GEM PR STRATEGISTS

Georgie Heazlewood – Emma Nicholls – Michael Perso

Work Report - Section One CINEMA LOROSA’E ACADEMIC ESSAY

1. INTRODUCTION

This essay will describe the Public Relations campaign approach by GEM for Cinema Lorosa’e.

Cinema Lorosa’e is a project that has been under way for just over 12 months bringing major

western family friendly films to East Timor dubbed into Tetum and Portuguese, East Timor’s official

and national languages. In the course of this essay we will place our campaign in the broader

context of contemporary public relations, consider other successful public relations campaigns,

provide background information on the development of East Timor since independence from

Indonesia in 1999, examine the ethical dimensions of the Cinema Lorosa’e project and, in the

attached PR Plan, provide detailed information on the goals, publics, tactics and criteria for success

that we will apply to our campaign.

2. THE AIM

Cinema Lorosa’e will deploy a public relations campaign to encourage corporate and individual

sponsorship. Funds received will be used to expand the project with the aim for the cinema to be

self sufficient within East Timor.

3. TANGIBLE VALUE OF PUBLIC RELATIONS

PR News described Public Relations (PR) as “…a program of action to earn public understanding and

acceptance” (quoted in Mahoney 2008). Many major corporations spend a great deal of money

funding PR campaigns and employing full time PR staff (Heath and Bowen 2002) and accept that

money spent on PR is a worthwhile investment either as a means of mitigating the impact of bad

news or maximising the return to the company by increasing the company’s business and public

profile. Leading communications theorist Manuel Castells contends that the processing and

circulation of information is becoming the new “raw material of economic activity” (Flew 2008).

Organisations are realising more and more the importance and value of a good public relations

strategy.

4. PUBLIC RELATIONS CAMPAIGNS FOR NON PROFIT ORGANISATIONS

Public Relations campaigns are not, of course, the sole province of big business. In Australia there

have been many successful PR campaigns in support of environmental causes such as the Franklin

River Campaign of the early 1980’s lead by Bob Brown who “believed in the power of ideas to

change the way in which human communities work” (Petrow 2009). There are many campaigns

aiding charitable causes too, one of the biggest and most successful in Australia is run in support of

the annual Good Friday Appeal which this year raised 15.8 million dollars for The Royal Children’s

Hospital (GFA 2012) and there are even campaigns which have led to the change of governments

overseas like the “singing revolution” in Estonia in the early 90’s (Rosengren 2000).

5. PUBLIC RELATIONS CAMPAIGNS: A MIX OF OLD AND NEW MEDIA

Although the digitisation of communication technology and the growth of social media has allowed

the development of many new avenues for accessing news, the recent Convergence Review

conducted by the Australian Federal Government found that the vast majority of Australians still get

most of their news from traditional media such as TV, Radio and Newspapers (Convergence Review

2012). The role that PR plays in generating that news has become very significant in Australia. A

recent joint study by the Australian Centre for Independent Journalism and the Crikey website found

that almost 55% of stories in Australian newspapers were generated by some form of PR (ACIJ 2010).

In the two major Sydney newspapers, the Daily Telegraph and the Sydney Morning Herald, the

ACIJ/Crikey investigation found that 70% of articles in the Daily Telegraph were triggered by PR and

in the Sydney Morning Herald it was 42%. In Melbourne, the Age delivered 47% PR driven stories

while 65% of stories in the Herald Sun were driven by PR. Political organisations, corporations,

charities and a myriad of other entities are relying more on PR to get their causes into the media.

Competition for media coverage is fierce and Philip Schlesinger refers to media space as a

“battlefield…spaces in which contests for various forms of dominance take place” (Schlesinger 1991).

One ‘contested space’ often referred to in discussions on the impact of new media is the

blogosphere. But again, at least one major study has found that “bloggers are more likely to

comment on issues of corporate social responsibility identified by mainstream media than to initiate

these issues themselves” (Grunig 2009). Social media does, however, provide great opportunities

for PR campaigns to work as symmetrical rather than asymmetrical forms of communication and

many noted PR scholars would argue that moving towards symmetry allows campaigns to be

conducted not just in a more ethical manner but more effectively overall (Childers 1989). Our

ambition for the Cinema Lorosa’e project is to generate initial interest from traditional media and

then follow through with social media for ongoing communication with interested groups and

potential donors to take advantage of and enhance what Robert Putnam (2000) described as “social

capital…the value that exists in the relationships between people”.

