Assessing
Creative
Media’s
Social
Impact





Presented
by
The
Fledgling
Fund

December
2008





By
Diana
Barrett
and
Sheila
Leddy













For
comments
or
questions,
please
e‐mail
Sheila
Leddy
at
sheila.leddy@thefledglingfund.org







The
Fledgling
Fund
welcomes
cited
references
to
this
paper.

When
this
paper
is
cited,
please

send
completed
works
to
sheila.leddy@thefledglingfund.org
so
that
we
may
track
its
usage.

To

cite
this
paper,
please
use:





Barrett,
Diana
and
Sheila
Leddy.

“Assessing
Creative
Media’s
Social
Impact.”

The
Fledgling
Fund.

2008.

http://www.thefledglingfund.org/media/research.html.







©
Copyright

The
Fledgling
Fund
2008



 Media
 has
 become
 an
 increasingly
 understood
and
documented.

The
purpose
of

effective
 tool
 for
 social
 change
 or
 so
 we
 this
 paper
 is
 to
 explore
 in
 greater
 detail
 the

would
all
like
to
think
–
particularly
those
of
 use
 of
 documentary
 films
 that
 are
 linked
 to

us
 who
 fund
 film
 and
 other
 creative
 media.

 coordinated
 outreach
 efforts
 as
 change

From
 The
 Fledgling
 Fund’s
 perspective,
 it
 agents.
 
 To
 that
 end,
 we
 are
 focused
 on
 the

seems
 intuitive
 and
 logical
 that
 a
 well‐made
 following
questions:


documentary
 film—especially
 one
 with
 a
 

compelling
 narrative
 and
 well‐crafted
 • Are
 all
 documentary
 films
 in
 fact
 calls
 to

outreach
 plan,
 would
 serve
 as
 a
 catalyst
 to
 action?
Should
they
be?


change
 minds,
 encourage
 viewers
 to
 alter
 • What
 do
 we
 mean
 by
 outreach
 and

entrenched
 behaviors
 and
 start,
 inform
 or
 community
 engagement
 campaigns
 and

reenergize
 social
 movements!
 Likewise,
 how
can
they
leverage
the
power
of
a
film

compelling
 photographs,
 short
 videos,
 radio
 in
such
a
way
that
it
can
indeed
serve
as
a

and
web‐based
media
appear
to
be
key
tools
 centerpiece
 of
 a
 broader
 social

in
raising
awareness
and
engaging
viewers
in
 movement?


social
issues.



 • How
 can
 emerging
 distribution
 models


 and
 web
 technologies
 enhance
 the
 social

We
are,
after
all,
accustomed
to
the
heavy
 impact
of
media

hitting
 and
 ubiquitous
 world
 of
 advertising,
 • 
What
 examples,
 or
 case
 studies,
 do
 we

another
 visual
 medium
 and
 one
 that
 have
 that
 illustrate
 how
 compelling

pervades
 our
 culture.
 We
 assume
 that
 if
 ads
 documentary
 films
 can
 be
 effective
 tools

can
 sell
 products,
 visual
 imagery
 linked
 to
 a
 for
 social
 change
 and
 what
 can
 we
 learn

social
 justice
 narrative
 can
 sell
 social
 action,
 from
them?


or
 political
 conviction.
 Who
 can
 forget
 the
 • What
can
we
learn
from
others
who
have

power
 of
 the
 Aflac
 duck,
 which
 has
 boosted
 studied
and
written
about
this
issue?

both
 brand
 recognition
 and
 sales2
 or
 Geico’s
 • 
And
ultimately,
what
kinds
of
metrics
can

lizard
 and
 its
 cavemen
 who
 have
 raised
 the
 be
used
to
assess
impact?



profile
and
sales
of
that
auto
insurer?3

 


 Our
 goal
 is
 to
 both
 inform
 our
 own

In
 fact,
 however,
 The
 Fledgling
 Fund
 has
 funding
 decisions
 and
 also
 add
 to
 the
 larger

found
 that
 it
 can
 be
 surprisingly
 difficult
 to
 dialogue
 surrounding
 the
 impact
 of
 film
 and

make
 a
 firm
 connection
 between
 the
 power
 other
media.


of
 a
 film
 or
 other
 media
 and
 social
 change.


Nevertheless,
 we
 believe
 that
 films
 can
 and

do
 have
 social
 impact,
 and
 obviously,
 would

not
 be
 funding
 in
 this
 area
 if
 we
 thought

otherwise.

However,
we
also
believe
that
the

social
 impact
 of
 media,
 particularly

documentary
 films,
 needs
 to
 be
 better


2
http://goliath.ecnext.com/coms2/gi_0199‐2846151/The‐
mighty‐duck‐Aflac‐is.html#abstract

3
http://www.post‐gazette.com/pg/07002/750670‐28.stm
Documentary
Films
as
Change
Agents

 for
 Public
 Engagement”5
 it’s
 interesting
 that


 the
 audience
 for
 this,
 and
 likely
 for
 similar

It
 is
 important
 to
 note
 that
 not
 all
 films,
was
largely
self
selected.

Viewers
were

documentary
films
are
intended
to
be
agents
 already
 interested
 in
 the
 issue
 of
 global

of
 social
 change,
 nor
 should
 they
 be.
 
 Some,
 warming
and
their
opinions
were
unlikely
to

such
 as
 Grey
 Gardens,
 are
 simply
 lovely,
 change
as
a
result
of
having
viewed
the
film.


moving
 stories
 whose
 primary
 purpose
 is
 to
 The
 same
 comment
 could
 be
 made
 about

entertain
 and
 share
 a
 compelling
 story.

 many
 of
 the
 other
 “blockbuster”

However,
 given
 The
 Fledgling
 Fund’s
 social
 documentary
 films,
 a
 term
 that
 is
 somewhat

change
mission,
we
are
focused
in
this
paper
 of
 an
 oxymoron
 when
 compared
 with
 truly

on
those
documentary
films
that
are
intended
 blockbuster
films
such
as
Titanic
or
The
Lord

to
be
agents
of
social
change.

 of
the
Rings.





 

To
 provide
 some
 context
 perhaps
 it
 How
 then,
 can
 a
 documentary
 film,

would
 be
 useful
 to
 place
 the
 documentary
 whether
 designed
 as
 a
 theatrically
 released

film
 within
 the
 ultra
 competitive
 media
 film
 that
 does
 the
 festival
 circuit
 and
 a

environment
 with
 many
 content
 choices.

 limited
 theater
 run,
 or
 one
 meant
 for
 public

Few
 people
 choose
 to
 spend
 their
 money
 or
 television
 or
 for
 cable
 release,
 or
 even
 one

their
 time
 in
 the
 theater
 viewing
 a
 that
 uses
 an
 alternative
 form
 of
 distribution

documentary
 film.
 
 In
 2008,
 for
 example,
 88
 (i.e.
 online
 downloads
 or
 On
 Demand)
 have

Minutes
 opened
 in
 New
 York
 City
 and
 made
 the
 kind
 of
 impact
 that
 changes
 minds,

$71
 million
 during
 the
 opening
 weekend;
 21
 inspires
 action,
 and
 ignites
 social
 change?


made
 $24
 million
 during
 the
 same
 period
 of
 Perhaps
we
need
to
broaden
our
definition
of

time.
 
 At
 the
 same
 time,
 Academy
 Award
 the
 word
 “impact”.
 David
 Whiteman,
 for

nominee
 War
 Dance
 and
 Academy
 Award
 example,
 argues
 that
 we
 tend
 to
 focus
 on

Winner,
 Taxi
 to
 the
 Darkside,
 both
 traditional
measures
used
by
studios
that
are

documentary
 films,
 made
 approximately
 far
 more
 relevant
 to
 large
 budget
 films.
 
 We

$100,000
 and
 $13,000
 respectively
 on
 their
 focus
 on
 box
 office
 receipts
 and
 the
 size
 of

opening
weekends.


 the
 audience,
 which
 are
 really
 measures
 of


 successful
 film
 marketing
 or
 promotion.


Even
 those
 films
 enjoying
 box
 office
 Instead,
 we
 might
 do
 better
 to
 think
 of
 the

success
 and
 heavy
 media
 publicity,
 such
 as
 film
as
one
point
on
a
continuum,
with
a
life

An
 Inconvenient
 Truth,
 draw
 relatively
 few
 before
 broadcast
 and
 a
 life,
 perhaps
 quite
 a

people.

Only
4%
of
adult
Americans
actually
 long
life,
after
broadcast.
6
In
other
words,
the

saw
 this
 film.4
 And
 as
 Matthew
 Nisbet
 notes
 film
 making
 process
 itself
 may
 change

in
 his
 introduction
 to
 “Documentaries
 on
 a
 perceptions
 and
 attitudes,
 facilitated

Mission:
 How
 Nonprofits
 Are
 Making
 Movies

5


http://www.centerforsocialmedia.org/resources/publicatio
ns/docsonamission/

4
Los
Angeles
Times/Bloomberg
Survey
(2006,
Aug.
3).
 6Whiteman,
D.
(2004)
Out
of
the
theaters
and
into
the


Americans
Worried
about
Climate
Change,
Bush
Not
Doing
 streets:
A
coalition
model
of
the
Political
impact
of

Enough.
Available
at
 documentary
film
and
media.
Political
Communications
21

http://www.latimes.com/media/acrobat/2006‐ (1):
51‐70

08/24711743.pdf

screenings
might
lead
to
a
greater
awareness
 compassion
and
excitement
that
films
evoke,

of
 the
 issue
 and
 an
 increased
 willingness
 to
 without
 the
 watering
 down
 that
 happens
 in

become
 involved
 in
 the
 issue
 and
 in
 the
 traditional
 screening
 venues
 as
 audiences

community.

