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tips : good to know before organizing a screening In the frame of the FOCUS strategic partnership, the project partners developed this handbook. If you have decided to organize a screening, it might help you to prepare your event. If you need our support don’t hesitate to contact us! focus@so-many.eu ©Focus Roma youth cinema project. Contentofthehandbook

1. Whatdoyouwanttoachievewithyourevent?2. Whatisyourtimeframe?3. Doyouknowyouraudience(s)?4. Ideastoencourageaudience’sdevelopment&participation5. Wherewilltheeventtakeplace?6. Findandpre-selectfilms7. Importantkeyactorsyouneedtoidentify8. Tipsfromprofessionals9. Onlineusefulresources

1.Whatyouwanttoachievewithyourevent?Eachscreeninghaveadifferentpurpose,andusually,morethanone.Reasonscouldbeforexampleto:- raiseawarenessaboutatopic,givepeopleinformation- provideenjoymentandentertainment- encouragepeopletothinkmoredeeplyaboutonespecifictopic- inspirepeople- create opportunity for people to meet (from different communities), share a space and an

experiencetogether- attractmedia/politicalattention- engageaudience(s)thathaveneverbeenattendingascreening,thatfacevariousobstaclesBeforesettingupyourevent,itisimportanttofirstclarifywhatarethemainobjectivesyouwanttoachieveforyourselfandwithinyourteam.Thatwayyouknowwhatyoushouldfocusyourattentionon.Settingupclearobjectiveswillimpactallchoices:whichfilmtoscreen,where,when,etc.Thoseobjectivesshouldbeinlinewithyourorganization’sidentity,valuesandlong-termgoal.

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Exampleoftheimpactofgoalsettingonevent’sfeature:Ifyourfirstobjectiveisto….

Yourevent’smostimportantfeaturesmightbe……

Raise awareness about a topic,givepeopleinformation

1. A filmprogramming thatbringsa comprehensiveviewon the topicorcombinationoffilmsthatbalancepointsofviews

2. Quietspacewhereitiseasytoconcentrate3. Guest/expertonthetopicinvitedforaroundtableoradiscussion

followingthescreeningProvide enjoyment andentertainment

1.AFilmthatprovideenjoyment2. Spacewhereaudience can feel relax andeasy (forexampleopenaircouldworkwell)3. Before, after the screenings drinks and snacks for a convivialatmosphere4.BlendedFestiveeventsuchasconcert,exhibition,etc.

Encouragepeopletothinkmoredeeplyaboutonespecifictopic

1.Filmprogrammingthatbalancepointsofviews2.Quietspacewhereitiseasytoconcentrate3.Spaceforeducationalactivitieswherepeoplecanactivelyparticipate:talk,reflect,interactandnotonlylistentoexperts/speakers’opinions.

Inspirepeople

1.Film programming that capture or picture real life-situation so thataudience(s)canrelatetoandhaveafreshlookontotheirownreality.2. Inspiring, open, unconventional venue that can symbolize change,movement,etc.3.Invitethefilmmakerorprotagonistorinviteother“changemakers”toshareabouttheirstories/project.

Create opportunity for peopletomeet, share a space and anexperiencetogether

1.Informalspaceareconfortable,friendly,welcoming(drinksandsnacks,staff/volunteersarepresenttowelcometheaudience)2.Filmschoosenis/are’nttoolong,screeninghoursallowpeopletomeetbeforeandstayafterwards3. Non-formal space are designed to easy people’s encounter (speeddating session,workshop using tools such as “Living library” or “WorldCafé”

Attract media / politicalattention

1.Film programming could showcase a newly released title, or even apremiere if possible on a topic that might be politically-engaging andsocially-relevanttolocalcontext2.Pressconferencecouldbeorganizedpriortotheevent3.Conventional/officialspacemightbemoresuitable4. Partnership with Journalist school / or other relevant universitydepartment

Engage audiences that havenever been attending ascreening

1. Partnership with other local NGOs that can engage their existingaudience, that co-host the event and provide you with a clearunderstandingofthisaudiencefeatures.2.Filmprogrammustbecarefullychoseninpartnershipwiththeco-host.3. Budget should be allocated to remove identifies obstacles (forexample organize local transport from homes to venues, translation/subtitling in minorities languages if needed, money to support thecoming of a group leader to monitor a group, organize catering ifparticipant don’t havemoney topay for lunch/diner outsideof home,budgettopayamediatorthatvisitfamilypriortotheevent,etc).