6. ETHICAL CONSIDERATION: WESTERN FILMS AS AN AGENT OF CULTURAL IMPERIALISM OR

SIMPLE ENTERTAINMENT?

The question of ethics insofar as it relates to the idea of bringing mainstream western movies into a

developing country like East Timor is important to consider. Does dubbing these films into Tetum

and showing them across the island put the Cinema Lorosa’e at risk of acting as an agent of cultural

imperialism? Chesney warns that that the global commercial media system respects no local custom

or tradition (Chesney 1999) while Henry Jenkins rails against an insidious tide of cultural

homogenisation that should be resisted (Jenkins 2004). There are no existing cinemas in East Timor

and very little in the way of local media production. After the Indonesian occupation ended in 1999,

small, internationally funded, East Timorese productions dealing with a broad range of topics from

international justice to homemade karaoke videos have popped up from time to time but generally

have been sporadic and of very limited distribution (Bexley 2007). Language is closely related to

identity formation processes and by dubbing Western films into Tetum and showing them more

broadly there might be a reasonable argument that East Timorese audiences could wind up with a

skewed Western perspective. It’s an important point and one that should be monitored as the

Cinema Lorosa’e project develops.

7. PUBLIC RELATIONS CAMPAIGNS IN AID OF DEVELOPING COUNTRIES & USE OF IMAGES

PR has a noteworthy record of garnering attention for aid projects in developing countries and

bringing the world’s attention to unfolding catastrophes. Among the biggest and most successful

campaigns was the Live Aid project of 1985 which jolted a generation of Western kids (and their

governments) into providing relief for the many people affected by the severe famine in Ethiopia

(Gill 2010). While PR campaigns for starving or otherwise at risk people have often resorted to

confronting imagery of starving and near dead children to evoke a response, as the Live Aid

campaign did, there are signs that those sorts of tactics may be starting to lose their effectiveness

(Cartmell 2011)and that different strategies should be developed to generate a higher level of

emotional engagement with the target publics which would in turn generate a positive response to

fundraising campaigns (Cameron and Kim 2011). Some leading fundraisers in the not for profit

sector point out that donor motivations are changing and that potential donors are more likely to

donate and do so more generously when they feel inspired by a project and can relate to it (Lawson

and Ruderham, 2009). Thus the bulk of the imagery associated with the Cinema Lorosa’e project is

of happy children of East Timor and their communities coming together to enjoy a film. Images for

use by media are supplied within the media kit.

8. BACKGROUND – EAST TIMOR

Below is a brief background description of the history, some of the recent changes and current

challenges of East Timor. Important issues to consider in developing the campaign for Cinema

Lorosa’e.

East Timor is a mountainous area of jungle and coffee plantations on the island of Timor, located

about 750 kilometres north west of Darwin, Australia. The western half of the island is part of

Indonesia. Migration to the island has occurred with waves of arrivals, mostly Malay and

Melanesian, joining the earliest known settlers, the Atoni people of the central highlands (Taylor

1994). Tetum and Portuguese are the official language of East Timor with Indonesian and English in

common use. There are about 16 indigenous languages.

The Portuguese colonised East Timor in the mid 16th century, around the same time the Dutch were

occupying the western part of the island (CIA: The World Factbook). Following skirmishes with the

Dutch, the Portuguese ceded the western part of the island in a treaty in 1859. Japan occupied East

Timor during World War II, from 1942 to 1945, but reverted back to Portugal colonial authority

following the war. East Timor finally broke free from Portugal in November 1975, only to be invaded

and occupied by Indonesia nine days later. East Timor would be a province of Indonesia for 24 years,

struggling for freedom.