Increasingly,
we
also
are
seeing
 leave
theaters.

This
forum
serves
not
only
as

filmmakers
 and
 other
 media
 makers
 use
 an
 organic
 community‐builder
 around
 social

web‐based
 strategies
 to
 involve
 their
 issues,
but
also
allows
the
filmmaker
to
track

audiences
 in
 the
 project’s
 development.
 
 For
 the
impact
that
their
film
has
had
on
viewers,

example,
Brave
New
Films
uses
a
nation‐wide
 and
 the
 impact
 they
 are
 making
 in
 their

network
 of
 volunteer
 videographers
 and
 communities
and
the
world.

researchers
 to
 compile
 their
 online
 social

action
 campaigns.
 
 The
 beauty
 of
 this
 model
 For
 many
 filmmakers,
 offering
 their
 full

is
 that
 each
 film
 already
 has
 a
 built‐in
 film
 online
 is
 still
 not
 an
 option,
 given
 the

network
of
viewers
with
their
own
individual
 method’s
 limited
 monetization
 to
 date.


networks
 with
 whom
 they
 can
 share
 the
 However,
 these
 filmmakers
 are
 maximizing

video.

The
“life”
of
the
documentary
can
also
 the
 social
 networking
 and
 community‐
be
 extended
 far
 beyond
 the
 traditional
 first
 building
 power
 of
 the
 internet
 to
 drive
 their

year
 of
 festival/theatrical
 release
 or
 social
 action
 campaigns.
 
 After
 audiences

broadcast
and
its
impact
enhanced
when
it
is
 view
a
film
at
a
festival,
community
screening

linked
 with
 a
 strategic
 community
 or
 other
 traditional
 venue,
 they
 are

engagement
or
outreach
campaign.


 encouraged
 to
 visit
 the
 film’s
 website.
 
 More


 importantly,
 filmmakers
 are
 using
 websites

The
 Role
 of
 Emerging
 Distribution
 to
build
a
community
before
the
film
has
even

Strategies
and
Web
Technology
 been
 completed.
 
 Building
 excitement
 for
 a


 film
before
its
release
is
increasingly
a
critical

Perhaps
the
most
exciting
development
in
 strategy
 to
 deepen
 the
 reach
 and
 impact
 of

the
 last
 several
 years
 is
 the
 emergence
 of
 films.

This
“pre‐release”
community
can
also

new
 digital
 distribution
 options
 that
 provide
 serve
 as
 a
 vital
 resource
 to
 filmmakers
 who

multiple
 channels
 for
 distribution,
 allowing
 are
seeking
ideas
and
feedback
about
themes,

filmmakers
 to
 tailor
 their
 films
 for
 different
 storylines
 and
 dialogue
 featured
 in
 the
 film.


audiences
 in
 diverse
 settings.
 
 Importantly,
 Engaging
 a
 pre‐release
 audience
 in
 the

many
 of
 these
 new
 distribution
 channels
 storytelling
 deepens
 their
 investment
 in
 the

allow
 for
 and
 encourage
 interaction
 and
 film
 and,
 logically,
 increases
 the
 likelihood

engagement
 of
 viewers
 that
 enables
 a
 film’s
 that
 they
 will
 see
 the
 film,
 and
 more

message
 to
 be
 amplified
 and
 shared
 more
 importantly,
take
action.

easily
 than
 if
 the
 only
 modes
 of
 distribution
 

remained
theatrical,
broadcast
or
community
 The
 best
 of
 these
 websites
 include,
 at

screenings.
 
 For
 example,
 digital
 film
 minimum,
 the
 following
 components
 in

screening
 “theaters”
 (Snag
 Films
 ‐
 addition
 to
 the
 more
 general
 information

www.snagfilms.com
‐
is
increasingly
popular)
 about
the
film:

transform
into
forums
for
discussion,
sharing
 

and
debate
as
soon
as
the
film
has
ended,
or
 • Factual
 information
 about
 the
 issues

even
 during
 the
 screening.
 
 This
 allows
 raised
in
the
film

filmmakers
 to
 harness
 the
 energy,

• Links
 to
 organizations,
 movements
 or
 which
 people
 can
 participate
 and
 add
 their

communities
 that
 are
 working
 on
 the
 voices
to
a
chorus
for
change.

issues
raised
in
the
film
 

• Concrete
 ways
 for
 people
 from
 all
 Film
 Promotion
 versus
 Community

demographics
to
get
involved
in
making
a
 Engagement
and
Outreach
Campaigns

real
change
in
their
own
lives,
community
 

and
world
 During
 the
 past
 decade,
 a
 number
 of

• A
 forum
 for
 people
 to
 share
 their
 organizations
have
emerged
as
experts
in
the

experiences
 of
 social
 change
 and
 action
 field
 of
 community
 engagement
 and

and
comment
on
the
actions
and
ideas
of
 outreach,
 designing
 and
 implementing

others
 creative
 and
 strategic
 campaigns
 around

• A
 place
 to
 sign
 up
 to
 receive
 e‐mail
 films.
 
 Outreach
 campaigns
 do
 not
 all
 look

communications
 about
 the
 issues
 raised
 like.
 
 They
 can
 be
 short
 or
 long
 term,
 local,

in
the
film
 national
or
even
international
in
their
scope.



 Based
 on
 our
 research,
 however,
 successful

Again,
 one
 of
 the
 most
 important
 outreach
campaigns
have
a
number
of
things

resources
that
these
websites
provide
is
real‐ in
common:

clear
objectives,
a
specific
action

time
 and
 constant
 feedback
 for
 filmmakers.

 plan,
 appropriate
 resources
 over
 the
 length

Instead
 of
 the
 traditional
 model
 where
 a
 of
the
campaign,
and
leaders
who
make
a
real

film’s
 action
 campaign
 was
 sent
 out
 to
 the
 attempt
 to
 measure
 progress
 towards
 their

world
 to
 be
 digested
 by
 audiences,
 and
 goals.
 Tactics
 can
 include
 TV
 and
 print

filmmakers
 rarely
 learned
 of
 the
 impact
 advertising,
the
use
of
digital
and
consumer‐
footprint,
 these
 complex
 and
 interactive
 driven
 media,
 repurposing
 footage,
 social

websites
allow
filmmakers
to
monitor,
adjust
 issue
 partnership
 development,
 celebrity

and
 re‐engage
 audiences
 throughout
 the
 life
 involvement,
 facilitated
 discussions,
 an

of
 the
 outreach
 campaign.
 
 For
 example,
 on
 educational
 strategy,
 penetration
 into
 new

the
most
basic
level,
if
a
website
is
not
getting
 venues,
 and
 clear
 calls
 to
 action.
 
 As

as
 many
 hits
 as
 anticipated,
 a
 filmmaker
 can
 described
 above,
 a
 hearty
 online
 presence

readjust
 to
 ensure
 that
 people
 are
 guided
 to
 through
 the
 film’s
 website
 is
 imperative
 for

the
 film’s
 online
 resources.
 
 Or,
 if
 people
 are
 films
 seeking
 to
 engage
 audiences
 in

blogging
 on
 the
 website
 that
 they
 are
 angry
 sustained
 and
 meaningful
 social
 action.
 
 In

or
passionate
about
the
issue,
but
few
people
 addition,
 filmmakers
 should
 be
 expanding

are
able
to
identify
how
to
make
change,
the
 this
 digital
 outreach
 to
 social
 networking

filmmaker
 can
 offer
 additional
 solutions
 sites
 such
 as
 Facebook,
 Myspace,
 Youtube

online
 that
 will
 help
 keep
 the
 action
 and
 Twitter
 to
 draw
 in
 new
 audiences
 that

campaign
 alive
 longer.
 Also,
 importantly,
 as
 may
 have
not
 seen
 or
even
 heard
 of
the
film

so
 many
 films
 are
 about
 current
 and
 before.
 
 Each
 campaign
 will
 have
 a
 different

constantly
 evolving
 social
 issues,
 the
 film’s
 set
 of
 “moving
 parts”
 and
 will
 thus
 be

website
and
digital
communication
strategies
 customized
 and
 unique.
 
 However,
 from
 our

can
 provide
 timely
 updates,
 which
 often
 point
 of
 view
 and
 based
 on
 our
 research
 to

encourage
people
to
take
further
action.

For
 date,
 the
 most
 effective
 outreach
 and

example,
there
may
be
new
calls
to
action
in
 community
 engagement
 campaigns
 move

beyond
 the
 goal
 of
 increasing
 audience
 size

and
sales
and
seek
to
use
films
as
vehicles
of
 The
campaign,
which
cost
about
$420,000

social
change.
A
strategic
campaign
can
move
 over
six
years,
had
as
one
of
its
components,

people
from
awareness
to
action
and
in
some
 the
 development
 of
 organizational

cases
help
to
build
or
strengthen
broad
social
 partnerships
and
a
clear
plan
of
action.

