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Area Comunicazioni Rapporto di ricerca Lo scenario della produzione e distribuzione di web‐series Tassonomia dell’offerta, contenuti e linguaggi, la distribuzione e il ruolo dei broadcaster, i festival per Rai – Direzione Marketing Report definitivo 11 febbraio 2013 Via del Quirinale 26, 00187 Roma Tel. 06.4740746 Fax 06.4746549 www.i‐com.it info@i‐com.it 2 Lo scenario della produzione e distribuzione di web‐series Tassonomia dell’offerta, contenuti e linguaggi, la distribuzione e il ruolo dei broadcaster, i festival PROGETTO DI RICERCA PER RAI – DIREZIONE MARKETING ICOM – ISTITUTO PER LA COMPETITIVITA’ – AREA COMUNICAZIONE AUTORI: GIOVANNI GANGEMI, ANDREA MARZULLI, BRUNO ZAMBARDINO 3 SOMMARIO 0. Premessa: oggetto, obiettivi e metodologia della ricerca 0.1. Oggetto della ricerca 0.2. Scenario di riferimento 0.3. Contenuti generali della ricerca 0.4 Tassonomia delle web series 1. STATI UNITI 1.0. Premessa 1.1. Cenni sui principali trend del mercato 1.2. Generi e sottogeneri 1.3. Stagioni 1.4. Durata e pezzatura 1.5. Una panoramica su produzione e distribuzione 1.6. Il ruolo dei broadcaster e delle major 1.7. Alcuni dati sulle performance 1.8. Premi e festival 1.9. Le web series serie selezionate per il focus 2. REGNO UNITO 2.0. Premessa 2.1. Cenni sui principali trend del mercato 2.2. Generi e sottogeneri 2.3. Stagioni 2.4. Durata e pezzatura 2.5. Una panoramica su produzione e distribuzione 2.6. Il ruolo dei broadcaster 2.7. Alcuni dati sulle performance 2.8. Premi e festival 2.9. Le web series selezionate per il focus 3. FRANCIA 3.0. Premessa 3.1. Cenni sui principali trend del mercato 3.2. Generi e sottogeneri 3.3. Stagioni 3.4. Durata e pezzatura 3.5. Una panoramica su produzione e distribuzione 3.6. Il ruolo dei broadcaster 3.7. Alcuni dati sulle performance 3.8. Premi e festival 3.9. Le web series selezionate per il focus 4. SPAGNA 4.0. Premessa 4.1. Cenni sui principali trend del mercato 4.2. Generi e sottogeneri 4.3. Stagioni 4.4. Durata e pezzatura 4.5. Una panoramica su produzione e distribuzione 4 4.6. Il ruolo dei broadcaster 4.7. Alcuni dati sulle performance 4.8. Premi e festival 4.9. Le web series selezionate per il focus 5. ITALIA 5.0. Premessa 5.1. Cenni sui principali trend del mercato 5.2. Generi e sottogeneri 5.3. Stagioni 5.4. Durata e pezzatura 5.5. Una panoramica su produzione e distribuzione 5.6. Il ruolo dei broadcaster 5.7. Alcuni dati sulle performance 5.8. Premi e festival 5.9. Le web series selezionate per il focus ALLEGATO: WEB SERIES IN ITALIA (INTERVISTE) 5 0. PREMESSA: OGGETTO, OBIETTIVI E METODOLOGIA DELLA RICERCA 0.1. OGGETTO DELLA RICERCA Obiettivi principali della ricerca sono: ‐ l’analisi dello scenario della produzione di web‐series negli Usa, Regno Unito, Francia, Spagna e Italia ‐ la rilevazione e tassonomia dei prodotti realizzati negli ultimi tre‐cinque anni e politiche dei broadcaster; ‐ le modalità promozionali e distributive; festival dedicati. 0.2. SCENARIO DI RIFERIMENTO Il fenomeno delle web‐series rappresenta uno degli elementi più innovativi nello scenario della produzione narrativa audiovisiva. Il riconoscimento del Telefilm Festival 2011 a Freaks! come miglior serie italiana dell’anno ha evidenziato, anche in maniera provocatoria, come dal web provengano le maggiori spinte al rinnovamento della serialità audiovisiva. Negli Stati Uniti, da diversi anni le web‐series, autonome o con funzione di accompagnamento a serie ideate e trasmesse per il broadcasting lineare tradizionale, oppure come iniziative di branded content, sono parte integrante del panorama audiovisivo. Brevità, originalità del concept, flessibilità del consumo, utilizzo delle possibilità di interazione con gli utenti, disseminazione integrata con l’offerta lineare sono gli elementi principali necessari all’analisi del fenomeno. Produttori e broadcaster hanno già iniziato a guardare con attenzione a questo fenomeno, tra sperimentazione e integrazione. 