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Attention

A bad film festival and throwing slippers both have a strong sense of irony and spoof, so the promo will be comedic style, exaggerating the characters' expressions and behavior.

The film festival's target audience is the film fans and independent short filmmakers, to catch their attention, the promo should contain film elements and reveal the differences between traditional film festivals: you can easily

The promo would use many animated graphics to show a modern design style. The color would use only black, white, and red to catch their eye on the main subject and to show a rebellious spirit. The animation would also use only simple but powerful square elements to decorate the video.

Interest

To the major of people, traditional film festivals are more like exchanges between industry professionals, which are difficult for ordinary people to access. So this film festival will be more oriented towards the general public.

This bad film festival itself is very gimmicky: no one doesn't want to troll bad movies. The promo will emphasize the point that you can get slippers after enter the cinema and throw slippers at bad movies in cinema.  And the promo will try to tell people that we know how you feel after watching a bad film, we offer a way for you to release it.

In the promo the protagonist felt pain because he watched a bad movie, he angrily threw slippers at the screen.

There would be a evil filmmaker who want to kill people by watching his bad films. This promo will subconsciously turn spitting on bad movies into an act of justice.

For filmmakers, Their main focus will be on audience numbers and sponsorship.  We will also provide financial incentives for the winning films. And the film festival with a rebellious spirit is particularly attractive to independent creators, and it can be a great stage for creators to face the public.

Therefore, the festival will be more inclined to the short film screening, lowering the threshold so that more people are willing to submit their own works.

Desire

Create a demand for people when they don't have one. Everyone wants to comment on the films they've seen, and the festival amplifies that desire and makes them feel the need to go to the festival and throw slippers to give vent to that desire.

Action

We hope that more people will come to see the film and that more filmmakers will submit their films.

To achieve this, the promo will emphasize the need to vent their anger after watching a bad movie and make the audience think that coming to the festival to throw slippers is the only way to satisfy their desire.

Many talented independent filmmakers have been buried due to financial pressure and lack of access to screenings, This festival will select films that have fallen through the cracks of other festivals. This will give these niche films a chance to reach the public and allow audiences to enjoy them.

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The film begins with the festival logo popping up, accompanied by electronic music, a modern-style square sliding through to complete the transition, and we see a man staring at the screen in the dark, with the film on the screen emitting light to illuminate his face. He is sweating profusely and whispering angrily:
"what a lousy film it is."

Across the screen, we see on the other side, an evil filmmaker laughing while editing films, who is hoping to make a film bad enough to kill anyone who doesn't like it.

Back to the main character, he finally can't take it anymore and throws the slipper at the screen. A slow-motion shot is used to show the slipper knocking down the screen.

The protagonist gasped, he said:
" I can not believe it, there is a film can be bad to this."
At this point a narrator voice come in:
" only throwing slippers can calm you down?"
The main character:
" I was almost killed by this bad film! "
Narrator:
" Then let's go to the Slipper Film Festival!"

After a modern style graphic transition, the main charactor arrives at the box office and buys a movie ticket. He was about to enter the cinema when the ticket agent stopped him, smiled and said:
" Don't forget your slippers."
The protagonist happily took his slippers to the movie.

The slow-motion shots of countless slippers smashing into the screen are accompanied by the slogan:
"Throw slippers at bad movies! At the Slipper Film Festival, you can freely throw slippers at all the bad movies in the cinema. The film that gets the most slippers will win the Golden Slipper Award."

Graphic transitions, we see a series of film festival specific information.

The evil filmmaker's plan fails and he hisses angrily at the screen:
"Why isn't anyone dying? Wasn't my film bad enough?"

A bell rings at the door, the evil filmmaker opens it, and the courier brings the Golden Slipper Award trophy.

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Academic Sources 1

Phillip Nelson, 1974, Advertising as Information, Journal of Political Economy, vol.82(4), pages 729-754, published by The University of Chicago Press.