Early

movements
 which
 in
 turn
 can
 lead
 to
 social
 on,
when
the
film
was
still
being
researched,

change.

 the
 producers
 reached
 out
 to
 the
 Coming


 Clean
 collaborative,
 an
 umbrella
 of

While
 there
 are
 many
 examples
 of
 organizations
 at
 the
 forefront
 of
 health
 and

successful
 outreach
 campaigns
 (See
 environmental
justice
advocacy
in
the
United

Appendix
 for
 a
 sample
 list),
 there
 are
 three
 States.
 
 Through
 a
 series
 of
 feedback

that
 come
 to
 mind
 as
 particularly
 screenings
 of
 the
 18‐minute
 trailer,
 the

informative:
 Blue
 Vinyl’s
 My
 House
 is
 Your
 rough‐cut,
 and
 finally
 the
 94‐minute
 final

House
 Campaign,
 National
 Legacy
 Outreach
 project,
 members
 of
 the
 Coming
 Clean

Campaign
and
The
New
Americans
Campaign.

 collaborative
 informed
 the
 film’s
 narrative,

Each
 of
 these
 projects
 illustrates
 how
 assuring
that
the
film’s
messaging
dovetailed

effective
 community
 engagement
 and
 with
their
organizing
campaigns.
In
addition,

outreach
 campaigns
 can
 magnify
 the
 social
 the
 filmmakers
 partnered
 with
 Working

impact
of
documentary
films.

 Films,
 a
 national
 nonprofit
 co‐founded
 by


 Helfand,
 that
 links
 documentary
 film
 with

Blue
 Vinyl:
 The
 My
 House
 is
 Your
 House
 education,
 activism,
 and
 grassroots

Campaign7
 organizing.
 
 Working
 Films
 convened
 and


 facilitated
 a
 two‐day
 strategy
 summit,

The
film
Blue
Vinyl
and
accompanying
My
 bringing
together
the
producers
with
Coming

House
 is
 Your
 House
 campaign
 by
 Working
 Clean
 activists,
 environmental
 health

Films
 has
 been
 hailed
 by
 filmmakers
 and
 advocates,
 green
 builders,
 and
 scientists
 to

activists
 alike
 because
 of
 the
 real
 change
 it
 share
 insights
 in
 response
 to
 the
 fine
 cut
 of

created
 in
 individuals,
 institutions
 and
 the
 the
 film
 and
 develop
 an
 outreach
 strategy

marketplace
 at‐large.
 
 Judith
 Helfand,
 the
 aimed
 at
 building
 and
 advancing
 the
 PVC‐
film’s
 co‐director,
 has
 a
 strong
 record
 of
 Free
movement.


linking
 her
 films
 to
 creative
 activism
 and
 

strategic
 grassroots
 organizing.
 
 Blue
 Vinyl
 The
 summit
 meeting
 was
 designed
 to

exposes
 the
 toxic
 life
 cycle
 of
 PVC
 plastic,
 identify
 the
 key
 issues
 the
 campaign
 needed

starting
with
the
innocent‐looking
blue
siding
 to
 address
 including
 target
 audiences,
 and
 a

on
 Helfand’s
 parents’
 home
 in
 Long
 Island.

 timeline
 of
 opportunities
 that
 linked
 the

Blue
 Vinyl
 has
 been
 dubbed
 the
 “green
 distribution
 of
 the
 film
 to
 the
 ongoing
 work

building
 movement’s
 first
 cult
 classic”
 and
 of
 the
 organizations
 in
 the
 room.
 
 The
 five

has
 been
 instrumental
 in
 translating
 and
 strategic
constituencies
identified
for
the
My

explaining
the
toxic
lifecycle
of
PVC
–from
its
 House
 is
 Your
 House
 campaign
 included:

production
to
its
disposal.
 Sundance
 and
 HBO
 broadcast
 viewers,


 professionals
 in
 the
 design
 and
 building

industry,
colleges
and
universities,
affordable

housing
providers
and
household
consumers.


For
 each,
 a
 plan
 was
 devised
 to
 leverage
 the

7
www.myhouseisyourhouse.org,

film’s
 impact
 from
 its
 premiere
 at
 the
 2002
 Working
Films
led
outreach
to
chapters
of

Sundance
 Film
 Festival
 to
 its
 HBO
 Broadcast
 American
Institute
of
Architects
(AIA),
which

and
beyond.

 were
 awarded
 Continuing
 Education
 Credits


 (required
 in
 most
 states
 to
 maintain

From
 the
 start,
 the
 campaign
 has
 licensure)
for
viewing
and
discussing
the
film

achieved
 clear
 results.
 
 At
 its
 Sundance
 and
 its
 relation
 to
 the
 field
 of
 architecture.

premiere
viewers
signed
and
sent
over
1500,
 Building
 professionals
 learned
 more
 about

“Greetings
 from
 Sundance”,
 postcards
 to
 the
 dangers
 associated
 with
 PVC
 and
 have

Intimate
 Brands
 (the
 parent
 company
 of
 been
 inspired
 to
 commit
 to
 using
 “green”

Victoria’s
 Secret
 and
 Bath
 and
 Body
 Works)
 alternatives.
 
 Screenings
 of
 Blue
 Vinyl
 have

that,
 in
 conjunction
 with
 a
 push
 from
 been
 hosted
 by
 AIA
 member
 firms
 and

Greenpeace,
 resulted
 in
 6000
 emails.
 Within
 chapters
 in
 over
 15
 states,
 with
 many

a
 month,
 Intimate
 Brands
 made
 a
 architects
 and
 designers
 committed
 to
 green

commitment
 to
 completely
 phase
 out
 PVC
 building
by
signing
a

“PVC‐free”
pledge.


from
their
packaging.
 


 Blue
 Vinyl
 has
 screened
 at
 over
 100

The
 overall
 goal
 of
 the
 My
 House
 is
 Your
 colleges
 and
 universities,
 over
 30
 of
 these

House
 campaign,
 which
 is
 ongoing,
 is
 to
 screenings
 led
 to
 campus
 policies
 in
 support

support
the
growing
grassroots
movement
to
 of
sustainable
building.

For
example,
Cornell

transform
 the
 PVC
 industry
 so
 that
 it
 is
 no
 University
 committed
 to
 reducing
 negative

longer
 of
 source
 of
 persistent
 toxins
 that
 environmental
 impacts
 of
 construction
 on

threaten
humanity
and
the
environment.

To
 campus
 through
 its
 “Green
 Building

that
 end,
 it
 has
 focused
 on
 the
 following
 Initiative.”,
 Tulane
 now
 has
 an
 institutional

objectives:

 commitment
 to
 purchase
 green
 building

materials.

Similar
examples
of
impact
of
Blue

• To
 push
 professionals
 within
 the
 design
 Vinyl
screenings
can
be
seen
at
Bates
College,

and
building
industry
to
be
PVC‐free;
 Bowdoin
 College,
 University
 of
 Southern

• To
 motivate
 architectural
 and
 design
 Maine,
 Case
 Western
 Reserve
 University,

students
 on
 university
 campuses
 where
 Oberlin
College,
SUNY
Buffalo,
and
University

major
 construction
 and
 renovation
 of
Utah
among
others.

projects
are
in
the
planning
stages;

• To
 inspire
 faith‐based
 institutions
 in
 the
 In
 2004,
 capitalizing
 on
 the
 widespread

midst
 of
 capital
 campaigns
 and
 major
 success
 of
 Blue
 Vinyl
 and
 the
 surge
 of
 anti‐
building
 and
 renovation
 projects
 to
 link
 vinyl
discussion
within
the
building
industry,

their
philosophical/spiritual
commitment
 Greenpeace
 and
 the
 Healthy
 Building

to
 the
 preservation
 of
 environmental
 Network
 spearheaded
 the
 design
 and

health
and
justice;,
and
 construction
 of
 the
 first
 affordable,

• To
 support
 affordable
 options
 to
 toxic
 environmentally
 sustainable
 PVC‐free

building
 materials,
 including
 supporting
 Habitat
for
Humanity
House
–
with
Blue
Vinyl

Habitat
for
Humanity
efforts
to
build
with
 used
 as
 a
 key
 component
 in
 garnering

healthy
and
sustainable
products.

 stakeholder
 support.
 
 Located
 in
 a
 historic

New
 Orleans
 neighborhood
 not
 far
 from

many
 PVC
 plants,
 the
 house
 proved
 to

affordable
 housing
 providers
 and
 the
 public
 alternative
materials
that
in
turn
lower
costs.


that
you
could
build
an
affordable
home
and
 The
 availability
 of
 Blue
 Vinyl
 to
 health
 and

still
 meet
 an
 affordable
 pricing
 baseline
 of
 environmental
 justice
 organizers
 and
 green

$60,000.

 building
 proponents
 provides
 an
 invaluable


 tool
 that
 allows
 them
 to
 translate
 scientific

The
 campaign
 also
 targeted
 large
 data
 with
 pop‐cultural
 appeal.
 
 My
 House
 is

companies
 and
 institutions
 with
 impressive
 Your
House
has
been
strategically
positioned

results.
For
example,
after
screening
the
film
 into
the
organizing
efforts
aimed
at
creating
a

for
 1000
 construction
 and
 procurement
 healthy
and
sustainable
toxic‐free
future.
employees
at
Kaiser
Permanente
(the
largest
 

non‐profit
 healthcare
 organization
 with
 over
 Legacy8

30
hospitals
and
400
medical
centers),
Kaiser
 

committed
 to
 eliminating
 PVC
 in
 their
 A
 documentary
 film
 by
 Tod
 Lending,

building
 and
 renovation
 projects,
 including
 Legacy
 tells
 the
 inspiring
 story
 of
 how

carpet
 backing,
 corner
 and
 wall
 guards
 and
 members
 of
 the
 Collins
 family
 broke
 free
 of

changed
its
building
standards
to
also
include
 welfare,
recovered
from
substance
abuse
and

a
 switch
 to
 PVC‐free
 resilient
 flooring.
 