Indonesian forces invaded East Timor in early December 1975 and sustained attacks for four years,

killing at least 100,000 and possibly up to 200,000 of a pre-invasion population of about 650,000

(Robinson 2011). Many scholars have described the actions of the Indonesian forces as genocide.

Despite human rights and church groups criticising the Indonesian government, Australia, the United

States and the UK turned a blind eye to the atrocities and actively supported the Indonesian

government with economic and military assistance. Even the deaths of five journalists, two

Australians, two Britons and one New Zealander, killed in Balibo while covering the advance of

Indonesia into East Timor, were dismissed by their respective governments as accidents (New

Internationalist).

In 1998 Indonesian President Suharto was forced to resign which paved the way for a referendum on

the independence of East Timor (Robinson 2011, Fernandes 2008). Despite intimidation by

supporters of a continued Indonesian rule, almost 80% voted for independence in the United

Nations supervised referendum on 30 August 1999. Within hours of the results being made public on

4 September 1999, Indonesian forces and their supporting local militias coordinated attacks across

the country that would last for several weeks. About 70% of all buildings in the country were

destroyed and many towns were left without electricity, running water or telephones. About

250,000 people were forcibly displaced from their homes and into West Timor and at least 1,500

were killed, including women and children. United Nations staff were evacuated and the country was

again left at the mercy of the Indonesian military.

But by now pressure was growing on Australia and the United States to intervene (Fernandes 2008).

Portugal committed to withdrawing its troops from the Kosovo conflict if the United States did not

deploy peacekeeping forces to East Timor and members of the US congress were pressuring the US

President. The Howard government asked for international assistance to convince the Indonesian

military to stop and the US sent an official to Jakarta to advise that military ties would be severed if

the incursion did not cease. The Indonesian president, Habibie, backed down and accepted an

international peacekeeping force to restore order in East Timor. The military peacekeeping force,

International Force East Timor (InterFET), would be led by Australia, who had a contingency of 5,700

soldiers. InterFET successfully ended the violence.

The following year, in February 2000, InterFET was absorbed into the United Nations Transitional

Administration in East Timor (UNTAET), who were an integrated peacekeeping operation fully

responsible for the administration of East Timor during its transition to independence (www.un.org).

East Timor became officially independent on 20 May 2002 and freedom fighter Xanana Gusmao was

sworn in as the country’s first president.

East Timor is one of the world’s poorest countries, ranking 120 out of 169 countries in the United

Nations Human Development Index (www.ausaid.gov.au) with 41% of the population living below

the national poverty line of US0.88 a day. Since independence, AusAID has worked on a number of

projects in the country including providing; vaccinations to reduce child mortality, mobile clinics for

remote villages, access to clean water, giving people employment through nation rebuilding

programs, creating jobs for young people and improving crop productivity.

9. FRAMING OUR CAMPAIGN: GOALS & KEY MESSAGES

The goals for the launch event in support of the Cinema Lorosa’e are: To raise awareness of the

Cinema Lorosa’e project among Melbourne’s Arts and Culture Community and to increase funds for

the Cinema Lorosa’e project through fundraising and corporate sponsorship.

In considering the dominant images and key messages to use we were very mindful that the framing

process is not just about what is included in the campaign but also what is excluded and what needs

to be emphasised (Hallahan 1999). A decision was made early in the process to not rely on celebrity

endorsement as, in a growing number of cases, celebrity endorsement seems to be of little value,

decreasing effectiveness and sometimes seen as a negative (Lee-Potter 2009). With that in mind and

the other considerations mentioned above we have chosen to rely on real images from Cinema

Lorosae’s work in East Timor and put forward as our key spokespeople the men behind the project:

former Victorian Premier Steve Bracks and owner of the Sun Theatre Mike Smith with further

endorsement from Australian film director Rob Connelly and East Timor’s Prime Minister (and

Cinema Lorosa’e supporter) Xanana Gusmao.

James Mahoney reminds us that “…messages must be written in a way that target publics

understand” (Mahoney 2008). Our key messages define the problem for our target publics, do so in

a relatable way and then provide a call to action:

All children deserve to be happy; films can bring happiness and knowledge of the

outside world.

Australians care about our closest neighbour.