This artical attempts to explain the importance of the advertising to the characteristics of a brand.

From this artical, I've learned about that advertising does not always acting as a role to carry informations, The goal of creating ads is to better sell products rather than provide informations. Many advertisements boost product performance simply by exaggerating emotions and creating a brand image.

It inspired me that my own promo video can use simple ideas but strong element to establish the style of the film festival. As for this is a bad film festival, the graphic design can use punk style or gothic style to get the identity of the target audience.

Academic Sources 2

Dina Iordanova, 2015, The Film Festival as an Industry Node, Media Industries, 2015, vol.1(3), [online] Available at: <https://doi.org/10.3998/mij.15031809.0001.302>,
[Accessed 9 July 2022].

This article focuses on the trend that film festivals are transforming from showcases for films to creative and commercial clusters that promote the development of the film industry.

The festival is now more of an event between filmmakers and investors, More and more young film directors are getting their first funding through the festival.

However, the article points out that：

Although festivals may seem to open up pathways to global exposure and circulation, in fact, they only produce a “bottleneck effect” and ensure that noncommercial films remain outside formal circulation channels.

It give me an idea that to set up more activities for filmmakers and investors, this would attract more films to submit and more sponsorships. This artical also remind me that do not just limit this form of viewing to film festivals, Try to extend the festival itself. This project may be able to do more.

Academic Sources 3

S. James Snyder, 2009, A Brief History of The Razzies,Time, 21 Jan 2009, [online] Available at
<http://content.time.com/time/arts/article/0,8599,1872798,00.html>,
[Accessed 9 July 2022].

This is a report on the Razzie Awards, Describes the origins and causes of the Razzie Awards, also known as the Golden Raspberry Awards. This award is dedicated to the worst movie of the year，as a sarcastic and satirical counterpoint to the high-minded Academy Awards.

Wilson found himself forced to watch around 250 movies slated for competition. "When you see that many movies, the odds do not favor the stuff that the Oscars or Globes are talking about," he says, looking back on the hundreds of hours he spent wading through mediocrity. "The odds favor the opposite: it's far easier to make and finance, and therefore far easier to see, a bad movie."

The Razzie Awards may be the most famous anti-traditional film festivals of the world, and it is very similar to my idea.Its founders chose to go against the Academy Awards, which are watched by millions, and this has attracted very much attention.

The voting for this award is also interesting in that you can participate in the worst movie contest by sponsoring the site as a member. This format is low-barrier and anyone with internet access can join. This idea inspired me to add an online screening to expand the audience, so that even at home you can participate in the event, regardless of geographical restrictions，also able to increase the festival's income.

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In recent years, an increasing number of film festivals have engaged closely with film production and distribution. This engagement has been realized via a variety of festival-specific models, such as talent campuses, pitching sessions, project funding, distribution labels, streaming platforms, and so on. Thus, the film festival (which, as I have argued elsewhere, has essentially been an exhibition vehicle) is transforming from primarily a display site of completed films into an important factor that often triggers the very cycle of a film's conception, financing, development, production, and circulation. This short essay outlines the changing status of the film festival as a cluster of creativity and commerce and as a node in more general transnational infrastructures. It comments on the status of scholarship and sets out priorities for research.

Keywords: Film, Production, Distribution, Exhibition, Festival, Marketing

Today, it has become the norm that film festivals not only show films but also engage with film production and distribution. A variety of models that facilitate this engagement have come about, including talent campuses or filmmaking academies geared toward fostering new talent, preproduction or midproduction pitching sessions meant to create an additional investment stream for the project, and so on. Some festivals have created their own distribution labels, while others have teamed up with TV channels or with specific streaming platforms. These developments have resulted in a situation where the film festival is no longer mainly an exhibition operation (as I argued in my 2009 essay "The Film Festival Circuit"), but becomes a participant in many other aspects of the creative cycle-such as production financing, networking, and distribution-and thus turns into a key player in the film industry, as well as society at large. Indeed, it is increasingly the case that film festivals bridge the film industry with politics and other spheres. In a globalized context, it is the film festivals' inherent transnationalism that counterbalances nationalist tendencies, thus facilitating exchanges in production and circulation. This short essay outlines the changing status of the film festival as a cluster of creativity and commerce and as a node in more general transnational infrastructures.