0.3. CONTENUTI GENERALI DELLA RICERCA La ricerca analizza la produzione di web‐series negli ultimi 3‐5 anni. L’analisi verte su: censimento delle opere; generi e temi; formati e pezzature; modalità produttive e distributive; festival; ruolo dei soggetti professionali e in particolare dei broadcaster; la produzione italiana. Attraverso un’analisi di benchmark condotta nei principali mercati televisivi europei ed in quello statunitense, viene tracciato un panorama dei prodotti realizzati, e delle strategie messe in atto dai maggiori broadcaster nei confronti di questo genere (in termini di commissioning, acquisto diritti o partnership con festival dedicati). Vengono delineati i modelli di comunicazione e disseminazione delle web‐series, l’utilizzo dei social network a fini promozionali e distributivi, la eventuale distribuzione su piattaforme broadcast e Online Tv / Ott‐tv, i festival specificatamente dedicati alle web‐series. Per quanto riguarda le web‐series italiane, un focus riguarderà il processo produttivo, le risorse impiegate, le attrezzature e la tempistica. ► Ambito geografico L’analisi prende in considerazione le web‐series realizzate nei seguenti Paesi: Italia Stati Uniti Francia Regno Unito Spagna 6 ► Moduli e metodologia di raccolta delle informazioni La ricerca è suddivisa in 3 moduli: 1) Lo scenario dell’offerta (censimento di base e Festival) Inquadramento del fenomeno delle web‐series (intendendo i contenuti assimilabili al genere fiction) all’interno del più vasto scenario della creazione di contenuti originali per il web. Creazione di un database allegato, relativo alle web‐series prodotte nei Paesi: Usa, Italia, Regno Unito, Francia, Spagna, tramite la consultazione dei cataloghi esistenti e delle newsletter specializzate. Per ogni opera, il database contiene: ‐ Titolo ‐ Paese ‐ Anno di inizio produzione ‐ Stagioni ‐ Episodi totali ‐ Durata ‐ Genere ‐ Sottogenere ‐ Tipologia del committente (autoprodotto, società di produzione, broadcaster, inserzionista pubblicitario, altro), eventuale accompagnamento ad altra serie tv ‐ Principali outlet di distribuzione (sito, YouTube, altri outlet, canali televisivi) ‐ Performance Il numero dei titoli censiti è stato, indicativamente, di 600: sono stati censiti i 100 migliori casi per Paese, con l’eccezione degli Usa, per i quali, visto l’alto numero e la qualità delle serie realizzate, il database include i 200 titoli più significativi. A partire dal database, sono state compiute alcune elaborazioni di base per individuare le tendenze prevalenti per ciascuna delle variabili. Sono state anche identificate le principali iniziative dei broadcaster riguardo le web series, indicando quelle opere che sono state commissionate e/o trasmesse da un’emittente televisiva, i concorsi e le iniziative dedicate dai broadcaster al prodotto fictional per il web. Sono stati anche individuati, per ogni Paese, i maggiori festival dedicati alle web series (o, se del caso, dedicati ad altri generi ma con una significativa sezione sulle web series), identificando l’organizzazione, gli obiettivi del festival, la partnership con altri soggetti pubblici o privati (fra cui segnatamente i broadcaster), i riconoscimenti assegnati ed ogni altra informazione di interesse rilevante. 2) Promozione e distribuzione (focus a campione) Successivamente è stato effettuato un approfondimento qualitativo su di un campione di circa 50 opere (approssimativamente, 10 per Paese), rappresentative per: ‐ capacità del singolo titolo di essere emblematico di uno dei sottogeneri; ‐ formato; ‐ tipologia del commissioner e significatività del modello di distribuzione; ‐ valore del singolo titolo in termini di innovazione, qualità e risonanza, privilegiando i titoli prodotti per più stagioni e quelli che vedono un coinvolgimento, a monte o a valle, di un broadcaster. ‐ performance Il focus si è basato, in particolare, su: modalità di distribuzione, modalità di eventuale partnership con broadcaster, informazioni sul consumo, iniziative di promozione e comunicazione. 