Something that’s clear in our research and discussion is that we need a focus group to feedback our project in order to make sense of what direction our project is taking. We find that if we were to constantly take the feedback from the class that it wouldn’t serve as a true or fair representation of our demographic/audience. Artists respond to the art, whilst laypeople unfamiliar with technicalities are responding purely to what is visually communicated to them. As a result, we gaining a more insightful response to allows us to monitor whether the project is getting too complex or not meeting our emotional/intellectual expectations.
In short, one of our major obstacles is trying to find the right responsive approach to our film that isn’t alienating to the viewer. So in order to counteract this potential challenge, we want to use a focus sample of our target demographic who are unfamiliar with artistic practice who can give us an objective critical response to our work to find out what works and what doesn’t. This thus becomes both an innovative and research opportunity.
In the charts below, this gives us an evaluation of my demographic figures to see how we can make this an even sample. Of course, we will need to produce a video looking for that sample, but we will leave it until after the pitch to ensure the project is entirely a go-ahead. My audience is predominantly male, so the expectation is that we’re more likely to struggle to give gender equality (8.2 men/women ratio) so it’s vital to address this because social factors inevitably influence the sample (gender, age, ethnicity and geography) because of unique individual experiences. Having a fair sample ensures a more authentic and humanised response that allows gives us a variety of perspectives to work with.
Considering our project has taking a turn towards a local narrative, I feel having a UK-based majority allows more greater accuracy in terms of cultural depiction. Since we have a specifically defined family culture in the UK, this makes Attracta’s story more relatable and thus inspires greater empathy from the focus group we use.
To get an idea of how viable this focus group can be, I reached out to my audience via Twitter to get an initial idea of those interested and I received several responses from people from the likes of Portugal, USA and UK wanting involved in the project.
I asked them to share me their stories, and I contacted each of them individually and conversed with them. Some response were comedic, some were sincere, others were profound. Due to confidentiality, I have chosen to share the full dialogues as I want to maintain a clean ethic conduct that maintains documentary etiquette (Oliver, 2010; Brinkmann & Kvale, 2015). But that range charged a keen emotional spark that really reinforced the validity of the project as a whole so it covers the ambiguity of whether there was an interested audience and if that audience felt this was an appropriate matter to address.
Oliver, P. (2010) The Student’s Guide to Research Ethics. Berkshire: McGraw-Hill
Brinkmann, S. & Kvale, S. (2015) Interviews: learning the craft of qualitative research interviewing. Los Angeles: Sage