Traditional classifications of film festivals include a category for the "business" type of festival-or the festival with a "business agenda" (as opposed to an "audience" festival, or a festival that has a "geopolitical agenda," for example). The quintessential "business" festival is Cannes. This festival is so excessively industry oriented-it excludes the audience almost entirely-that many have argued that it should be classified as an industry event rather than a film festival. Indeed, a group of international scholars have proposed that there should be a separate subfield of "Cannes studies." "Business agenda" festivals also include all those that, over the years, have built up markets and industry networking forums: festivals like Berlinale, Venice International Film Festival (IFF), Toronto IFF, Busan IFF, International Documentary Film Festival, and Amsterdam (IDFA), as well as events in Karlovy Vary, Thessaloniki, Rotterdam, and many more.

This essay focuses particularly on the festival activities that are specifically intended to foster production. However, one must say that, historically, festivals embraced the distribution function first. Indeed, holding parallel markets that facilitated the circulation of new films has been a feature of the Cannes event for many years. In the last decade, however, it is Berlinale and Busan that have garnered the most attention for developing distribution arms. By building its European Film Market in February (and thus early in the calendar year), as of 2001 Berlinale successfully garnered most parts of the film business that had lost access to a single central venue for sales after the collapse of Europe's oldest and best-established autumn film market in Milan (International Market for Cinema and Multimedia; 1960-2005). After emerging as a new kid on the block in 1996, within a decade or so, Busan successfully appropriated most of the Asian film business, rivaling much older and better-known festivals such as those in Hong Kong and Tokyo. One can claim that Busan not only took over existing business from these older festivals and their adjacent market ventures but also developed and expanded the intra-Asian market for visual products to unprecedented proportions.

Recently, a growing number of festival organizations have been capitalizing on the fact that filmmakers, producers, and other professionals congregate for annual festival events and have sought to exploit the presence of these production-oriented stakeholders. Berlinale, for example, pioneered the Talent Campus in 2003. Busan followed in 2005 with its Asian Film Academy (AFA). Many other festivals provide forum space for interpersonal encounters and negotiations between companies and creatives, or hold special events (pitching sessions, development fund awards, sessions for additional financing rounds) that foster production-related activities as part of their festivals. Now so many pitching forums take place across festivals that there are individuals who work the circuit and specialize in hosting such forums; these experts know what films are on offer and who is able and willing to invest in up-and-coming productions. One such individual is Martin Blaney, a journalist at Screen International, who spends significantly more time at pitching engagements across the world than writing stories. Another forum host is the "new world of distribution" consultant Peter Broderick, who also delivers his services mainly through the festival circuit.

"The festival pitch" has become such an established practice that even though many filmmakers have come to recognize the reality of spiraling costs and lessened effectiveness (measured by the smaller stream of incoming investments realized by presenting at festival pitching sessions), the belief that it is essential to pitch still persists. According to a recent survey that scrutinized the cost of attending a pitching forum (based on the official IDFA Forum statistics and list of fees), observers must pay between €200 and €300 and participants between €300 and €400 per person to attend the forum. IDFA earns between €80,000 and €90,000 in revenue from pitching forum fees during each festival. And even though most interviewees expressed reservations about the effectiveness of attending pitching forums and seemed to consider them wasteful, they all acknowledged that online pitching was not a viable alternative, that continued festival attendance is important, and that a representative trailer for their projects should be shown in the context of film festival forums.