 After
 escaped
 the
 specter
 of
 violence
 in
 their

Kaiser
 asked
 their
 primary
 carpet
 community.
 
 Family
 members
 succeeded
 in

manufacturer
 to
 provide
 PVC‐free
 flooring,
 education
 and
 job
 training,
 secured

the
 factory
 introduced
 new
 PVC‐free
 employment,
 moved
 to
 a
 safe
 neighborhood

commercial
products
–
a
key
market
shift.

 and
gained
self‐respect.

Its
multi‐phased
and


 multi‐platform
 outreach
 campaign
 was


Inspired
 by
 a
 closed‐door
 City
 Council
 designed
 and
 organized
 by
 Outreach

screening
 of
 Blue
 Vinyl
 organized
 by
 the
 Extensions,
 a
 national
 consulting
 firm
 that

Healthy
 Building
 Network
 and
 the
 specializes
 in
 comprehensive,
 high‐profile

Washington
Toxic
Coalition;
the
Seattle
Parks
 educational
 and
 community
 outreach

and
 Recreation
 office
 cancelled
 an
 order
 for
 campaigns
 for
 media
 projects.
 
 The
 outreach

34,000
feet
of
PVC
pipes
and
sent
them
back
 campaign,
 supported
 by
 the
 Annie
 E.
 Casey

to
their
distributor.

San
Francisco
initiated
a
 Foundation,
 The
 John
 D.
 and
 Catherine
 T.

PVC‐free
 procurement
 policy
 with
 a
 MacArthur
 Foundation,
 W.K.
 Kellogg

screening
 of
 Blue
 Vinyl
 for
 city
 department
 Foundation
 and
 HBO,
 was
 designed
 to

heads,
 with
 many
 cities
 since
 signing
 similar
 expand
public
awareness
and
dialogue
and
to

commitments
 after
 screenings,
 including
 work
 in
 partnership
 with
 key
 organizations

New
York,
Boston
and
Buffalo.

 on
the
ground
that
focused
on
strengthening


 youth,
families
and
communities.




From
 the
 outset,
 the
 My
 House
 is
 Your
 

House
 campaign,
 with
 thousands
 of
 The
 overall
 outreach
 plan
 comprised
 a

screenings
of
Blue
Vinyl,
was
geared
towards
 number
of
components
including:
the
Legacy

helping
 consumers
 understand
 that
 there
 is
 Community
 Action
 Toolbox,
 the
 Legacy

no
such
thing
as
cheap
when
the
many
long‐
term
 problems
 associated
 with
 a
 product
 8
For
more
information
on
Legacy,
please
see

throughout
 its
 lifecycle
 are
 considered.
 
 The
 http://www.pbs.org/legacy/documentary/index.html,

film
has
been
leveraged
to
create
demand
for
 http://www.filmmakermagazine.com/archives/online
_features/triumph.php

and


website,
 screenings
 and
 events,
 customized
 • encouraging
 coalition‐building
 among

materials
 for
 the
 faith
 community,
 and
 local
 community
 organizations
 and
 helping

public
 television
 station
 engagement.
 them
 develop
 sustainable
 resources
 and

Importantly,
 it
 also
 involved
 national
 strategies
to
improve
the
lives
of
families

partnerships
 with
 social
 issue
 organizations
 in
cities
across
the
country.”9
that
 could
 bring
 the
 film
 to
 community

audiences.
 
 These
 organizations
 focused
 on
 ARC’s
 evaluation
 also
 reported
 that
 the

families
and
children
in
public
housing,
youth
 campaign
 had
 reached
 more
 than
 562,000

development,
 and
 grand
 parenting
 and
 individuals
 through
 outreach
 activities,

intergenerational
issues.


 publications,
 and
 broadcasts
 of
 local


 productions;
 had
 33,600
 web
 site
 visitors;

Outreach
 Extensions
 advanced
 a
 dual
 and
 distributed
 more
 than
 5,300
 Legacy
 of

strategy
 to
 utilize
 the
 strengths
 of
 both
 Faith
 videos,
 4,800
 Legacy
 of
 Community

HBO/Cinemax
 (audience
 reach
 and
 media
 Action
 videos,
 almost
 2,500
 copies
 of
 the

power)
 and
 PBS
 (targeted
 audiences,
 Legacy
 Community
 Action
 Toolbox,
 and

community
 outreach
 expertise
 and
 on‐the‐ about
11,250
separate
Toolbox
sections.

The

ground
 activities,
 role
 of
 stations
 as
 neutral
 national
 campaign
 facilitated
 over
 1,000

conveners,
 and
 its
 online
 presence)
 to
 reach
 community
 and
 faith
 events
 and
 screenings

and
serve
communities.

This
strategy
helped
 and
 organized
 103
 appearances
 of
 Collins

to
 build
 a
 seamless
 campaign
 for
 the
 July
 family
 members
 at
 events
 and
 screenings.


2001
 Cinemax
 premiere
 broadcast
 and
 the
 Local
 public
 television
 stations
 involved
 in

later
November
2002
PBS
broadcast.
 the
 campaign
 helped
 to
 customize
 campaign



 resources
to
serve
their
audiences.

By
 all
 accounts
 the
 campaign
 was
 very
 

successful
 and
 can
 point
 to
 a
 number
 of
 The
 campaign’s
 production
 of
 two
 short

positive
outcomes.

An
evaluation
by
Applied
 videos,
 Legacy
 of
 Community
 Action
 and

Research
&
Consulting
LLC
(ARC)
found
that
 Legacy
of
Faith,
repurposing
footage
from
the

the
outreach
campaign
was
“highly
successful
 documentary,
created
a
springboard
for
local

in
 achieving
 all
 of
 its
 four
 major
 goals,
 discussion
 and
 action.
 The
 Legacy
 of
 Faith

including:

 video
 opened
 the
 door
 for
 congregations
 to


 begin
 to
 use
 media
 effectively
 in
 convening

• utilizing
 media
 in
 innovative
 ways
 to
 audiences
 and
 generating
 sustainable
 action.

stimulate
community
action;
 Outreach
 Extensions
 has
 engaged
 this
 target

• engaging
 and
 supporting
 organizations
 audience
 in
 subsequent
 faith‐based

that
work
with
new
and
special
audiences
 campaigns
 including
 Faith
 Into
 Action
 and

(e.g.,
families
living
in
poverty,
individuals
 Omar
and
Pete.
The
latter
also
penetrated
the

in
 substance
 abuse
 prevention
 and
 Federal
Bureau
of
Prisons
to
assist
prisoners

recovery,
 grandparents
 who
 are
 primary
 who
 were
 reentering
 their
 families
 and

caretakers
 for
 their
 grandchildren,
 high‐ communities
following
incarceration.


risk
youth)
 

• raising
 awareness
 and
 understanding
 of

pressing
and
complex
social
issues;
and,

9
http://www.centerforsocialmedia.org/documents/leg
acy_eval.pdf
 Legacy
 can
 also
 point
 to
 a
 clear
 policy
 public
 television
 stations,
 educational

impact
 directly
 linked
 to
 the
 film.
 
 The
 institutions
 and
 community
 organizations

campaign
successfully
used
the
documentary
 develop
 partnerships
 and
 grassroots

film
as
a
platform
for
social
action,
including
 initiatives
 that
 support
 newcomer

efforts
 to
 achieve
 federal
 housing
 legislation
 integration.
 
 The
 civic
 engagement
 outreach

on
 behalf
 of
 grandparents
 rearing
 their
 campaign
had
the
following
goals:

grandchildren.
The
Transportation,
Treasury,
 

and
 Housing
 and
 Urban
 Development
 • Improve
 student
 and
 faculty
 cultural

appropriations
 bill
 signed
 into
 law
 on
 sensitivity
on
immigrant
issues

November
 30,
 2005
 included
 $4
 million
 for
 • Encourage
 professional
 development
 and

LEGACY
 Housing
 Demonstrations
 (named
 sensitivity
 training
 for
 service
 providers

after
 the
 film).
 
 Along
 with
 Outreach
 and
 business
 leaders
 who
 work
 with

Extensions,
 Generations
 United,
 one
 of
 the
 immigrants

national
outreach
partners,
was
instrumental
 • Recognize
 and
 cultivate
 leaders
 in

in
 this
 unprecedented
 outcome.

 immigrant
communities.

Congressional
 sponsors
 cited
 the
 film
 as
 an
 • Develop
 and
 strengthen
 coalitions,

inspiration
and
an
effective
tool
in
garnering
 resources
and
activities.

support
for
passage.
 • Convene
 public
 forums
 and
 preview


 screenings
on
related
issues.

While
Legacy
was
a
high
dollar
campaign,
 • Build
 awareness
 of
 the
 series
 using

about
 $1.3
 million
 over
 its
 five‐year
 electronic
 networks,
 newsletters
 and

duration,
 outreach
 and
 community
 websites.

engagement
 campaigns
 funded
 at
 lower
 

dollar
 amounts
 can
 achieve
 substantial
 The
 outreach
 campaign
 enlisted
 a
 range

impacts.

 of
 national
 partners
 and
 developed
 multiple

resources
targeted
toward
specific
audiences.



