing is people are still watching films. And they still want to share that experience of watching a film in a public space and sharing the emotion of watching a film with an audience. 

在这个技术以及人们消费电影的方式都在发生非常迅速变化的时代，重要的是，人们仍然在看电影。他们仍然想要在公共场所观看电影，并与其他人共享观看电影的体验。

And the moment, obviously with lockdown and the virus, people are valuing those social experiences even more. And it's become very apparent that people really, really miss that engagement.

当然，由于封锁和病毒，人们更加珍视共同观影的社交经历。毋庸置疑，人们真的非常想念那种参与感。

So why has the Rio survived for 111 years when so many other cinemas have closed? Well, there are many factors. But the main one is that the Rio was constantly evolved throughout that period. It's constantly looked at what is happening locally, what is happening with its audience. What is happening in national trends. 

那么，为什么还有许多其他电影院关闭，RIO幸存了111年呢？好吧，有很多因素。但是最主要的是，RIO在整个时期都在不断与时俱进，它一直在关注本地正在发生的事情，其受众正在经历的事情以及国家趋势的变化。

The Rio has constantly evolved and changed its identity, changed the way it programmes. Changed the way it presents films, the way it engages with local audiences, matching the developments and changes in the way that people have consumed films for the last 111 years, which has been caused by in London and East London in particular, changes in immigration, the makeup of the local population, the changes in society from a working class area to slightly more middle class area to a very diverse area, and now again to a mixture of diverse, multicultural, but also largely a quite wealthy middle class audience. 

RIO不断发展和改变其身份，改变其排片方式，改变电影的放映方式，以及改变与当地观众的互动方式。它适应了过去111年里，人们消费电影的方式的发展和变化，尤其是在伦敦，或者更具体地来说，东伦敦。当地人口的组成、社会的变化，从工人阶级地区演变成中产阶级地区，再到非常多样化的地区，现在又变成了多元文化的混合体，当然富裕的中产阶级受众也占据了很大一部分。

It's also been through a lot of political changes from early 1900s through periods of socialism and strong conservative eras, and also through the boom and bust period of the eighties and nineties, and through two world wars. 

从1900年代初到社会主义时期和强大的保守主义时期，到八十年代和九十年代的繁荣与萧条时期，包括两次世界大战，经历了许多政治变革。

The invention of pop culture, which happened in the fifties and sixties, all of those changes in the seventies and eighties, and then changing technology with the introduction of video in the early eighties, then DVD in the nineties. And now with digital and streaming, in the current era.

流行文化发生在五六十年代，七八十年代的时代变化，然后随着八十年代初期视频的引入和九十年代DVD的出现而带来的技术改变，当代又有了数字和流媒体。

So in this first lecture, we're gonna take a very quick look at the history of the Rio and the cinema going in general. 

在这第一节课中，我们将快速了解RIO电影院的历史，以及对影院观影的情况有个大致的了解。

So moving pictures were invented in the late 1800s with the first commercial screening of what we would call a film by the Lumière brothers in 1895. So really film and film making and cinema is a very, very recent invention, much more recent than other things like theatre and books and all of those other leisure activities. 

在1800年代末期，卢米埃兄弟的电影放映，不仅标志着电影的诞生，并且进行了首次电影商业放映。因此，电影、电影摄制和电影院真的是非常非常近代的发明，比戏剧，书籍和所有其他娱乐形式都要晚得多。

So initially, in 1895, the public were absolutely amazed by this new sensation, it really was an astonishing invention, and rapidly caught the public eye. And the public demanded to see films. This demand was huge.

最初在1895年，公众对这种新发明感到异常地惊讶，并迅速引起了公众的关注，他们渴望看电影，这种需求是巨大的。

Early films were of very short duration. There were only three or four minutes long. They showed things like animals doing tricks, acrobats doing stunts, trains arriving in the station and when audiences first saw the early film of train approaching the station, they actually ran out of the back of the screening room because they thought that train was going to drive straight through into the auditorium.

早期的电影持续时间很短，只有三到四分钟长。大部分是关于动物如何耍花招，杂技演员在表演特技，火车抵达车站，当观众第一次看到火车的早期影片驶进车站时，他们实际上是从放映现场的后门跑出来的，因为他们以为火车会去直接驶入放映室。

They didn't understand it was moving image. There are other things like chases of cops and robbers, cowboys and Indians, comedy stunts, things falling down, blowing up, car chases. All of those stuff you see in very early films by people like Charlie Chaplin. 

他们不明白那其实是动态图像。还有其他的内容，例如追捕警察和强盗，牛仔和印第安人，喜剧特技，东西坠落，炸毁，汽车追逐。这些您都能在查理·卓别林等人的早期电影中看到。

What they were really about was just showing off the technology and just having something fun to look at, that just lasted three or four minutes long. 

他们真正想做的只是炫耀这项技术，并且度过这有趣的三到四分钟。

So at this point, there really wasn't any emphasis on telling a story, having a storyline, or a kind of dramatic thread, or any kind of narrative structure. So initially, these early silent films, because they were silent at this time, and their small projectors, were shown in places like fun fairs, amusement parks, exhibition halls, and they were a really big hit. 

因此，在这一点上，实际上并没有强调讲故事，也无关故事情节，戏剧性线索或任何叙事结构。所以最初，这些早期的无声电影，正因它们是无声的，以及因为它们的放映机都较小型，方便在诸如游乐场，游乐园，展览厅之类的地方放映，在当时非常受欢迎。

But people saw them as a gimmick. And they weren’t entirely sure how film was going to evolve and how audiences would actually stay interested in this medium and also at this time, they were very, very cheap. So a ticket to go and see a film did not cost very much money at all.