New Crowned Hope Festival in Vienna, Austria, was the first festival to engage in direct commissioning of film productions: in 2006, it commissioned films from Asian directors such as Apichatpong Weerasethakul (Thailand) and Garin Nugroho (Indonesia). Long before that, however, festivals distributed production funds to a line of projects that were in the production pipeline and that competed with each other for supplementary funds made available by the respective festivals' schemes. For example, Marco Muller's Montecinemaverita Foundation has operated at Locarno since the 1990s, and Scandinavian festivals have awarded various production funds to filmmakers from across the Third World.

More than a decade ago, the late cultural critic Paul Willemen claimed that although festivals may seem to open up pathways to global exposure and circulation, in fact, they only produce a "bottleneck effect" and ensure that noncommercial films remain outside formal circulation channels. Traditional circulation channels, meanwhile, remain reserved for blockbuster-type mainstream cinema. Festivals, Willemen claimed, do not bring cinema closer to the people. On the contrary, they encapsulate and isolate cinema, shielding it from wider audiences, and thus effectively shrink all chances of proper exposure. Other authors who study the festival galaxy, however, do not feel that festivals play such a restrictive function. In order to balance multiple opinions, one should say that, like most cultural phenomena, film festivals are multifaceted and riddled with inherent contradictions. Festivals enhance the exposure of films, but they also disrupt the traditional distribution process; they may appear networked, but there is also evidence to the contrary. Most importantly, the importance of the film festival as a node in the cinema production and distribution cycle is becoming increasingly recognized by all stakeholders involved in the festival operation, from board members to filmmakers, producers, and critics.

My own research questions gradually crystallized around these dichotomies. They are distilled here in order to reveal several issues explored by my work on festivals, including the importance of film festivals in the context of film culture at large, the reigning logic within the film festival galaxy, and the key features and stakeholders of the film festival. What, if anything, is wrong with the concept of "festival films"? What makes a good film festival good or a bad one bad?

A mere decade ago, only a handful of publications touched on matters related to film festivals. In recent years, the situation has changed dramatically, with abundant new writing and publications; some even speak of film festival studies as "a field," and a "burgeoning" one at that.

Today, we are witnessing the appearance of a host of studies highlighting important concrete details in the history of cinema and its localization (and globalization) via various festivals-studies that delve deeper into specific aspects of this or that festival, and highlight previously discounted matters of interest. All of these efforts are important in bringing our attention to key phenomena that have been overlooked and denied existence for years; one needs to encourage the compensatory efforts that drive such current scholarship. There is consensus among scholars that media industries research needs to study how the film festival structures and narrates itself, what its components are, what constitutes the play of power between its participants, and how this is reenacted in the time and space of the festival and even beyond. Once such an understanding has been settled, it will lead us to further studies analyzing how the festival inscribes itself into the context of its locality and how it insinuates itself into the global galaxy of other festivals. To employ a technological metaphor in this technological age, such examination focuses on the festival's "hardware" (venues, hub), its "software" (films, programming, sidebars), and the "interface" of its components (the coverage, the party).

1. Kenneth Turan, Sundance to Sarajevo: Film Festivals and the World They Made (Berkeley: University of California Press, 2002); Mark Peranson, "First You Get the Power, Then You Get the Money: Two Models of Film Festivals," in Dekalog 3: On Film Festivals, ed. Richard Porton (London: Wallflower, 2009), 23-37.

2. Dom Serafini, "My 2 Cents: Who Killed MIFED?," Video Age: The Business Journal of Film, TV, Broadcasting, Broadband, Production, Distribution (2005).

3. For a listing of published writing related to film festival, please see the FFRN Research Bibliography available at http://www.filmfestivalresearch.org/index.php/ffrn-bibliography/.

Bibliography

De Valck, Marijke, and Skadi Loist. "Film Festival Studies: An Overview of a Burgeoning Field." In Film Festival Yearbook 1: The Festival Circuit, edited by Dina Iordanova and Ragan Rhyne, 179-215. St. Andrews: College Gate Press, 2009.