Active
 Voice
 and
 Kartemquin
 Productions

The
New
Americans10

collaboratively
 developed
 15‐20
 minute



theme‐based
 video
 modules,
 that
 focus
 on

A
seven‐hour
PBS
miniseries
produced
by

civic
 engagement,
 sensitizing
 educators,
 and

Kartemquin
 Films
 and
 that
 premiered
 in

youth
as
well
as
companion
discussion
guides

2004,
 The
 New
 Americans
 focuses
 on
 the

and
training
packages
for
advocates
teachers,

search
 for
 the
 American
 Dream
 through
 the

human
 resources
 professionals,
 youth

eyes
of
today's
immigrants
and
refugees.

Its

organizers,
 and
 inter‐group
 facilitators.


community
 engagement
 campaign
 was
 the

Active
 Voice
 also
 partnered
 with
 a
 range
 of

result
 of
 a
 partnership
 among
 the
 ITVS‐
local
 organizations
 across
 the
 country

Community
 Connections
 Project,
 Active

providing
technical
assistance
and
support
to

Voice,
 The
 National
 Issues
 Forums
 Institute

organizations
 actively
 involved
 in
 launching

and
 Outreach
 Extensions.
 The
 four

the
 New
 Americans
 Campaign
 in
 their

organizations
 created
 resources
 to
 help

communities.
 
 
 They
 provided
 staff
 support

for
 managing
 local
 campaign
 activities

10
http://www.pbs.org/independentlens/newamerica including
 screenings,
 trainings
 and

ns/
 promotion
of
the
modules.


http://www.itvs.org/outreach/newamericans/


 immigrants
 among
 diverse
 audiences
 and

According
 to
 an
 evaluation
 conducted
 by
 communities.

the
 Association
 for
 the
 Study
 and
 

Development
of
Community
for
Active
Voice,
 Key
Lessons

the
 campaign
 had
 impact
 at
 the
 individual,
 

organizational
 and
 community
 levels.

 Each
 of
 the
 campaigns,
 discussed
 very

Individuals
 reported
 increased
 knowledge
 briefly
 above,
 was
 unique
 and
 used
 a

and
 awareness
 of
 immigrant
 related
 issues
 somewhat
 different
 approach.
 
 In
 addition,

and
 became
 more
 involved
 in
 activities
 to
 each
 was
 spearheaded
 by
 a
 different

address
 them.
 
 Organizations
 formed
 new
 organization.
 
 While
 they
 all
 use
 a
 film
 as
 a

relationships
 with
 national
 and
 local
 groups
 centerpiece
of
a
larger
campaign,
they
target

working
 on
 similar
 issues,
 enhanced
 their
 different
 audiences
 and
 the
 goals
 of
 the

programming
 to
 address
 immigrant
 issues
 campaigns
move
well
beyond
traditional
film

and
 expanded
 their
 membership.
 
 At
 the
 marketing,
 incorporating
 goals
 that
 are

community
 level,
 new
 relationships
 were
 linked
 to
 social
 change
 rather
 than
 simply

formed
and
there
was
increased
advocacy
for
 building
audience
size.

Analysis
of
these
and

the
rights
of
immigrants.11
 other
 case
 studies
 as
 well
 as
 various


 conversations
 with
 key
 outreach
 providers

In
 addition
 to
 Active
 Voice’s
 video
 including
 Working
 Films,
 Outreach

modules,
 ITVS
 developed
 classroom
 and
 Extensions
and
Active
Voice,
point
to
certain

community
 discussion
 kits.
 
 The
 National
 determinants
of
successful
campaigns.

These

Issues
 Forum
 Institute
 created
 a
 companion
 include:


discussion
 guide
 for
 civic
 and
 educational
 

organizations
 interested
 addressing
 public
 • Clear
 Goals
 that
 are
 realistic
 and
 linked

issues
 in
 local
 forums.
 
 Finally,
 Outreach
 to
 the
 narrative
 and
 to
 the
 needs
 of
 the

Extensions
focused
on
the
needs
of
the
Latino
 movement.
 
 The
 goals
 can
 be
 focused
 on

community
 developing
 a
 workshop
 education
 and
 raising
 awareness
 among

curriculum
(in
English
and
Spanish)
to
assist
 key
 audiences,
 grassroots
 organizing
 and

parents
 and
 caregivers
 of
 young
 children.
 clear
 “take
 action”
 steps,
 movement
 and

Overseen
 by
 Outreach
 Extensions,
 selected
 coalition
building,
as
well
as
larger
public

public
 television
 stations
 received
 funds
 to
 policy
goals.



join
 with
 local
 partners
 to
 conduct
 activities
 

such
 as
 educational
 workshops,
 screening
 • A
 Specific
 Plan
 that
 is
 based
 on
 an

events,
public
forums,
museum
exhibits,
local
 understanding
 of
 key
 target
 audiences

public
 affairs
 productions,
 teacher
 trainings,
 and
how
best
to
reach
them
whether
it
be

and
 resource
 fairs
 ‐
 all
 of
 which
 were
 through
 traditional
 avenues,
 key

designed
 to
 facilitate
 discussions
 and
 raise
 partnerships
 or
 a
 methodical
 online

awareness
about
the
challenges
faced
by
new
 outreach
 plan.
 
 Online
 plans
 should

include
 clear
 strategies
 to
 engage
 each

target
audience
in
action,
tools
to
monitor

11
Final
Report
for
the
Evaluation
of
the
New
 and
 report
 on
 this
 action
 in
 order
 to

Americans
Campaign
prepared
by
Association
for
the
 further
engage
the
community
around
the

Study
and
Development
of
Community
for
Active
 film.
 
 The
 film’s
 website
 and
 broader

Voice,
July
29,
2004.
 online
 presence
 should
 be
 seen
 as
 far
 film’s
 website
 and
 broader
 online

more
than
a
parking
place
for
information
 presence.

about
 the
 film.
 
 Instead,
 each
 filmmaker
 

should
 be
 thinking
 strategically,
 and
 as
 • Sufficient
 Expertise
 and
 Resources

early
 as
 possible,
 about
 building
 and
 including
 management,
 technical
 and

sustaining
 a
 community
 of
 activists
 financial.
 
 Successful
 outreach
 campaigns

online.

This
action
could
be
a
meaningful
 require
 ongoing
 coordination
 and

discussion
 and
 dialogue
 or
 action‐ commitment.
 
 In
 some
 cases,
 this
 means

oriented
 requests,
 such
 as
 hosting
 a
 that
 outreach
 can
 be
 coordinated
 by
 the

screening,
 donating
 to
 a
 cause,
 filmmaker
 or
 an
 outreach
 coordinator

engagement
 in
 direct
 advocacy
 around
 working
 out
 of
 the
 filmmaker’s
 office.
 
 In

the
issue.

 other
 cases
 an
 external
 organization
 like


 Working
 Films,
 Active
 Voice
 or
 Outreach

• Flexibility
that
allows
the
project
to
take
 Extensions
 can
 be
 enlisted
 to
 design
 and

advantage
 of
 new
 opportunities
 and
 manage
 the
 campaign.
 
 However,

partnerships,
 to
 implement
 action
 steps
 regardless
of
the
model
chosen
to
manage

over
 time
 and
 to
 alert
 audiences
 to
 the
 outreach
 activities,
 sufficient

developments
 that
 may
 have
 occurred
 resources
 are
 required
 to
 support
 the

following
 the
 completion
 of
 production
 planning
 and
 implementation
 of
 the

such
 as
 a
 change
 in
 circumstance
 related
 outreach
campaign.


to
 one
 or
 more
 of
 the
 characters,
 new
 

legislation,
 or
 new
 issues
 related
 to
 the
 • Defined
 Timeline
 which
 can
 reflect

project
that
are
being
addressed.
 different
phases
of
a
project.

This
can
be


 focused
 around
 the
 film’s
 releases,
 such

• Appropriate
 Level
 of
 Partnership
 with
 as
 pre‐broadcast
 and
 post‐broadcast

key
 organizations
 that
 have
 content
 area
 activities,
 or
 festival,
 theatrical,
 digital
 or

expertise
and
that
are
already
working
on
 DVD
releases
or
linked
to
the
timetable
of

the
issues
addressed
in
the
film
and
have
 ongoing
 grassroots
 campaigns.
 
 A
 clear

relationships
 with
 key
 audiences.

 start
and
end
to
various
phases,
however,

Partnerships
 are
 key
 to
 a
 campaign’s
 provides
an
opportunity
to
reflect
on
key

sustainability
 beyond
 the
 release.

 lessons,
impact
and
evolving
needs
of
the

Partners
whose
missions
are
aligned
with
 campaign.
 
 Importantly,
 an
 outreach

the
 issue
 can
 carry
 action
 forward.
 Vital
 strategy
 should
 begin
 long
 before
 the

campaign
 resources
 such
 as
 guides,
 actual
 release
 of
 the
 project
 to
 help

educational
 materials
 and
 material
 ensure
a
built‐in
community
for
the
film’s

repurposed
 for
 community/educational
 release
and
action
campaign.

use
 can
 support
 screenings,
 discussion
 

and
 action
 planning.
 