Cinema Lorosa’e needs funds to continue.

Get involved by private or corporate donation.

10. TARGET PUBLICS

The target publics for this launch phase of the Cinema Lorosa’e campaign are Melbourne arts and

culture journalists and through them; corporations with an interest in arts and culture, key opinion

leaders in the arts and culture community and Yarraville community members. A more detailed list

of targeted media is included in the attached PR plan.

The reasons we have aimed this phase of our campaign primarily at traditional media are twofold: a)

first, as detailed earlier, nearly 50% of all press stories are generated by PR (ACIJ 2020) and from

them on line or social media stories are often generated (Grunig 2009) and b) the media chosen are

more than likely to be the kind of media consumed by our other target publics who are then in turn

more likely to donate because the images and stories we anticipate will be used will resonate with

their own pre-existing sentiments (Gattone 2002).

11. OBJECTIVES

In considering the objectives to set for this project we were mindful that vague objectives can make

it difficult to gauge the success or otherwise of the campaign (Noble and Watson 2007). It was also

important to recognise the difference between objectives and goals. Goals are general and provide

a frame work for decision making but can be too broad to be of use in making day to day decisions

while objectives on the other hand can be set to deal with expected challenges, benchmarks for

progress and provide clear criteria for assessing success or failure (Grunig and Hunt 1984).

Our relatively modest objectives for this early stage of the whole campaign are: To attract new

corporate sponsorship of $50,000 and in kind support within the first month following the launch

and to obtain positive media mentions for the project in metro and local media within the first

fortnight following the launch event.

GEM PR STRATEGISTS

Georgie Heazlewood – Emma Nicholls – Michael Perso

Work Report - Section TwoCINEMA LOROSA’E PUBLIC RELATIONS STRATEGY

1. THE CLIENT

Michael Smith

Cinema Lorosa’e

Operated under Sun Theatre, Yarraville, Victoria

2. SITUATION ANALYSIS

Cinema Lorosa’e is an initiative of The Sun Theatre that takes the film experience to disadvantaged communities in East Timor. The Sun Theatre dubs family-friendly films, like Happy Feet, in the East Timorese native language of Tetum. The Sun Theatre ships the film reels to East Timor and a local organisation then coordinates free outdoor screenings in Dili and districts of Timor-Leste.

TOLL, The Magic Sound Company, UNMIT, Turismo de Timor Leste, Timor Telecom and Rentlo Car Hire funded the first season in 2011 through corporate sponsorship.

A public relations strategy is required to raise the public profile of Cinema Lorosa’e. The strategy objective is to raise funds through public fundraising and corporate sponsorship, ensuring the survival of the Cinema Lorosa’e, and its expansion to feature more films in more locations of East Timor.

3. PEST Analysis

Political Environmental Social Technological

Positive sentiment for the role Australia played in the ‘liberation’ of East Timor in the late 90’s.

Australia’s military involvement in East

The Yarraville community is quite affluent compared to most of the other Western suburbs.

The success of the Sun Theatre and the many other nearby

The Yarraville community is generally small “L” liberal and there is widespread support for progressive organisations like Greenpeace, Plan, The Wilderness Society and the

Social Media like Facebook and Twitter will be used to share our key messages and garner further support for the project.

The technological

Timor is seen as clearly identifiable success and there is a broad support for the idea of a stable and successful East Timor.

The Australian Federal Government remains committed to further development in East Timor.

At a local government level, Maribrynong City Council is a strong supporter of local cultural activities and is keen to be associated with iconic venues like the Sun Theatre.

bars, coffee shops, cafes and restaurants reflects the willingness of the local community to support local businesses with their readily disposable income.

Greens and it is likely that a project such as ours would attract strong support too.

There is a disproportionally large presence of arts, creative and media professionals in the Yarraville community that would be interested theproject.

There is a significant East Timorese community in Melbourne who can be drafted in to support the project. Their support can add legitimacy, and have connections in East Timor to help promote the project.

tools needed to deliver the project are already in place at the Sun Theatre and The Magic Sound Company.

4. SWOT Analysis

Strengths Weaknesses Opportunities Threats

Tremendous “feel good” factor about a project like this.