Elsaesser, Thomas. "Film Festival Networks: The New Topographies of Cinema in Europe." In European Cinema: Face to Face with Hollywood, 82-107. Amsterdam: Amsterdam University Press, 2005.

Frodon, Jean-Michele. "The Cinema Planet." Lecture, Centre for Film Studies at the University of St Andrews, November 9, 2010.

Iordanova, Dina. "The Film Festival Circuit." In Film Festival Yearbook 1: The Festival Circuit, edited by Dina Iordanova and Ragan Rhyne, 23-39. St. Andrews: St Andrews Film Studies with College Gate Press, 2009.

Iordanova, Dina. Introduction to The Film Festival Reader, edited by Dina Iordanova, 1-19. St. Andrews: St Andrews Film Studies, 2013.

Peranson, Mark. "First You Get the Power, Then You Get the Money: Two Models of Film Festivals." In Dekalog 3: On Film Festivals, edited by Richard Porton, 23-37. London: Wallflower, 2009.

Serafini, Dom. "My 2 Cents: Who Killed MIFED?" Video Age: The Business Journal of Film, TV, Broadcasting, Broadband, Production, Distribution (2005).

"The Festival Pitch." DOX: European Documentary Magazine (2012/2013): 5-10.

Turan, Kenneth. Sundance to Sarajevo: Film Festivals and the World They Made. Berkeley: University of California Press, 2002.

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In recent years, an increasing number of film festivals have engaged closely with film production and distribution. This engagement has been realized via a variety of festival-specific models, such as talent campuses, pitching sessions, project funding, distribution labels, streaming platforms, and so on.

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Annotated Bibliography/Video References 3: Sundance Film Festival 2019

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Annotated Bibliography/Video References 3: Sundance Film Festival 2019

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Sundance Institute, 26 Jan 2019,

2019 Sundance Film Festival Trailer, [online] Available at <https://www.youtube.com/watch?v=KGbzBpX3Gbg>,

[Accessed 9 July 2022]

It's a trailer of 2019 Sundance Film Festival, use only graphic design and animation to show the independent spirit of the film festival.

Sundance Film Festival is the most famous independent film festival in the world and is well-known for Quentin Tarantino's first show. Their core philosophy has always been to be independent of the studio system and provide a stage for young and talented directors to showcase and get sponsorship.

This trailor used different design style to show their specific character, and poped up a big slogan: Risk Independence, It reveals the rebel spirit of the festival and shows their unique aesthetic for art.

As for me, I found that it is important to establish a brand image, It would be helpful for closing the distance with the audience. The modern style text design and transition are the same things I want to use into my promo video.

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Annotated Bibliography/Video References 1: Razzie Awards Nominations

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Annotated Bibliography/Video References 1: Razzie Awards Nominations

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Razzie Channel, 7 Feb 2022, 42nd Razzie Nominations, [online] Available at:

<https://www.youtube.com/watch?v=1moCL5G_3Ao>,[Accessed 9 July 2022]

This is the nominations of the 42nd Razzie Awards, It got a strong slogan and hilarious animations full of spoof, then follows a long list of the nominations. They only have award announcement videos and nominations video these years, so  Ibelieve this can be seen as a promo for the prize.

The Razzie Awards may be the most famous awards for bad films in the world. On the level of video production, this video is very bad for its stiff animations and casual typography. But  through this video we can see some elements which make it famous and popular, that is strongly entertaining awards and ironic slogan. This kind of bottomless spoof is precisely the spirit of the awards.

I'll set similar awards for my film festival, and the promo will use comedic style as well, but the promo would be completely different bewteen this video. My film festival would like to reach a broader audience, the main theme can not be so harmful. And my promo video producing would be more delicate.

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Annotated Bibliography/Video References 2: Sony Film Festival Promo

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Annotated Bibliography/Video References 2: Sony Film Festival Promo

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Sony Australia, 18 Nov 2020,

Sony | Sony Film Festival* - 'The Dreamers' - | Sony Cinema Line, [online] Available at:

<https://www.youtube.com/watch?v=SGL2iwj1skA>,[Accessed 9 July 2022].

