Page 108 - AC/E Digital Culture Annual Report 2016

108and science- ction together with the citizens of Gijón, in the sense that the festival notonly works for them, as they are essentially its audience, but with them. The social media are one of the many instruments the organisers use to create and consolidate cultural fabric.The boundaries between fan, writer or creator and professional (publisher, etc.) have been blurred for some time in science- ction communities (many professionals and artists in the fantasy, horror and science- ction elds tend to be great fans of these genres and are usually well connected with other fans). Understanding the dynamics is another key to success in tting together the abovementioned pieces.This festival only has pro les on Facebook and Twitter, which are su cient to meet its needs with respect to communicating and giving impetus to the community before each edition (it should be added that it is also a good example of a festival with a relatively small budget compared to others listed here).Its communication strategy is closely linked to how it operates in general, and is targeted at two audiences: locals, and enthusiasts of the genre. The social media are one of many tools and types of content it uses, not separately but as part of a whole.In the case of the rst audience (local), its interest lies in the fact that the citizens of Gijón, where the event is held each July, embrace the festival as part of the city’s identity. Apart from focusing the programme throughout the year on various parts of the city, or joining forces with agents such as bookshops, the festival also helps disseminateon the social media the activities in which it is involved and which are based in the city.In the case of the second audience (fans of the genre), the festival’s organisers have rst-hand knowledge of their preferences and tastes,but they have also been in contact with these people since the rst edition of the festival.They support initiatives with some of the agents related to the festival (publishers, authors...)and know how to generate debate or stimulate involvement in them, in a very familiar and straightforward way. They nd that improving local and audience networks makes the experience much more valuable and long-lasting for attendees, which is very important to this event’s team.They always answer all followers’ queries, if necessary redirecting them to bookshops or other local events (for example, when someone asks if an illustrator is coming or where theycan buy one of the books presented). They tell us that they do not try – and believe this is very important – to ‘capitalise on activities held in connection with the festival as if they were our own’. By this they are referring, for example, to an initiative taken by some of the attendees of organising dinners with a few authors, informally known as the ‘Celsius dinners’. They supportthe initiative through the social media, but acknowledge that the initiative belongs solely to its original organisers, the enthusiasts who attend. In taking care of the community, they do not distinguish between on and o -screen, or between on and o ine. All their social media actions are based on this deeper and more eclectic view of these tools.The International Fantastic Film Festival of Catalonia (popularly known as Sitges Festival) also has an interesting social media strategy. It has Facebook, Twitter, Instagram, YouTube and Foursquare accounts. It uses the rsttwo throughout the whole year, whereasthe other three are used only when contenthas been generated or when the festival is approaching, as well as during press conferences and presentations. Once again, as with other festivals, communication is intensi ed around the time of the festival in relation to activities, lm screenings, prizes and Zombie Walk,one of the activities that arouse the highest expectations among the unconditional followers who return year after year.2. NT BEFORE AND DURING THE FESTIVALFocus: Use of New Digital Technologies at Cultural Festivals