Helping one of our nearest neighbours.

Local businesses

Local community might not relate to East Timor.

It’s just movies…doesn’t feed hungry kids or cure cancer

Steve Bracks (ex-premier of Victoria) major supporter and initiator of the Cinema Lorosa’e project.

Enlist support of Australian Film and

Could get lost in the clutter of other causes

Compassion fatigue in the community

Council might shut

(Sun Theatre & Magic Sound Company) already involved

There is an Element of “Hollywood” about it

Pop Up Park and Sun Theatre are great venues…it will look great

Competing local newspapers are hungry for more stories, in particular stories with great accompanying pictures like those we could provide

Compassion fatigue

Time of year…it’s darker earlier and getting cold…there’s also the risk of rain…

TV identities. For eg. George Miller, William McInness, Shaun Micaleff, Guy Pearce. Might even get Robin Williams on board. Some of these identities reside in Yarraville, so can provide strong community support.

The above and others would provide good photo fodder and interview talent for the project.

The Yarraville Village is a very busy precinct and event like ours would grab the attention of people passing by.

down Pop Up Park

Major Studios might withhold copyright for further films

5. GOALS

Raise awareness of the Cinema Lorosa’e project among Melbourne’s arts and culture community.

Increase funds for the Cinema Lorosa’e project through fundraising and corporate sponsorship.

6. OBJECTIVES

Attract new corporate sponsorship of $50,000 and in-kind support within the first month following the launch event

Obtain positive media mentions for the project in metro and local media within the first fortnight following the launch event

7. TARGET PUBLICS

Melbournian arts and culture journalists Corporations with an interest in arts and culture Key opinion leaders in the arts and culture community Yarraville community members

8. MEDIA

Metro media - Arts and culture within the Age and Herald Sun Local media – Altona-Laverton Mail, The Williamstown Advertiser & Mail, Footscray

Mail, the Footscray, Yarraville, Braybrook Star, Maribrynong Weekly, Hobsons Bay Weekly and Western Times

ABC SBS Public radio with an interest in arts and culture i.e. Triple R, PBS City of Melbourne Arts Victoria

9. KEY MESSAGES

All children deserve to be happy, films bring happiness and a knowledge of the wider world

Australians care about our closest neighbour Cinema Lorsoa’e needs funds to continue Get involved by private or corporate donation

10. OUR STRATEGY

An overview of the proposed campaign is provided at Appendix 1. Using three channels of engagement, we intend to raise awareness in media, both online and print. The three channels of engagement are outlined below.

10.1 Cinema Lorosa’e Season 2012 – Launch Event

Time: 6 June 2012, 6.00pm

Location: Sun Theatre Yarraville

Steve Bracks to officially open the 2012 season, with speech and photo opportunities with Michael Smith, Executive Director of Sun Theatre and Cinema Lorosa’e. The event will provide an opportunity to invite local and metro media, community members, Yarraville council members and local businesses to a special event in honour of Cinema Lorosa’e Season 2012. All invitees will be provided with an online media kit, and hardcopy kit at the event. This event will meet both strategy

objectives, to raise the profile of Cinema Lorosa’e, and promote the need for sponsorship or donation funds.

Special invitees:

Former President of East Timor, Xanana Gusmao Mr Bill Shorten - Federal member for Maribyrnong, Councillor John Cummings - Mayor of the City of Maribyrnong, Rob Connelly – Cinema Director of Balibo

Sponsor representatives

Jim Andrews - General Manager of TOLL, Julia Crees - Director of The Magic Sound Theatre

Media Invites

Metro media - Arts and culture within the Age and Herald Sun Local media – Altona-Laverton Mail, The Williamstown Advertiser & Mail, Footscray

Mail, the Footscray, Yarraville, Braybrook Star, Maribrynong Weekly, Hobsons Bay Weekly and Western Times

ABC SBS Public radio with an interest in arts and culture i.e. Triple R, PBS City of Melbourne Arts Victoria

10.2. Cinema Lorosa’e Fundraiser - Family screening of Happy Feet 2

Time: Saturday 13th June 3.00pm

Location: Sun Theatre Yarraville

A special fundraising screening of Happy Feet 2 at the Sun Theatre in Yarraville is the perfect way to continue publicity following the media launch on the 6 June. This event will be a family event where all tickets are $25.00 and all proceeds will go to Cinema Lorosa’e in East Timor.