This is a promo video for the Sony Film Festival, it mainly focus on three charactors, follow them from child to professional filmmakers, repeatedly matching images from their their grown-up film work with childhood film dreams in editing, to emphasize the theme of this festival: The Dreamers.

It is very smart to target multiple similar characters to get an overall idea. Since Sony's main goal is to sell their products, the real audience for this festival is the filmmakers. This short films successfully gain empathy from the target audience by narrating the filmmaker's growth.

It inspired me that a workable way to make a successful promo video is to follow your audience's daily life to tell them we know how you feel. This helps me to gain the trust of my customers through promo videos. The bad film festival's promo can use the familiar way, to focus on those one who feel pain for wasting their time watching bad movies and exaggerate it, then we can get a strong comedic effect and get trust from the audience.

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Sony | Sony Film Festival* - 'The Dreamers' - | Sony Cinema Line

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Game of Death, 1978, directed by Bruce Lee.
Kill Bill, 2003, directed by Quentin Tarantino.
Watchmen, 1986, written by Alan Moore.

They all used a similar yellow and black color scheme.

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This logo has a simple graphic design that makes each part clear and unambiguous.

Both the name of the festival and the most appealing content contain the element of the slipper, so the logo uses the slipper as the main body. The slipper also form the initial S. The outer outline of the logo is meant to simulate film.

The typerface uses a slim sans serif font, reflecting a modern feel.

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I will use three main colors in the promo: yellow, black and white.

Yellow and black are used as the main scheme to achieve a retro and print feel. This is also the color used in many classic movies, reminiscent of the classic image of Bruce Lee and Kill Bill. It's a great way to highlight the vintage tone of the festival.

At the same time, the yellow and black color scheme is both powerful and energetic due to the strong contrast between the brightness, which is very suitable for such an entertaining film festival for young people.

White is used as a secondary color, which works well to complement the message against the yellow and black background.

This campaign will try to use only these three colors to impress the audience with the brand colors.

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The Slipper Film Festival: The only film festival you can throw slippers - YouTube

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The Slipper Film Festival: The only film festival you can throw slippers

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Strong graphic design and 3D modeling, If I want to make a chat app promo, I would make a try on such an animation work. The graphic transition effect and speed control are the key factors determining the video effect.

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A good CG design work to show the younger temperament of Oscar Awards.

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Bring Your Movie Love | 93rd Oscars Promo

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Directed by Kurt Liu
Casting by Frank Sun
Edited by Kurt Liu

BGM: Out of Limits - The Marketts
Sound Effect: from: https://sc.chinaz.com
font: Heading Now Trial

Except for the bgm, All the elements in the video are copyright free.

Except for the bgm, fonts, and sound effects, all the elements in the film are selfmade.

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This logo is from a film club I organized before in China, the name is weird but hilarious,very relevant to the theme of the bad film festival. This image and the idea of a film club can be a part of the promo but the name and font design may need to change.

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This is a poster I designed in the past, posters can be used as part of the promo video, it also helps to establish the style and enrich the audience's impression of the film festival.

