Galina Sytsko also believes that the production of films popularizing the professions of teachers, engineers, doctors, etc. will gain momentum in the near future. The effect of such films can be measured by comparing the percentage of school graduates entering specialized universities, or by comparing the age profile of those who work in a particular profession now and some years later.
Maria Mokina, journalist, producer, member of the Coordinating Council on Social Advertising and Social Communications at the Public Chamber of the Russian Federation, Public Council at the Ministry of Labor and Social Protection of the Russian Federation, noted that the modern media market has evolved from an emotional joy of someone finally integrating a social theme into the media product, to a conscious introduction of social context to develop new positive social habits, change lifestyles, and create comfortable spaces around oneself. The result of this evolution has been the total incorporation of a social idea into the body of the media product. This has become a mandatory burden on the part of customers and creators.
Today, society is entering the next stage of development, when it is necessary not only to rejoice in the casual effect, but to form an effective social impact entertainment industry[20], which will produce products aimed at solving specific social and humanitarian problems.
There is virtually no qualitative research on this topic in the media production market today; only quantitative studies are available. The assessment market is still in its infancy. The key players in this area are the Positive Changes Factory, the Higher School of Economics, and the National Media Group, says Maria Mokina.
The state has created an extensive system of grant, financial, and infrastructural support for the film industry; but when the experts are deciding on whether to provide this support, they are focused on the traditional set of criteria such as increasing audience coverage or popularizing a certain issue. The introduction of an end-to-end assessment system at all stages of the creation and production of an audiovisual work will make it possible to multiply its qualitative impact, to see how effectively the money was invested, not only through the emotional impact, but by expanding the impact from Call-to-Action[21], which is mainly used in advertising today, to the introduction of social decision and behavior models that contribute to the sustainable development of society.
As part of the activities of the Coordinating Council on Social Advertising and Social Communications at the Public Chamber of the Russian Federation, social advertising currently undergoes assessment based on the criteria described in the Evaluating the Effectiveness of Social Advertising methodological manual from 2018, the only scientific publication to date that takes into account anything other than the economic result (Gladkikh & Vainer, 2018). Regular expert examination and evaluation also takes place within the framework of IDI and Yandex competitions on social advertising for NGOs[22].
I can highlight several cases in the domestic industry. First of all, it is the #thiscannotbecured #cancercanbecured advertising campaign by Konstantin Khabensky Charitable Foundation, aimed at fighting fear of cancer[23]. The Foundations creative team conducted baseline research before launching the campaign and summarized its results, which made it possible to develop a strategy for the Foundations activities in the future. Some of the more recent cases are Teenagers and Aunt Martha projects made by NMG, Maria Mokina continues. In addition to integrating social messages into the series, they were surrounded by support services for the target audience, which were based on the studies of viewing statistics and viewer feedback on the media product. However, it is too early to say that a systematic assessment of qualitative results at the level of content impact is present in the media industry. This new, deliberate approach has yet to be created, tested, and implemented.
Ksenia Leontieva, associate professor of production management at the St. Petersburg State Institute of Film and Television (SPbGIKiT), believes that impact assessment must be closely linked closely tied to the authors and investors goals. Because goals can be very individual, evaluation criteria cannot be universal. For example, the impact of films designed to increase the number of volunteers can be measured either by surveying viewers, or by measuring the number of volunteers nationwide before and after the show. In the case of videos about domestic violence or AIDS posted on bloggers channels with large audiences, one can measure the expansion of knowledge about the issue (by counting the number of views, likes, reposts, etc.); or, one can also look at the long-term change in disease rate, or support for passing a law. But this is much more complicated, because the society can be influenced by multiple factors at once, and the effect of a single audiovisual work on social indicators cannot be directly extrapolated.
Примечания
1
Для формирования конструкта в опыте должны быть представлены схожие и различные по полюсам конструкта объекты (например, Иванов и Петров брюнеты, а Сидоров нет). Таким образом, для выявления конструкта необходимо соотнесение не менее чем трех объектов (метод триадического сравнения как модификация метода шкалирования): два схожих (эмерджентный полюс) и один отличающийся (имплицитный полюс).
2
In order to form a construct, the experiment should involve both similarities and differences among the objects (for instance, Ivanov and Petrov are brunettes, and Sidorov is not). Hence, in order to identify a construct, it is essential to establish correlations among a minimum of three objects using the method of triadic comparison, which is a modification of the scaling method. This involves considering two objects that are similar (the emergent pole) and one object that is different (the implicit pole).
3
ТАСС. (2022). В России на развитие кино в 20232025 годах выделят около 12 млрд рублей ежегодно. Режим доступа: https://tass.ru/ekonomika/16528807. (дата доступа: 17.05.2023).
4
Гарант. ру. (2023). Постановление Правительства Санкт-Петербурга от 22 марта 2023 г. 205 «О порядке предоставления в 2023 году субсидий организациям кинематографии». Режим доступа: https://www.garant.ru/hotlaw/peter/1617359/. (дата доступа: 17.05.2023).
5
Стогова, Е. (2023). Российские фильмы впервые собрали больше половины всей кассы года. 25.01.2023. РБК. Режим доступа: https://www.rbc.ru/technology_and_media/25/01/2023/63cfbcce9a79 47e00227af1b. (дата доступа: 17.05.2023).
6
ЦСП «Платформа». (2022). Социальные эффекты кино. Режим доступа: https://pltf.ru/wp-content/uploads/2022/07/socialenye-effekty-kino.pdf. (дата доступа: 17.05.2023).
7
Правительство России. (2021). О решениях по итогам встречи с членами Правительственного совета по развитию отечественной кинематографии. Режим доступа: http://government.ru/orders/selection/401/44288/. (дата доступа: 17.05.2023).
8
Полную стенограмму заседания можно прочитать на сайте Правительства России: http://government.ru/news/44141/.
9
Social impact entertainment так за рубежом называют систему производства и дистрибуции развлекательного контента, привлекающего внимание аудитории к общественно значимым проблемам.