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2.Whatisyourtimeframe?Itmaysoundsobvious,butclarifyinghowmuchtimeyouhaveforyoureventmightbeaverycrucialstep influencingprogrammingchoices.Doyouhaveoneevening,oneafternoonor3days? If youhave 2 hours, does the two hours include welcoming the audience and the debate after thescreening?Don’t under-estimatepotential delaysorbasicneeds, suchashavingdiner, or abreakbetween two films for a snack and a talk. Informal moments are usually very much needed,appreciatedanduseful.3. Doyouknowyouraudience?To make sure you design a relevant audience outreach strategy, you first need to know youraudience(s).Itmightconsistmainlyintotakingtwosteps:

1. firstsegmentingyouraudiences2. secondgettingtoknowtheneeds,interestsandfeaturesofeachsegment.Here are examples of different type of audience that can help you do a first mapping /segmentingofyouraudience• Your existing audience: people that know you organization, follow/ participate to your

activities• Interestgroups:anycommunity thatmightbe interested inyoursubject,and thatusually

attendsculturalactivities• Venue’saudience:theaudiencethatisusetoattendthevenuewhereyouwillorganizethe

event• Yourclosecircle:family,friends,neighbors• Audiencewith obstacles:people that do not attend/ participate to cultural activities and

thatmeetoneoracombinationofseveralobstaclesaccessingtheirculturalrights.Obstaclescanbe:social,economical,relatedtodisability,geographical,cultural,educational,etc.

Partners ‘existing audience: audiences frompartner or potential partner organizations that couldco-hostaneventwithyou.Forexample:

• Formaleducation’sorganization:oftenunderestimated, thedevelopmentof cooperationwith universities, schools and training centers in both curricular and extra-curricularactivitiescanhaveagreatimpactinaudiencedevelopment/building.

• Non-formal education organizations: Thenon-formal sectorcomprises learning activitiestaking place outside this formal system, such as those carried out within companies, byprofessionalassociations,orindependentlybyself-motivatedadultlearners.Youmightfinda great diversity of organization to partner with such as youth clubs, sport association,culturalandyouthcenters,studentunions,etc.

Withinthisgroup,youwill findofcourseadiversityofpeople.Youcantrytodescribethemmorepreciselybyansweringthefollowingquestions:

• Whatdoyouknowaboutthosegroups?• Howcouldyouknowthembetter?• Howoldarethey?• Whatcouldbetheircenterofinterest?• Whywouldtheyattendafilmscreening?

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• Dotheyhavesufficientincometoallocatemoneytoculturalactivities?• Dotheyattendfilmsscreeningand/orwatchfilmtimetotime?• Aretheyobstaclesthatcouldpreventthemfromattendingsuchanevent:transport,food,

parenting/communityobligationorlimitation,disability,etc.?• Whatlanguagedotheyspeak?Dotheyfeelcomfortablewithreadingsubtitles?

Getting to know your audiences requires not only answering those questions based on yourimpression,butalso(accordingtothetimeyourhaveandthehumanresourcesavailable)tocollectdata,andaskthosequestionsdirectlytoyouraudiencegoingoverassumptions.Onceyoubetterknowyouraudiences,youmightdecidetofocusononesegmentaccordingtoyourobjectives.Twochallengesmightappearhere:

1. Makesureyoucombineaudiencesneedswithyourvaluesandartisticvision2. Make sure you don’t forget other segments that you assumed where “easy” to reach.