 These
 partners
 can
 • Plan
 to
 Track
 Impact
 that
 is
 linked
 to

feature
 the
 film
 and
 the
 associated
 the
 campaign’s
 specific
 goals
 and
 when

campaign
 on
 their
 own
 website
 and
 in
 possible
moves
beyond
process
measures

digital
 communications
 to
 their
 such
 as
 number
 of
 screenings
 or
 website

membership
or
community.

This
can
be
a
 hits,
 toward
 outcome
 measures
 such
 as

critical
factor
in
driving
new
people
to
the
 viewer
 action
 and
 policy
 change.
 
 This

 deeper‐level
 impact
 can
 often
 be
 tracked
 Figure
1.
Outreach
Versus
Film
Promotion

through
online
audience
engagement
and
 provides
an
overview
of
some
of
the
different

anecdotally
 through
 the
 stories
 and
 types
 of
 outreach.
 
 We
 make
 a
 distinction

reports
 that
 people
 post
 on
 a
 film’s
 between
 traditional
 marketing,
 which
 in
 our

website.
 view
has
revenue
as
the
key
goal,
and
the
use


 of
film
as
a
vehicle
of
social
change.

Obviously,
 all
 of
 these
 factors
 are
 

dependent
on
the
type
of
outreach
campaign
 As
 a
 funder
 of
 outreach,
 The
 Fledgling

being
 undertaken
 and
 they
 all
 need
 to
 fit
 Fund
pays
particular
attention
to
the
goals
of

together
into
a
coherent
whole.

For
example,
 a
 film,
 where
 the
 issue
 is
 in
 the
 public

the
ability
to
achieve
the
stated
goals
will
be
 consciousness,
what
audiences
it
is
targeting

guided
 to
 a
 great
 extent
 by
 the
 campaign’s
 and
 what
 kind
 of
 change
 is
 reasonable
 to

timing,
 having
 the
 right
 partners
 on
 board,
 expect.
 
 For
 each
 project,
 we
 strive
 to

and
 the
 appropriate
 level
 of
 resources.

 determine
what
type
of
outreach
will
be
most

Likewise,
 measures
 of
 impact
 need
 to
 flow
 effective
given
the
issue
addressed
in
the
film

from
 the
 goals,
 plans
 for
 each
 target
 and
the
film’s
narrative.


audience,
 and
 the
 phase
 of
 campaign.


























































Figure
1.
Outreach
Versus
Film
Promotion


 
 
 
 
 
 







Film
as
Vehicle
of
Social
Change


 
 
 
 

Film
Promotion
 Educational
 Take
 Action
 Community
Engagement


 Outreach
 Campaign
 


 

Goal

 Revenue:
 Increase
 Education:
 Increase
 Individual
 Behavior
 Long
 Term
 Social
 Change:

size
 of
 “paying”
 awareness
 among
 Change:
Use
the
film
as
a
 Embed
film
in
long
term
social

audience
 viewing
 (and
 non‐ tool
 to
 raise
 awareness
 change
effort.


 viewing
 public)
 about
 a
 and
 spur
 individual


 key
social
issue.

 behavior
change/action



Characteristics
 Classic
 Marketing
 Classic
 Marketing
 to
 Social
 Marketing.
 Seeks
 Community
 Engagement

of
Plan

 to
“sell”
the
movie
 Sell
 the
 Issue.
 
 More
 to
move
individuals
from
 Initiatives.
 Seeks
 to
 use
 the

complex
 plan
 that
 uses
 awareness
 to
 action.
 film
 as
 tool
 for
 advocates
 who

movie
 as
 key
 Such
 as
 donating
 to
 a
 are
 already
 working
 on
 the

component
 of
 larger
 cause
 or
 advocating
 for
 issue
 and
 to
 strengthen
 and

educational
effort.

 particular
policy
change.
 grow
that
movement
as
way
to

achieve
 sustainable
 social

change.


Level
 of
 None
 Consists
 of
 working
 Involves
 partnership
 Requires
 long
 term

Partnership
 with
 partners
 to
 gather
 with
 key
 organizations
 partnership
with
organizations

with
 info
for
the
message.
 around
 specific
 who
work
on
the
issue


campaign
actions.


Activist/NGOs

Expertise
 and
 PR/Marketing
 Firm,
 Strategic
 Communi‐ PR/Marketing
with
issue
 Build
 and
 manage
 long‐term

Resources
 Distribution
 Expert,
 cations/PR
 w/issue
 area
 expertise
 and
 collaborative
 relationships
 w/

Needed
 understanding
 of
 area
 expertise.
 nonprofits
 with
 “Take
 nonprofits;
 has
 the
 expertise

traditional
 and
 Screening
 or
 Action
Plan”
 to
 work
 with
 both
 traditional



nontraditional
 curriculum
 guide,
 Ability
 to
 utilize
 and
 nontraditional
 media,
 can

distribution.
 Ability
 to
 utilize
 web‐ nontraditional
 web‐ develop
 initiatives
 and
 bridge

based
media.
 based
media
 campaigns.



Length/Timing
 Timed
 to
 film’s
 Can
 be
 long
 term
 Timed
 to
 window
 for
 Long
 term
 effort
 of
 which
 film

festival,
 theatrical
 particularly
if
education
 action
 (i.e.
 election
 is
only
one
part.

and
DVD
releases.
 market
 is
 accessed
 and
 fundraising
 effort,
 ,
 key

if
 online
 strategy
 is
 legislation


robust


Tracking
 Box
 office,
 DVD
 Box
 Office,
 DVD
 Sales,
 Box
 office,
 DVD
 Sales,
 Box
 office,
 DVD
 sales,
 media

Impact
 Sales
 Media
 stories
 on
 the
 Media
 stories
 on
 the
 stories
 on
 the
 issue
 that

issue
 that
 mention
 the
 issue
 that
 reference
 the
 reference
 the
 film,
 #
 and

film.
 Use
 of
 film
 in
 film,
 participation
 in
 strength
 of
 NGOs
 using
 film.


educational
 setting
 and
 specific
 action
 Participation
 in
 NGO

changes
 in
 knowledge,
 (donations
etc.).

Specific
 screenings/discussions

attitudes
and
beliefs.
 online
tools
can
be
used,
 Specific
policy
changes,
change

such
 as
 in
the
way
topic
is
portrayed
in

www.zazango.com
 to
 media.
Specific
online
tools
can

provide
 widgets
 for
 be
 used,
 such
 as

social
impact
tracking.


 www.zazango.com
 to
 track

social
impact.


Examples
 
 New
 Americans,
 Murderball,
 Born
 into
 Ghosts
 of
 Abu
 Ghraib,
 Blue

War/Dance
 Brothels
 Vinyl,
 Legacy,
 Aging
 Out,
 King

Corn,
 The
 Return
 of
 Navajo

Boy,
A
Jihad
for
Love

Assessing
Impact

 possible
or
feasible.

Thus,
we
believe
it’s


 important
 to
 look
 at
 a
 variety
 of
 data

Perhaps
more
difficult
than
assessing
the
 sources,
 such
 as
 survey
 results,
 case

structure
of
an
outreach
plan,
is
assessing
its
 studies
 and
 anecdotal
 data
 that
 when

impact.

This
of
course
is
critical
in
justifying
 taken
 together
 can
 provide
 a
 nuanced

funding
and
informing
foundation
boards.

To
 picture
 of
 a
 project’s
 impact.
 
 In
 addition

the
extent
possible,
we
want
to
move
from
an
 to
 different
 data
 sources,
 it
 is
 also

intuitive
 sense
 that
 documentary
 films
 have
 important
 to
 look
 at
 a
 combination
 of

social
 impact
 to
 more
 concrete
 measures.

 both
 process/output
 measures
 (e.g.
 the

While
we
do
realize
that
making
a
causal
link
 number
 of
 screenings)
 and
 outcome

between
 a
 film
 and
 broad
 social
 change
 is
 measures
(e.g.
what
happened
as
a
result

incredibly
 difficult
 to
 do,
 we
 know
 that
 of
those
screenings).

This
tracking
can
be

filmmakers,
 funders
 and
 others
 focused
 on
 done
 through
 a
 film’s
 website
 where

social
 change
 and
 performance
 evaluation
 people
can
report
the
impact
the
film
has

have
done
an
enormous
amount
of
work
that
 had
 on
 their
 own
 lives
 and,
 in
 turn,
 the

can
 and
 has
 informed
 our
 thinking.
 impact
 they
 are
 making
 on
 their

(Appendix
 B
 includes
 a
 list
 of
 various
 community

resources
 in
 these
 areas.)
 
 Based
 on
 our
 

analysis
 of
 work
 within
 the
 fields
 of
 social
 • Set
 Realistic
 Expectations
 for
 Impact.


media,
 social
 change
 and
 advocacy,
 and
 After
 reviewing
 case
 studies
 as
 well
 as

evaluation,
 several
 key
 lessons
 have
 models
 of
 individual
 and
 community

emerged.

These
include
the
need
to:

 change,
 we
 believe
 it
 is
 critically


 important
 to
 understand
 the
 state
 of
 the

• Think
 Beyond
 Box
 Office
 Success.

 movement
 and
 where
 an
 issue
 is
 in
 the

Because
 The
 Fledgling
 Fund
 is
 interested
 public
 consciousness
 in
 order
 to
 set

in
supporting
films
that
have
the
potential
 realistic
expectations
for
impact.

It
is
not

for
social
impact,
it
is
important
for
us
to
 reasonable
 to
 expect
 broad
 social
 change

move
 beyond
 thinking
 of
 just
 box
 office
 if
 there
 is
 little
 public
 awareness
 that
 a

success
 and
 instead
 look
 at
 the
 overall
 problem
 exists.
 