但当时，人们将电影视为噱头。他们并不完全确定电影将如何发展，以及观众对这种媒介实际上将如何保持兴趣，所以那时候的它们很廉价，电影票不用花很多钱。

So for that they attracted a very mainstream and very largely working class audience, they were not really of appeal, because they were seen as a bit of a gimmick, to a more middle class and upper class audiences, who obviously could afford a better ticket price. 

他们吸引了非常主流的和大部分工人阶级的观众，而对于那些显然可以负担得起更高票价的中产阶级和上层阶级的观众而言，它们被视为噱头，并没有真正的吸引力。

So the business model at this time didn't really warrant heavy investment. And no one considered building permanent venues to show films in until around about 1905. 

因此，此时的商业模型并不能真正确保巨额投资的收益。在1905年前，一直没有人考虑建造永久性的场馆来放映电影。

By this time, film production and filmmaking had developed and become more adventurous, with longer running times, running more to our conventional hour, hour and half to two hour running length. And films had developed proper narrative structure.

而在1905年，电影制作已经发展起来，并且更具冒险性，放映时间更长。长达一小时，一个半小时，甚至两小时，因此电影开始发展适当的叙事结构。

They had started telling stories whether it was romance, telling fairy tales, traditional fables, adventure stories, true life stories, biblical stories, moral plays and the works of Shakespeare. 

电影人开始讲爱情故事，童话故事，传统寓言，冒险故事，真实生活故事，圣经故事，道德戏剧和莎士比亚的作品。

There was a very conscious effort to develop the format of film and to make it appeal to middle and upper class audiences and get that ticket price up. So it became a proper money making business. So when it got to that point, people were like, right, we need to start building cinemas, permanent homes for this. So we can actually have a business and a business model.

为了开发电影的格式并使其吸引中上阶层的观众，他们非常有意识地进行努力，并成功提高了票价，让电影成为了一项适合赚钱的商业。在这一点上，人们就认为，对，我们需要开始建造的永久的电影院，同时我们实际上可以拥有这样一项商业行为和商业模型。

So early cinemas were mostly conversions of shops and Victorian assembly halls. And their popularity meant that cinema spread very rapidly across the high street, and they were built very quickly and very cheaply. And there was no real proper regulation in the way they were run or designed. 

因此，早期的电影院大多是商店和维多利亚式礼堂的改建。商店和教堂的普遍性意味着电影院在商业街上迅速蔓延，而且改造起来非常迅速且非常便宜，也没有真正适当的规章制度和设计。

And that time film itself was made of nitrate film stock, which was very highly combustible, and tended to explode and burst into flames, and particularly when exposed to a spark, and projectors, in order to have a strong light, contained a filament rod inside them that had a continuous electric spark running to give that intense, bright light. So as you can imagine, this led to quite a lot of disastrous fires. And people died. 

当时的胶卷本身是由硝酸盐胶卷制成的，非常易燃易爆，尤其是在暴露于火花的情况下。为了强光照射，放映机装有一根灯丝杆，它们内部连续不断地产生火花，发出强烈而明亮的光。可以想象，这足以导致很多灾难性的火灾以及人员伤亡。

In 1909, the government passed the first piece of legislation, the cinematographic act, which laid down strict regulations for how cinemas should be designed with proper entrances and exits, proper walkways to ensure that evacuation could happen. 

1909年，政府通过了第一部《电影法》，该法对如何设计电影院并设置适当的出入口，适当的人行道以确保能够进行安全疏散制定了严格的规定。

But also that the projector did not sit in amongst the audience as it had done initially. And the projector was in a separate projection room separated by glass. So in the event of the fire, it was just the projectionists who have to get out very, very quickly. And largely the audience should’ve been fairly safe. 

而且投影仪没有像最初那样，置放在观众中间，而位于由玻璃隔开的单独的投影室中。因此，在起火的情况下，放映员必须非常快地离开，而观众基本上是相当安全的。

So this bit of legislation meant that a lot of early cinemas closed because they didn't match the new regulations. But it was also a turning point. And early cinema entrepreneurs started to commission the first purpose-built cinemas from 1908 onwards, of which the Rio was one. 

这项法规的成立，致使许多早期电影院因不符新规而关闭。但这也是一个转折点，早期的电影企业家从1908年开始，委托第一批专门建造的电影院，其中RIO就是其中之一。

So in 1909, female business entrepreneur Clara Ludski created the Kingsland Palace of Animated Varieties. This was the first cinema, this was the first guise of the Rio on Kingsland High Street. But at that point, it was one of 11 cinemas on the high street, which shows how popular cinema going was. 

1909年，女企业家克拉拉·卢德斯基创立了金斯兰宫，当时专门放映动画作品，这是金斯兰街的第一家电影院，也是RIO的前身。但那时候，它也不过是大街上11家电影院之一，可以见得当时电影院的受欢迎程度。

And they were all within a very short walk of each other. They had to have things that separated them out, whether it was comfort, luxury, or the types of films that they showed.

它们彼此之间只有很短的步行距离，所以它们必须拥有使自己与众不同的特点，无论是舒适度，豪华度还是所展示的电影类型。

And this is early film marketing, how cinemas began to differentiate themselves. But the public really embraced the concept of cinema going. And that exists still today. Even now, 70% of the population currently go to the cinema on a regular basis. 

这就是早期的电影营销 —— 电影院是如何使自己区分于其他的影院。公众确实接受了「影院观影」的概念，至今仍然存在。即使是现在，目前仍有70％的人口定期去电影院看电影。