Focusingon“AudiencewithObstacles”mighthaveaninfluenceonotheraudiencesegment

4. Toolsandideastoencourageaudience’sparticipationWhen planning an approach to “an audience with obstacles”, think about alternative ways ofdeliveringyourmessage.Youcanusedifferentmedia,differentpeopleanddesigndifferentactivitiesaroundthescreeningtoreachyouraudiences.Hereareafewexamples:

Activitynameandshortdescription Reasonswhyyoumightwanttodoit InspiringexamplesofFestivals/Eventsyoucancheck

Filmprogrammingworkshop-Facilitatorproposesaselectionoffilmstoagroup-Thegroupdiscussfilms(orfilmsextracts)withthefacilitator(thathelpstogooverthe“ilike,idislike”)-Groupdecideonadecisionmakingprocess-Groupselectoneormorefilms-Grouppreparethescreening/event-Groupevaluatetheworkshop

1.ItisanotherwaytodiscoverfilmsParticipantsarenotonlyaudiencesbutbecomecurators2.itcantakevariousforms:programmingjustonescreeningofdesigningafewdaysprogram3.Participantsdiscussfilmsthemesorestheticsandadvocatefortheirpointofview.4.Theprocessofprogrammingcanbealong-termwork.Thepreparationoftheeventbecomesmorepowerfulthantheeventitself.

UbuntucultureMovingCinema

Discussionafterascreening(durationcanbeanywherebetween10and45minutes)Amoderatorguidethesession-Welcome-Introduction

1. Audienceaskquestionsandshareopinionswithguestspeakers

2. GuestSpeakershareinformation,backgroundanduniquestoriesaboutthefilmbringingitclosertotheaudience

Collectionofexamplesofsuccessfultrainingcanbefoundonthepublication“SettingUpaHumanRightsFilmFestival,vol.2Aninspiringguideforfilmfestivalorganisersfromallovertheworld”

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Q&A-Inthecaseofscreeningsanddebatesdealingwithdifficultsubject,localguestmightbemorerelevantthatcommunity’s“outsiders”thatcouldbeseenas“imposing”therevisiononthecommunity

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Filmmakingworkshop(durationcanvaryfrom1daytomonths!)-Call&enrollparticipants-Workshopimplementation-Screeningoftheoutcomeoftheworkshop-Celebration

1.Engageaudiencewithlearningbydoingandproducingtheirowncontent2.Increasesenseofownershipoftheevent3.Discovernewtalents,newpointofviews,newnarratives

RollingFilm“CikoreFilmja”-mobilephonefilmworkshopNisiMasanetwork1000visages(inFrench)

Jury(withvariousaudiencelikeyoungpeople,children,students,prisoners,famousfilmmaker,producer,festivalartisticdirectors,etc...-)-Enrolljurymembers-Filmscreeningswithjurymembers-Jury’sdeliberation-Resultsannouncementandprices

1.Dependingonthejurors:helpincreasingtheevent’svisibilityandtostrengthennetworkwithotherfestivals,eventsororganizations2.Engageaudiencesdifferently

TheMovieZoneMtMAwardistheyouthawardofthefestival.

Volunteeringprogramme-Identifyingtask(canbediverse:welcomeguest,setupscreeningvenue,communicationrelatedtask,carrysurvey,etc).-Callforvolunteers-Volunteers’meetingpriortotheevent-Volonteers’meetingduringtheevent-Volonteers’thanksyoupartyorequivalent

1.shareresponsibilityofevent’sorganization

2.Increasepotentialaudienceandimproveknowledgeofnewaudiencethoughvolunteers3.Benefitfromnewcreativeideas

4.Builtacommunityofambassadors.Gatheringambassadors,whohavealegitimatepositionwithinthecommunityyouwanttoreachmightbethebestwaytodoit.Sometimes,NeverMindtheMessage,itistheMessengerthatCounts

ExampleofCallforvolunteersDokufest

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CombinationofartisticactivitiesandthecinemascreeningSuchasconcert,exhibition,conferences,poetryreading,etc.