7 3) Web‐series italiane (case studies) Per le principali web‐series italiane (una decina circa), è stato effettuato un ulteriore approfondimento che, oltre a contenere tutte le informazioni di cui al focus del punto 2, si propone di individuare l’impegno produttivo per le diverse opere (tempi di scrittura; consistenza della troupe; attori coinvolti; utilizzo di attrezzature e facilities professionali o amatoriali; giorni di lavorazione per episodio; locations; partnership per la promozione, la comunicazione e la distribuzione). Identificazione degli elementi di forza / criticità, punti di contatto e affinità produttive‐editoriali con la fiction e il brand Rai (corporate, canale, prodotto, altro brand). L’approfondimento è stato realizzato tramite interviste ai realizzatori, produttori o altri soggetti coinvolti seguendo la seguente scaletta tematica: ‐ Genesi del progetto ‐ Riferimenti narrativi ed estetici (film, serie tv, romanzi) ‐ Iniziative di comunicazione prima del lancio della serie (online e offline) ‐ Iniziative di comunicazione durante e dopo il lancio degli episodi (online e offline) ‐ Tempistica di scrittura e di produzione degli episodi, sovrapposizione fra le fasi ‐ Giorni di riprese e di post‐produzione per episodio (e software utilizzati) ‐ Numero componenti della troupe e reparti ‐ Numero di attori e comparse coinvolti ‐ Utilizzo di attrezzature e facilities professionali ‐ Locations interni ed esterni ‐ Partnership per la produzione, la distribuzione e la promozione ‐ Partecipazione a festival e altre rassegne sul tema Qui di seguito l’elenco dei soggetti intervistati
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  • Twisted Tongue Magazine Brink Verbiage Formal Statement – Barrie Walsh 2 Under a Fat Bellied Moon – Ruth Henderson 12 Issue 16 a Taste of Murder – Nora B

    Twisted Tongue Magazine Brink Verbiage Formal Statement – Barrie Walsh 2 Under a Fat Bellied Moon – Ruth Henderson 12 Issue 16 a Taste of Murder – Nora B

    Short Stories Twisted Tongue Magazine brink verbiage formal statement – Barrie Walsh 2 Under a Fat Bellied Moon – Ruth Henderson 12 Issue 16 A Taste of Murder – Nora B. Peevy 16 Stranger than Fiction – Jay Faulkner 21 The Fourth Floor – Jim Bronyaur 26 The Perfect Life – Timothy Fenster 29 Welcome to Twisted Tongue Magazine issue sixteen. Packed Vain – Jason D. Brawn 35 with thousands of words—larger than a standard novel— Bitsy – Barbara Stanley 43 approximately 80,000 words for your enjoyment. Turning Tightly – Ralph Greco, Jr. 47 There should be something in this issue for everyone … if Swastikas and Boobies – Adrian Alldredge 51 not, then let us know. Twisted Tongue is a magazine unlike any Long Live the King! – Sean Greennhill 57 other … here you will find works that are twisted and we don’t Bowl of Cherries – Sharon Birch 60 mean ones with a simple twist. This magazine is for those 18 and Puzzles – Gail Taylor 62 The Coffin Door and a Few Other Things for the over. Death-Catcher – Ralph Greco, Jr. 69 Don’t forget to take a look at the back page for your chance gimbals’ stati d’animo foolish resolution – Barrie Walsh 73 to win a freebie from BeWrite books. In this issue, you’ll read about many murders, vampires, Flash & Micro Fiction madness, kinky sex, tantalising foods, creepy shadows and even a Dime Toss – Len Kuntz 14 little Shakespeare. We also have two unusual pieces for you by Change Here ... – Mark Howard Jones 19 Barrie Walsh, I found them very refreshing—I hope you enjoy My Cookies – A J Madden 24 them as much as I did.