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1.film festival
2.chat app
3.pen
4.a rock band
5.mask
6.a beautiful stone(design a brand for it and make it seems like something serious)
7.keyboard
8.mouse
9.chips
10.nuggets
11.a book
12.an art picture
13.Chongqing
14.a website
15.chopsticks
16.lego
17.lamp
18.shoes
19.monitor
20.pc
21.notebook
22.icons
23.font
24.clothes
25.a bottle
26.China
27.adobe
28.punk style store
29.iphone
30.Macdonald
31.Rog
32.riot company
33.Blizzard
34.nintendo
35.playstation
36.adobe premiere
37.rubbish bin
38.bag
39.an album
40.Kurt Vonnegut
41.David Lynch
42.Quentin Tarantino
43.Cohen brothers
44.Stanley Kubrick
45.Gundam
46.a short anime
47.a special soup from china
48.photos
49.an exhibition of art
50.Ultraman
51.use blender to make a robot
52.a non-existent artist
53.sushi
54.a pad
55.a non-existent film(make a trailer for it)
56.gym
57.advertising company
58.blanket
59.monitor arm
60.key
61.basketball
62.laptop
63.guitar
64.socks
65.trousers
66.hotdog
67.pizza store near my house
68.a website to introduce films
69.cigarettes
70.a piece of paper
71.air tag
72.PS5
73.microwave
74.chair
75.a secondhand store
76.horrible film club
77.clouds in the sky(kind of like an installation art )
78.model toys
79.tool box
80.a chicken restaurant near my house

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Film festivals serve as a medium for filmmakers and fans, both of whom are the target.

The festival's target audience will be deep film fans and fans of cult films with strange tastes. They have the strongest desire to share their views on movies. There is no such activity can alow them to show their attitude by throwing slippers and release their desire to spit out the movie.

For filmmakers, The festival would offer a low barrier, high prizes. And this film festival would focus on selecting those films that have failed at other festivals, this is a great opportunity to let their films facing the public for independent filmmakers who are having a hard time getting screenings.

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It's easy to find a pen and shoot a video, but the difficult part is to make it creative, the promo should have a great story to tell the characteristic of this pen.

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need to design UI, logo, this plan would be hard for making a lot of animation and stylized graphic design.

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I believe I got the necessary ability in design and video-making skills for this course, but what truly worries me is how to show it.

The graphic design would be an important part of my promo video. I'm going to learn Animation and VFX to ornament my video. Choosing the right object is also important, it would lead the style and the direction.

I need to think clearly about the target audience of the product and find out exactly what they want, and hit their desires in various ways in the promo.

The logic of web design is more fundamental than that of graphic design and video editing and I've never tried it before, so this would be a new experience for me.

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Sometimes a good story told is far more touchable and attractive than a cold complex technical video. The most important thing of the promo is a creative idea to show the object's characteristic.

As for me, I decide to make a film festival promo, and I want to add more stunt on it, like a film festival only for bad films is a attractive idea. Now I'll focus on promo this part and emphasize it by create a demand for the audience that they didn't have: to spit out bad movies.

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The call to action card of the video would be simple to facilitate the animation effect.

The main body of the picture is the logo, The color is chosen as the brand color. The slogan attracts people by emphasizing the element of slippers. In the video it will interface with the production staff table, so it should be as simple as possible.

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It's made for a fictitious cinema, It can be the cooperative cinema to show films. This image can be used in the promo video.

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When I was in China, my friend and I were frustrated that our films were not selected at festivals. At that time, We came up the idea to organize a film festival dedicated to screening unsuccessful films, in opposition to traditional films.

So now I'd like to take this topic to a more extreme level: how about a film festival dedicated to bad movies?

Besides, we already have a positive precedent: the success of the Razzy Awards and the flourishing of cult cinema in the last century prove the possibility of such a festival.

All people have the right to comment on films and the desire to share their thoughts. Letting people unleash their desire to spit is what makes the Razzy Awards so successful.

What I want to do is amplify their desire to turn reviews into action: everyone can express their anger by throwing a slipper at a movie they don't like.The film with the most slippers thrown at it will win a prize.

I used to be a short filmmaker, so a short film festival is a field I'm really familiar with. If there had been such a film festival, I would have been the first to submit my short film.The festival is attractive enough for filmmakers, offering a low barrier, high prizes and a great opportunity for the public to see their work.

The festival's target audience will be deep film fans and fans of cult films with strange tastes.There is no such activity that can release their desire to spit out the movie.

I can also use my past work in the video, like posters I've designed and short films I've made to enrich the content.I'm really looking forward to seeing my work on a bad film festival promo. It must be interesting and exciting.