1.Accommodatedifferenttaste,needs,stylesoftheaudience2.benefitdirectlyfromthepresenceoftheartist’saudience

DokuFestWithitsvariousprogrammeDOKUNIGHTSDOKUPHOTODOKUTALKSDOKUKIDSDOKU:TECHDOKULAB

5. Wherewilltheeventtakeplace?You can hold a successful screening, of any size, no matter where you are or what are yourresources.Nevertheless,itisgoodtothinkearlyoneaboutthevenue,asitmightinfluencethetypeof filmyoucanscreen,besuitableornottoachieveyour initialobjectives,havean influenceovertheaudienceyoumightreachornot,etc.Itisimportanttolistwhatareyouminimumrequirementintermsoftechnicalarrangementsandcomfort!Minimumtechnicalrequirements:- Accesstoelectricity- Possibilitytogetsufficientdarkness- Awhitewalloraplacetopositionascreen,orascreen- ChairsorfloorwherepeoplecansitTheequipmentavailableshouldincludes:

• Projectionscreen• 1xprojector• Soundsystem(includingamplifier,andmicrophone)• 1xDVDplayerand/orcomputerwithaudiocableetVGAorHDMIcable,dependingonthe

projectoroutputoptions• Microphone

Youmayhaveaccess to someorall of theequipmentyourneed,dependingonwhat your venuealreadyhasaccessto.Ifnot,youmightrentitorborrowit.Hereareafewexampleofvenueyoumightthinkof:Communitycenter,schoolclassroom, library lectureroom,highschoolauditorium,museumroom,hotel conference space, theatrical venue, Open-air Space in the city or nature area, Universityamphitheater,circustent,youthcenter,sporthall,emptyswimmingpool,concerthall,club,café.To find the right space with the right feel, juggles the right date, price and timing might a bitchallengingtoputtogether,butiswortheffortasonceitisfoundthelocationbecomesaresourcesandgeneratesinitselfunexpectedideasintheevent’sdesign.Theevent’venueplaysanenormousrole in shaping your event. Each venues carries in itself symbolic power thatmight encourage or

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discourage people to participle to your event. Unconventional, poetic, inspiring spaces mightcontributetosupportyouinreachingaudiencesbutalsoobjectives.AninspiringexampleAWall isaScreen:Toput itshort,AWall isaScreen isaveryentertainingandthoughtprovokingcombinationofcitytourandshortfilmprogramme.http://www.awallisascreen.com6. FindandprogramfilmsTherearedifferentwaystoprogram/findfilmsmadebyaboutRoma.

a. Checkourwebsiteandthesection“findfilms”whereaselectionofmoreof100ofthemisavailable.www.romacinema.orgYoucanbrowsfilmsbytheme,filmmakers,type,andcountries.

b. Checkotherevent’sprograms.WerecommendforexampleRollingFilmFestivalSkopje’sGoldenWheelFilmFestivalLatchoDivano:FestivaldesCulturesTsiganesIRAF:InternationalRomaniArtsFestival,RomaniaRromani-ResistanceAkeDikea?

c. ChecktheMateoMaximoffLibraryanditscatalogue: http://fnasat.centredoc.fr/opac/

d. BrowsMoviesthatmatter’ssearchengine

https://www.moviesthatmatter.nl/english_index/films_and_advicee. Sign-upfornewsletteroforganizationandorganizeacomputermonitoringofthemain

websitesonthesubjecttomakesureyouareawareaboutnewfilmsrelease,suchasMoviesthatmattersTheHumanRightsFilmNetworkTheRomArchive(Germany,KulturstiftungdesBundes)WorldArtistsInitiative"Khetanes"

f. andlastbutnotleast:getsupportfromthefocusteamfocus@so-many.euPreviewfilmsOnceyouhavemadeapre-selectionofpotentialfilmsyoucouldscreen,writeanemailtotherightsholders(seenextsectionaboutthat)andrequestascreener(apreviewcopyofthefilm),soyoucansee the filmsandmakeyourmind.Mostofproducers /distributors/ filmmakersnowhaveonlinescreeners you canwatchonplatform suchas vimeousing apassword. In some cases, theymightsendyouascreenerbypost.Usethechancetoaskwhatlanguages/subtitlesareavailable.Don’tforget- Tolookatlocalproductionstoprogram–thesefilmsmightbemoreaccessible,narrativeseasier

to related to, especially if you are targeting new audiences that face several obstacles but ofcourse italldependsontheevent’sobjectives.Localshort-filmscouldbescreenedbeforethefeaturefilmtoincreaselocalparticipation.