 In
 some
 cases,
 just

impact
of
the
film.

For
example,
while
we
 getting
audiences
to
see
the
film,
connect

are
 interested
 in
 the
 number
 of
 people
 with
 the
 story
 and
 better
 understand
 an

who
saw
the
film,
we
are
more
interested
 issue
 is
 enough.
 
 This
 awareness
 is
 the

in
 how
 many
 people
 better
 understand
 first
 step
 to
 social
 change.
 
 If
 an
 issue
 is

the
issue
because
the
film
was
made.


 incredibly
 complex
 or
 not
 well


 understood,
 the
 goal
 of
 the
 film
 and
 its

• Use
 a
 Range
 of
 Data
 to
 Assess
 Impact.

 outreach
 campaign
 may
 focus
 simply
 on

In
an
ideal
world,
we
would
like
to
be
able
 raising
 awareness
 and
 stimulating

to
 point
 to
 hard
 outcome
 measures
 or
 dialogue.

On
the
other
hand,
if
an
issue
is

statistically
 significant
 measures
 of
 well‐understood
 and
 there
 are
 clear

change
 to
 assess
 the
 impact
 of
 a
 film
 solutions,
we
would
hope
the
goals
of
the

and/or
its
outreach
campaign.

In
reality,
 campaign
 would
 shift
 to
 something
 more

we
 understand
 that
 this
 is
 not
 always
 concrete
 than
 simply
 dialogue.
 
 There

 needs
to
be
an
infrastructure
in
place
that
 that
 a
 small
 planning
 grant
 can
 facilitate

encourages
 individuals,
 organizations,
 this
process
by
bringing
key
stakeholders

and/or
communities
to
act.


 together
 to
 develop
 a
 plan
 that
 is


 strategic,
focused
and
measurable.



• Work
 Collaboratively
 with
 Key
 

Stakeholders
 to
 Develop
 Goals
 and
 an
 Dimensions
of
Impact


Assessment
 Plan.
 Clearly,
 setting
 

expectations
 for
 impact
 needs
 to
 be
 a
 In
 an
 attempt
 to
 apply
 these
 lessons
 to

collaborative
 process
 that
 involves
 the
 our
 efforts
 to
 measure
 the
 impact
 of
 our

filmmaker,
 outreach/community
 work,
The
Fledgling
Fund
has
identified
some

engagement
 professionals,
 funders,
 as
 “Dimensions
 of
 Impact”
 (See
 Figure
 2)
 that

well
 as
 key
 organizations
 that
 work
 on
 we
use
as
a
framework
to
assess
the
various

the
 film’s
 issues
 on
 a
 day‐to‐day
 basis.

 projects
that
we
fund.

From
the
standpoint
of
funding,
it
may
be



Figure
2.
Dimensions
of
Impact




 

The
 core
 dimension
 is
 a
 quality
 film
 or
 percentage
 heard
 and
 read
 about
 the
 film

media
 product
 that
 can
 function
 as
 a
 jumping
 given
 the
 publicity
 and
 press
 that
 the
 film

off
 point
 for
 collaboration
 and
 action.
 
 By
 this
 generated.12
 
 
 More
 and
 more,
 potential

we
mean
a
film
that
has
a
compelling
narrative
 audiences
 are
 not
 reading
 traditional
 film

that
draws
viewers
in
and
can
engage
them
in
 reviews,
but
doing
a
simple
internet
search
for

the
 issue
 and
 illustrate
 complex
 problems
 in
 the
 film
 and
 reading
 postings
 about
 the
 film

ways
 that
 statistics
 cannot.
 
 We
 believe
 that
 a
 from
viewers
around
the
world.


quality
 film
 is
 the
 foundation
 for
 strong
 

distribution
 and
 can
 lay
 the
 groundwork
 for
 Next
 we
 look
 at
 public
 engagement,
 which

innovative
 and
 high
 profile
 outreach
 and
 indicates
a
shift
from
simply
being
aware
of
an

community
 engagement
 strategies.
 
 For
 this
 issue
to
acting
on
this
awareness.

Were
a
film

dimension,
 we
 look
 at
 measures
 such
 as
 and
 its
 outreach
 campaign
 able
 to
 provide
 an

festival
 acceptance,
 theatrical
 success,
 answer
 to
 the
 question
 “What
 can
 I
 do?”
 and

broadcast,
 internet
 streaming,
 online
 “buzz”,
 more
 importantly
 mobilize
 that
 individual
 to

international
and
national
DVD
sales
as
well
as
 act?

To
evaluate
a
project’s
success
along
this

traditional
 film
 reviews
 and
 awards.
 
 All
 of
 dimension
we
can
look
at
participation
in
and

which,
 we
 believe,
 create
 buzz
 around
 a
 film
 response
 to
 facilitated
 dialogues
 and

and
 begin
 the
 process
 of
 building
 awareness
 screenings,
blogs,
activity
on
social
networking

about
both
the
film
and
the
issue.

This
in
turn
 sites,
 and
 participation
 in
 Take
 Action

can
 make
 it
 easier
 to
 engage
 partners
 in
 Campaigns.
 
 We
 can
 also
 look
 at
 website
 hits

outreach
and
community
engagement
efforts.
 and
 view
 generated
 opinion
 and
 editorial


 pieces
and
response
letters.

The
 next
 dimension
 that
 we
 consider
 is
 a
 

project’s
 ability
 to
 raise
 awareness
 around
 a
 Moving
beyond
measures
of
impact
as
they

particular
 issue
 since
 awareness
 is
 a
 critical
 relate
 to
 individual
 awareness
 and

building
 block
 for
 both
 individual
 change
 and
 engagement,
we
look
at
the
project’s
impact
as

broader
social
change.

Here
we
consider
both
 it
relates
to
the
broader
social
movement.

We

the
 audience
 size
 and
 the
 diversity
 of
 that
 are
interested
in
understanding
if
a
project
can

audience.
 
 By
 diversity
 we
 think
 of
 the
 strengthen
 the
 work
 of
 key
 advocacy

geography,
age,
faith,
political
views,
as
well
as
 organizations
that
have
strong
commitment
to

racial
diversity.

For
example,
was
the
film
able
 the
 issues
 raised
 in
 the
 film
 either
 by

to
energize
those
concerned
about
a
particular
 energizing,
 building
 or
 growing
 active

issue
 and
 involve
 them
 in
 even
 deeper
 and
 participation
in
that
movement,
or
perhaps
by

more
 meaningful
 ways
 in
 advocacy
 efforts?

 spurring
 collaboration
 among
 key

Or,
 did
 it
 reach
 beyond
 those
 who
 already
 organizations.
 
 We
 can
 look
 at
 such
 measures

know
and
care
about
the
issue
explored
in
the
 as
the
number
of
advocacy
organizations
using

film?
 In
 addition
 to
 audience,
 we
 also
 look
 at
 the
 film
 in
 their
 strategic
 work
 and
 increased

things
 like
 press
 coverage
 both
 on
 and
 off
 viewer
 participation
 in
 the
 movement
 as

entertainment
 pages
 and
 online
 discussion

forums
 and
 blogs.
 
 As
 we
 mentioned
 above,
 a

relatively
 small
 percentage
 of
 people
 actually
 12


saw
The
Inconvenient
Truth,
but
a
much
larger
 http://www.centerforsocialmedia.org/resources/public
ations/docsonamission/

indicators.
 
 In
 addition,
 we
 are
 interested
 in
 An
 overview
 of
 these
 dimensions
 with

the
role
of
the
film
in
larger
policy
debates.
Is
it
 some
 sample
 measures
 is
 shown
 in
 Figure
 3.


mentioned
 in
 policy
 discussions
 and
 the
 It
 is
 important
 to
 emphasize
 that
 this
 is

legislative
 press?
 Have
 there
 been
 screenings
 framework
 for
 evaluation
 and
 we
 do
 not

with
key
decision
and
policy
makers?

Both
of
 expect
 that
 every
 project
 will
 result
 in

which
 can
 indicate
 the
 film’s
 usefulness
 as
 a
 concrete
 policy
 change.
 
 The
 goals
 of
 the

tool
for
policy
change.
 project
and
our
expectations
will
be
driven
by


 where
 an
 issue
 is
 in
 the
 public
 consciousness

Ultimately,
 of
 course,
 social
 change
 is
 the
 and
the
role
a
film
can
play,
given
its
narrative,

goal.
 
 And
 while
 we
 understand
 that
 realizing
 in
the
process
of
social
change.

It
may
be
that

social
 change
 is
 often
 a
 long
 and
 complex
 film
 can
 play
 a
 key
 role
 in
 raising
 public

process,
 we
 do
 believe
 it
 is
 possible
 and
 that
 awareness
and
educating
key
target
audiences

for
 some
 projects
 and
 issues
 there
 are
 key
 about
 a
 particular
 issue.
 
 In
 other
 cases,
 there

indicators
 of
 success.
 
 
 For
 example,
 in
 some
 is
 the
 potential
 for
 substantive
 policy
 change.


cases
we
could
look
to
key
legislative
or
policy
 The
 key
 for
 each
 project
 is
 to
 understand
 the

changes
 that
 were
 driven
 by,
 or
 at
 least
 state
 of
 the
 movement
 and
 how
 the
 film
 and

supported
 by
 the
 project,
 such
 as
 the
 Legacy
 outreach
 initiative
 can
 move
 it
 to
 next
 level.



project.
 