A maximum of 300 tickets at $25.00each will be sold from Sun Theatre and other local businesses at the media launch event, and from the theatre in the month leading up to the event. In-kind donation of the film, and from Sun Theatre to support the screening, will ensure maximum fund raising opportunity for Cinema Lorosa’e. A media release before and after the event will be sent to media contacts that attended (or were invited to) the launch event.

This will be a supporting story to the launch event. The fundraiser will meet both objectives of the strategy, it will raise the public profile of Cinema Lorosa’e, and has the potential in earning $7,500 for Cinema Lorosa’e. It is also an excellent follow up story for media, or in capturing missed media opportunities that may not have picked up the launch event.

10.3. Cinema Lorosa’e Website

The website will be used to support the fundraising campaign. All campaign material will direct people to use the website for information. The website will also provide details on corporate sponsorship and how individuals can be involved. There will be a facility for payments to be made directly to the Cinema Lorosa’e project by PayPal online.

11. TACTICS

Invitation to launch event Invitation/Ticket to Happy Feet 2 Fundraiser Media kit (to be provided online and in print)

o Media releaseo Speech – Steve Brackso Biography – Steve Brackso Brochure – Cinema Lorosa’e project (for donations)o Brochure – Cinema Lorosa’e project (for corporate sponsorship)o Backgrounder – Cinema Lorosa’e & East Timor/Australia relationso Fact sheet – Cinema Lorosa’e & East Timor/Australia relationso Q&A Sheet – Michael Smitho Photographs – Cinema Lorosa’e, East Timorese community

12. TIMINGS

Please reveiw Gantt Chart at Appendix 3 for all timeframes in the PR planning phase, development and production of the media kit.

13. MONITORING AND EVALUATION

Media monitoring within first month following launch event Review of new corporate sponsorships Review of new individual donations Profit for Cinema Lorosa’e achieved from Happy Feet 2 screening

14. THE TEAM & WORK ALLOCATION

Please review the Work Allocation table at Appendix 2 for the account members and allocated work during the PR planning phase, development and production of the media kit.

15. CONTACT

Emma Nicholls Student no. 3895466 Phone 0420 503 750emmanic@gmail.com

Georgie HeazlewoodStudent no: 3084453

0402 978 250Gheazlewood@gmail.com

Michael Perso Student no: 0419 641 521michael.perso@live.vu.edu.au

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APPENDIX 1. CINEMA LOROSA’E CAMPAIGN ECOSYSTEM

APPENDIX 2. GEM WORK ALLOCATION

Task Responsible person

Environmental scanning Michael

East Timor research Emma

PR Campaign Plan draft Georgie

Essay Plan Michael

Invitation concept Emma

Meeting with Cinema Larosa’e representative Team

Media Kit - Backgrounder Georgie (Emma proof)

Media Kit – Fact sheet Georgie

Media Kit – Media Release Michael (Emma & Georgie proof)

Media Kit – Speech Emma (Georgie proof)

Media Kit – graphic design Emma

Media Kit – letterhead graphic design Emma

Media Kit – brochure copy (corporate sponsorship) Georgie (Emma proof)

Media Kit – brochure copy (individual donations) Georgie (Emma proof)

Media Kit – brochure graphic design Emma

Media Kit – invitation to launch event Emma

Media Kit – compile hard copy media kit Emma

Media Kit – format and upload electronic copy Emma

Media Kit – copy & design invitation to fundraising event Emma

Update PR Campaign Plan Emma

GANTT Chart Georgie

Academic Essay (All except East Timor section) Michael (Emma proof)

Academic Essay (East Timor section) Georgie (Emma proof)

Consistency of work report (section one and two) & formatting Emma

Work Allocation Sheet Georgie

APPENDIX 3. GEM GANTT CHART