- Tosetup/discussselectioncriteriawithinyourteamorwithintheselectioncommitteeofyou

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decidetoholdone- ThequestionofthefilmlanguageandsubtitlesThreeImportantkeyactorsyouneedtoidentify1.Filmmakers: apersonwhodevelopsanddirects the filmproduction.Usuallyhe/ shewants thefilm tobescreenasmuchaspossibleand tobe there topresent it. It isusuallyeasy tonegotiatewithhim,butnotmightnotbetheonlyoneholdingtherights,dependingifhe/shehasaproducer/distributors.Gettingintouchedwiththefilmmakerisagoodwaytoknowwhoaretherights-holderandwhomtocontact.2. Producer: usually a company who has invested time and money into the film’s development,productionandpost-production.Oftentheproducerisresponsiblefordealingwiththefilm’srights,thefilmcopies,festivalregistrationandscreenings,etc.Thecompany’sinterestisforthefilmtobeshownatfestivalandalsotogetmoneyback.Dependingon the films, those tasksmightbe sharedamongdifferent companies (itmightbeoneproducer and co-producers). It happens oftenwhen the film is shot inmore than one country orexample.Sometimesitiseasiertofindtheproduction’scontactratherthanthefilmmaker.3.Distributor:Acompanythatbuystherightstomanyfilms,andmakeplans forfilmreleasesandmarketingstrategytoensuretheyreachbigaudiencesandmakeaprofit.Theyaimistopromotethefilmmaking.Dependingonwhomyoucontact,theymighthavedifferentinterestantimeline,butinallcasestheyareusedtothiskindofrequest,sodon’thesitatetogetincontact!Hereisanexampleofemailyoumightwanttosendtorequestascreener(thepreviewcopyofthefilm).DearXY,We have discovered you title through XXXXXXXX (for example the Roma cinema resource centerwww.romacinema.org)andweareconsidering its selection fora screeningat theNAMEOFYOUREVENTheld inCITY/COUNTRY fromDAYS,MONTH,YEAR.Ourevent featuresengaged filmon thetopicofRomacommunities’rightswhileatthesametimedemonstratinghighartisticqualities.OureventconsistsofeducationalscreeningsatLOCATIONandwithAUDIENCEDESCRIPTION.Therewillbenoentrancefeecharged.Inordertowatchyourtitleandconfirmitsselection,wewouldliketokindlyaskyoutosendusascreener.Ifyouhaveanyquestions,pleasedonothesitatetocontactusatEMAIL.Thankforyourkindattentiontothisletter.BestRegards,YXOnceyourhaveconfirmedyouchoice,youwillneedtoinformtherights-holderandclearscreeningrights.Youmustbepreparedtopayscreeningfees.It isfairtotheonesthathaveinvestedmoneyand time in developing, producing the film especiallywhen films are independent/ self-producedFilmmakersmightbesupporteddevelopingthenexttitlethankstothosefeesandyoushouldmakesureyouhaveallocatedbudgetinyourprovisionalbudget.However,allparties’interestoftenmeetstomakesurethefilmreachesaudiences,especiallyifyouareplanninganeducationprogram.Thatiswhyitisimportantyoupresentyourinitiativedescribingthepurpose,audienceandpartners.

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Screenings feesareoftenaround150/200eurosperscreenings.Manyproducersandfilmmakersareopentogivingthefilmifyouoffertoinviteonepersonfromthecrewtoattendthescreening.If for various reasons, you cannot offer the screening fees, or you have a limited budget, don’thesitatetonegotiatethescreeningrights.Don’tforgetbankfees.Exampleofconfirmationemailyoucouldsend:DearXY,Wearepleased to informyou that your filmTITLEOFTHEFILMwas selected for screeningat theNAMEOFTHEEVENT,CITY,COUNTRY,DATE.OureventaimsatXXXXX.Your titlewouldbescreenNUMBEROFTIMES,inVENUE,atTIME.Pleaseletusknowassoonaspossibleifyouagreewithyourfilmbeingpresentedatoureventand ifyouarerequestingfees. Ifyouarewillingto letusscreenyourfilm,pleaseprovideuswithascreener(preferablyofDVDcopyoralinktothefiledownload),the necessary materials (dialogue lists, stills) and information (contacts and credits) as soon aspossible–nolaterthanDATE.Thankyouforyourcooperationandwehopetohearfromyousoon.Bestregards,YXScreeningformatInrecentyearstechnicalproductionhaschangedsignificantly.Classicalscreeningformatssuchas35mmprints,betatapesandothershavealmostdisappearedandbeenreplacedbydigitalformats.Previewscreenerwilloftenbelinktoonlineplatformwithpasswordaccess.ScreenerwillbeDVDsorlinktodownloadthefile.