 In
 other
 cases,
 we
 can
 point
 to
 shifts
 In
other
words,
we
need
to
be
clear
as
to
what

in
 public
 dialogue
 and
 how
 issues
 are
 framed
 type
 of
 outreach
 is
 most
 appropriate
 and
 set

and
discussed.


 reasonable
expectations
in
terms
of
impact.







 Figure
3.
Sample
Measures
for
Dimensions
of
Impact

Why
Important?
 Sample
Measures


Foundation
for

 • Festival
Acceptance

Quality

 distribution,
outreach
 • Theatrical
Release

Film
or
Media

 and
community
 • Broadcast/Internet

Project
 engagement
strategies
 • Awards


• Film
Reviews/
Online
“buzz”

• Sales


Critical
building
block
 • Audience
Size

for
individual
and

 • (By
Distribution
Segment)

Increased
 social
change
 • Diversity
of
Audience

Public


• (geographic,
age,
faith,
etc.)

Awareness
 • Press
Coverage

(including
online)


Indication
of
change
in
 • Participation
in/Response
to:

Increased
 attitudes,
beliefs
and

 • facilitated
dialogues


Public

 behavior
and
a
 • Blogs

Engagement
 shift
from
awareness
 • Social
network
sites



to
individual
action.
 • Take
Action
Campaigns

• Website
Hits

• Op/Eds
and
response
letters


Evidence
that
film
or
 • #
of
advocacy
organizations

media
can
move

 utilizing
film

Stronger
 individuals
to
collective
 • Collaboration
among
org.

Social

 action
and
strengthen
 • Viewer
Part.
in
movement


Movement
 capacity
of
advocacy
 • Screenings
w/decision
and


organizations
in
their
 







policy
makers

strategic
work. • Mention
in
Policy
Discussions









and
legislative
press

• Longevity
of
the
film/media


Social

 • Policy/Legislative
Change

Change
 Ultimate
Goal
 







(international,
national,
state,












and
local)


• Behavior
Change

• Shift
in
public
dialogue






 It
 is
 also
 important
 to
 recognize
 that
 • Strong
 Outreach
 Plan:
 
 We
 seek
 projects

larger
 campaigns
 may
 have
 different
 layers
 of
 with
 clear
 and
 strategic
 plans
 that

evaluation.
 
 For
 example,
 evaluative
 measures
 incorporate
 the
 key
 elements
 we
 discussed

may
 emerge
 from
 campaign
 actions
 that
 occur
 earlier
 in
 this
 paper.
 
 And,
 while
 we
 are

on
 the
 local
 level
 by
 public
 television
 stations
 thrilled
when
a
project
comes
to
us
with
this

and
 their
 local
 partners.
 
 These
 may
 include
 clearly
 defined
 with
 a
 strategic
 outreach

viewership
 of
 local
 documentaries
 or
 public
 plan,
we
recognize
that
in
some
cases,
these

affairs
 segments
 (radio
 or
 television)
 that
 plans
evolve
over
time.

Critical
to
us
is
that

explore
local
perspectives
and
solutions
related
 a
 project’s
 director
 has
 thought
 about
 the

to
a
national
documentary.

 overall
 goal
 for
 the
 film
 or
 project,
 its
 key


 audiences
 and
 constituencies,
 and
 has


Moving
Forward
 developed
 or
 is
 willing
 to
 develop


 relationships
 with
 the
 key
 organizations

The
 Fledgling
 Fund
 views
 the
 framework
 who
 understand
 and
 work
 on
 the
 issue.


above
 as
 a
 model
 to
 help
 structure
 how
 we
 Given
that
starting
point,
we
often
work
with

develop
and
evaluate
the
projects
that
we
fund.

 filmmakers
 to
 develop
 a
 more

As
 we
 consider
 funding
 proposals,
 we
 consider
 comprehensive
outreach
strategy
to
take
the

a
series
of
factors
that
are
all
linked
back
to
our
 project
to
the
next
level
of
social
impact.


dimensions
 of
 impact
 and
 the
 lessons
 that
 we
 

have
learned
to
date.

These
include:

 • Strong
 Leadership.
 
 We
 look
 for
 a


 filmmaker
 or
 project
 leader
 who
 is

• Quality:
 
 This
 is
 a
 first
 criterion
 that
 we
 committed;
 one
 who
 really
 cares
 about
 the

consider.
 
 We
 look
 for
 projects
 that
 center
 issue
 and
 either
 has
 or
 can
 develop
 key

around
 a
 high
 quality
 film,
 website
 or
 other
 relationships
 with
 activists,
 outreach

media
 that
 tells
 a
 story
 with
 a
 compelling
 providers
 and
 others
 to
 create
 and

narrative,
 strong
 characters
 that
 we
 care
 implement
a
really
innovative
outreach
plan.

about
and
a
clear
story
arc.
We
ask
whether
 

the
 project
 tells
 a
 universal
 story
 and
 • Learning
 Potential.
 
 We
 believe
 that

whether
it
tells
it
well.

 evaluation
provides
funders,
filmmakers
and


 social
 justice
 organizations
 important

• Potential
 for
 Social
 Impact:
 
 We
 ask
 information.

It
provides
an
opportunity
not

ourselves
 the
 following
 questions:
 
 Does
 it
 only
 to
 determine
 if
 goals
 were
 met
 and

add
 to
 or
 advance
 our
 understanding
 of
 the
 objectives
achieved
but
also
why
a
campaign

issue?
 
 Is
 it
 a
 unique
 perspective?
 Is
 this
 was
 successful
 and
 how
 it
 could
 have
 been

project
 likely
 to
 make
 a
 difference?
 Is
 it
 improved.
 
 We
 view
 evaluation
 as
 a
 critical

likely
 to
 change
 attitudes
 and
 perhaps
 learning
 process
 rather
 than
 a
 punitive

behavior?

Will
something
be
lost
is
a
project
 exercise
 and
 believe
 both
 successes
 and

does
not
move
forward?

Is
the
issue
socially
 failures
 can
 inform
 our
 efforts.
 
 We
 have

ripe
 for
 change?
 
 In
 other
 words,
 given
 the
 learned
 that
 assessing
 the
 impact
 of
 our

state
of
the
movement
or
the
issue,
can
this
 media
projects
and
continuing
to
add
to
the

project
move
the
issue
forward?

 documentation
 that
 exists
 will
 build


 confidence
 among
 key
 stakeholders
 in
 the

field
 that
 film
 and
 other
 creative
 media

projects
 can
 catalyze
 social
 change.
 
 In
 our
work
in
this
area
is
only
just
beginning.


addition
 to
 applying
 this
 framework
 to
 our
 We
 view
 this
 as
 a
 working
 model
 that
 will

own
 grantmaking,
 we
 will
 continue
 to
 continue
to
evolve
as
our
work
and
the
field

incorporate
 new
 learning
 to
 strengthen
 it.

 evolves.
 
 Now
 more
 than
 ever,
 we
 believe

Our
hope
is
that
this
paper
will
prove
useful
 that
 film
 and
 other
 media
 can
 have

to
 a
 range
 of
 stakeholders
 interested
 in
 tremendous
 social
 impact
 and
 can
 indeed

using
media
to
achieve
social
impact
–
from
 ignite
 social
 change.
 
 
 We
 welcome
 your

filmmakers
 and
 other
 media
 makers
 to
 comments
 and
 suggestions.


activists
and
funders.

We
also
recognize
that

Appendix
A

Sample
List
of
Outreach
Campaigns



Aging
Out

A
Healthy
Baby
Girl

Beyond
Beats
and
Rhymes

Blue
Vinyl

The
Doula
Story

Everything’s
Cool

Farmingville

The
Forgetting:
A
Portrait
of
Alzheimer’s

The
New
Americans

Reentry
National
Media
Outreach
Campaign

Trembling
Before
G_D

Two
Towns
of
Jasper

Waging
a
Living











Appendix
B

Resources
Related
to
Impact



Documentaries
on
a
Mission:
How
Nonprofits
are
Making
Movies
for
Public
Engagement.


By

Karen
Hirsch
with
an
introduction
by
Matt
Nisbet

http://www.centerforsocialmedia.org/resources/publications/docsonamission/



Making
Television
Matter:
How
documentaries
can
engage
and
mobilize
viewers.


http://www.benton.org/publibrary/mtm/index.html



Using
Grassroots
Documentary
Films
for
Political
Change,
June
26,
2001
Outreach
Tips
for

Nonprofits
and
Activist
Organizations

www.mediarights.org/news/articles/using_grassroots_documentary_films_for_political_chan
ge



Reassessing
the
Impact
of
Documentary
Film:
Filmmakers,
Activist
Community
Organizations,

and
Public
Policy



The
Impact
of
The
Uprising
Of
’34:
A
Coalition
Model
of
Production
and
Distribution

http://www.ejumpcut.org/archive/jc45.2002/whiteman/uprisingtext.html



Communication
for
Social
Change:
An
Integrated
Model
for
Measuring
the
Process
and
Its

Outcomes,
by
Maria
Elena
Figueroa,
D.
Lawrence
Kincaid,
Manju
Rani,
Gary
Lewis,
2002




The
Challenge
of
Assessing
Policy
and
Advocacy
Activities:
Part
II
–
Moving
from
Theory
to

Practice,
The
California
Endowment,
October
2006