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Can Tugg provide new opportunities for cinema as an articulating mechanism of civil society?

April 28, 2012
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The LA Times recently covered a new service called Tugg that allows individuals to schedule and promote digital film screenings at their local multiplex. The idea is to provide self-selected audiences with an opportunity to view movies that major theater chains don’t deem commercially viable for extended runs.

The process is relatively simple. The screening’s “organizer” first chooses the movie they want to screen from Tugg’s catalog (which has 433 titles as of this writing). Then:

[t]he organizer selects a local theater, locks in a date and then aggressively promotes the event using Facebook, Twitter or other social media. If people reserve enough tickets — a screening typically requires a minimum of 50 advance ticket purchases — Tugg then books the film in one of the theaters that have signed up for its service. (LA Times)

Tugg is still in beta and the ability to organize a screening is not yet open to the public. I wasn’t able to determine how the catalog is curated, but my hope is that there will be relatively few filters for producers (and other rights managers) who want to make their films available. I’d also like to see smaller (art) theaters be included as potential venues. But the underlying logic of Tugg’s platform is compelling.

Tugg holds potential for producers working in the margins because it adds another avenue of distribution and revenue generation to the mix. But Tugg also offers new possibilities to civil society organizations. In addition to asking individuals to download and view a movie individually, or host a screening in their own home, organizations can bring together larger crowds and make use of the opportunity to host discussions and generate further collaboration in relation to campaigns and other initiatives. Of course, this kind of thing has been happening for decades in schools, libraries, and other public venues, and there may still be advantages to choosing those locations. But Tugg enables a new social viewing space that combines the ease of over-the-top, video-on-demand delivery with the quality, comforts, and convenience of the theater. That mix might help to attract larger and more diverse audiences.

In short, Tugg seems to offer a new set of possibilities for the cinema to serve as an articulating mechanism of civil society. I will be watching to see if community media producers take advantage.

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