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7. TipsfromprofessionalsWhat is themost challenging thing for youwhen organizing a screening of a film “made by &aboutRoma”?Iwouldsimplysaythatthecurrentchallenge(whereasit isafeatureoradocumentaryfilm,afilmmade by or about Roma) is toprovide various representations, and toraise awareness of theaudience:Romapeople is not one community, one culture, onewayof living, one stereotype, onetheme, but behind that, we are talking about individuals: each person has a name, his/herownexperience, his/her own background. Such screenings should increasethe audienceunderstandingabout thatat theend.Well,and then therearemanyotherchallenges: to find themovies,thecopies,thetranslationsaccordingtotheplacesyouareorganizingscreenings,etc…!Buttohelpwiththat,thereisnowthisgreatonlineresourcecenter:-)(ClaraGuillaud-Educationalcinemaprogramsdesigner&facilitator,filmprogrammer,Paris)Themostchallengingthingforuswasbringingyouthfromdifferentgeographicalareas.Sucheventsshouldbeplannedatleastamonthahead.(DritonBerisha,RomaactivistandprojectmanageratKEC,KosovoEducationCenter)Veryoftenthebiggestchallengeistoconvincethescreeningorfestivalorganizerstomoveoutoftheroutine.Forexampleinsteadofprogramming,”Timeofgypsies”wecanofferthemmoreoriginalprogramthatallowstodiscovercontemporaryfilms,Romadirectors,originalcreations.FOCUSplatformwillbeveryusefulforthispurpose.(EvelynePommerat,DirectoroftheMateoMaximoffLibrary,Paris)Tobringmixgroupofpeople (Romaandnon-Roma) towatch themovies togetherand tomake ittechnically possible in terms of subtitles. When we screen movies that are sometimes in originallanguage (Czech, Romanian, Bulgarian, Russian, French or Spanish etc.) English subtitles forinternationalaudienceinKosovoisamust.ThenlocalAlbaniansubtitles,andthenSerbiansubtitlesforcentralandnorthKosovoRoma.Alreadyfourlinesoftwolanguagesistakinglotsoftheimageofthe film, but the third language on the image is too much. Pristina is at the center of Kosovo,therefore,mostoftheRomacomingtowatchthemoviestogetherwithAlbanianandinternationalaudiencearefromcentralandnorthofKosovo,thereforewealwaysfacethesamekindofissues.Averycarefulorganizationisneededinorderforaudiencestocomestogether.(SamiMustafa,RomafilmmakerandartisticdirectorofRollingFilmFestival)Canyoushareaboutoneof themost inspiringmomentsyouexperiencedasanorganizer (oraspartoftheaudience)ofafilmscreeningaboutthistheme?In2009/2010,Iwastheco-directoroftheIMAGeIN’AIRFilmFestival,anopen-airfilmFestivalbasedinGjilaninKosovo.The2ndeditionofthefestivalwasorganizedinpartnershipwithRomawood.OnethemeofthefestivalwasfocusedonRomaissues.Wescreenedthisgreatdocumentaryfilmcalled«Me,mygipsy familyandWoodyAllen»byLauraHalilovic inopenair, in thecity center.A largeaudience(andamongthemmanyyoungpeople)frombothcommunities(AlbanianandRoma)came.Itwasamazingandunbelievablebecausethisneverhappenedbefore.EventheinhabitantsfromtheMahallah(Romaneighborhoodofthecity)came-whichwaschallengingaccordingtothesituationinKosovo.ItisreallyoneofthebestmemoryIhaveasafilmfestivalorganizer.(ClaraGuillaud-Educationalcinemaprogramsdesigner&facilitator,filmprogrammer,Paris)

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Themost inspiringmomentswere always thosewhere after a debate and argumentation, peoplewouldactuallystartthinkingdifferently.Withthat,itfeltthatnotonlyawarenessisraised,butalsonewperspectivesarearising.EventhoughsomepeopleworkedwithRoma,thefilmshelpedthemgettoknowthembetterbyspeakingabouttheminparticularly.(DritonBerisha,RomaactivistandprojectmanageratKEC,KosovoEducationCenter)In 2010 Tony Gatlif's film "Liberté / Korkoro" and the documentary film of Raphael Pillosio “DesFrançais sans histoire” were extraordinary media for informing the public and especially younggenerationsaboutthefateofFrenchGypsiesduringthelastworldwar.these2filmswereincludedinaspecificprogramforayear,andwecouldmeasurehowpowerfulcinemacanbe.(EvelynePommerat,DirectoroftheMateoMaximoffLibrary,Paris)WhiledoingaschoolprograminnorthMitrovica(Kosovo)withhighschoolstudents.Afterthemovie,wetalkedaboutstereotypesandtostartthediscussion.Whatdoesstereotypesmeanstoyou?Onestudentrepliedveryself-confident:“It’sastereospeakerto listentomusic”.Asfunnyandsadas itsoundsatthesametime.Alotofworkneedstobedone!(SamiMustafa,RomafilmmakerandartisticdirectorofRollingFilmFestival)Whatadviceswouldyougivetosomeonewhowouldliketoorganizeascreeningonthistopicforthefirsttime?There are several advices I would give:to organize the screening with local partners, to organizeactivitiessuchasdebateswiththeaudienceandthedirector-orsomeoneelserelatedtofilmorthetopic,toimplementfilmprogrammingworkshoptoincreasetheparticipationoftheaudience...Wellin any case trying to organize activities before or after the screening. And above all: cinema is apowerfulart.It'saresponsibilitytomakeafilm,butitisalsoonetoscreenit!Sokeepgoing,itissoimportant!(ClaraGuillaud-Educationalcinemaprogramsdesigner&facilitator,filmprogrammer,Paris)Make sure your audience iswell informed about the evenwith a good communication campaign.Thus,youmakesurethatadiversityofpeoplemeetandexperiencethescreeningtogether.(SamiMustafa,RomafilmmakerandartisticdirectorofRollingFilmFestival)Make sure youorganize yourquestionsor statements that youwill discussby connecting them toyourownsurroundingreality,asthebestisifyouenduptalkingaboutchangesyoucanmakeinyourcircle.(DritonBerisha,RomaactivistandprojectmanageratKEC,KosovoEducationCenter)8. OnlineusefulresourcesSettingUpaHumanRightsFilmFestival,vol.2.An inspiringguide for filmfestivalorganisers fromallovertheworld.EditedbyHanaKulhánková(OneWorld),.MattheadeJong(MoviesthatMatter),.MaríaCarrión(FiSahara),.RyanBowlesEagle(CaliforniaStateUniversity).DownloadhereMoviesthatmattersAsan international expertise centreMovies thatMatterprovides informationabouthuman rightsfilmstoorganisationsbothintheNetherlandsandabroad.checkherethereadvicesection

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“Study on audience development – How to place audiences at the centre of culturalorganisations” is a study byFondazione Fitzcarraldo, together withCulture ActionEurope,ECCOMandIntercult, as a consortium, developed in the framework of theCreativeEuropeprogramme.

The aim of the study is toprovide successful approaches andmethods in the area of audiencedevelopmenttobedisseminatedamongEuropeanculturalorganisations.TheywillalsobeusedasabasisforselectioncriteriainfuturecallsforproposalslaunchedbytheCreativeEuropeprogramme

DownloadtheirstudyandguidebookhereBespectativeBeSpectACTive!isaEuropeanprojectbasedonaudiencedevelopment,involvingsomeofthemostinnovative European organizations working on active spectatorship in contemporary performingarts.ItsmembersareEuropeanfestivals,theatres,universitiesandaresearchcenter.Audienceexploration:AGuidebookforhopefullyseekingtheaudience,producedbyIETM,2016