Looking Back (from Is it Possible to Tell People About Child Sexual Abuse in One Minute?)

The story told in this article would have been complete if we had a formal evaluation report to prove the effectiveness of the Television Commercial(TVC). We do not; but we do have highly positive informal and anecdotal feedback. The comment which gave us a great deal of satisfaction was, "It is a tasteful film. It makes a point without sensationalising the sexual abuse of children." Our contract ended with the handover of the completed video-tape and receipt of approval from our client agencies. In a sense, the pre-test represents a rough, mini evaluation even though it antedates the broadcast of the TVC on national television. And the results of the pre-test satisfied us that the TVC communicated what we wanted and in the manner we wanted.

Additionally, we had met our objectives of being positive, non-threatening, not outraging social mores and of not creating anxiety among children. We managed to maintain the dignity and privacy of both the actress (as well as the thousands of survivors that she represented) and the viewer. By deliberately not using child actors and portraying children in situations of Child Sexual Abuse(CSA) we protected them from abuse even if "imaginary". We thus succeeded in living up to our stringent standards of being responsible social communication professionals who maintain that the ends do not necessarily justify the means. At the end of the experience, all those who were involved directly and indirectly in the development and preparation of the TVC felt they had grown professionally. We had been able to mainstream child rights into a particularly difficult social concern. We felt capable of handling similar future challenges.

At the risk of repetition, it has to be said that CSA is a very complex issue and that sustained exposure and intellectual engagement are essential to bring about comprehensive understanding among parents and to equip them with the means of protecting and communicating with their children. Awareness creation with respect to CSA has to be approached in different but synergistic ways by a variety of sources. A film such as ours plays an important role in setting the frame - in triggering a thought process and in legitimising discussion and action. It heightens receptivity to further ideas on the subject. It stimulates curiosity and a desire to know more[10]. In some cases it may even open old wounds bringing them to the surface for examination and healing.

The film has additional uses. It could be used effectively within the context of multiple and convergent programming efforts e.g. training, orientation, dissemination of print material and so on, by social action agencies. In fact, the life and reach of the film would increase manifold if it were to be used, in addition to mass media broadcast, as a discussion catalyst in relevant forums.

Stages in the Preparation of the Spot on Child Sexual Abuse

Stage 1

Literature Review

Sources of information on CSA were scoured for insights into the nature, extent, and responses to such abuse both worldwide and within Bangladesh. Sources included research reports, newsletters, documents, and the Internet. Special attention was paid to material from Bangladesh; a particularly useful source was the research study conducted by the NGO Breaking the Silence. Insights gained were carefully documented and discussed by the planning team.

Stage 2

Development of Creative Concepts & Routes

A presentation was made to GOB and UNICEF and a general approach was agreed upon.Based on the analysis a strategic hypothesis was developed and several "creative routes" were conceived. Three routes were selected.

Stage 3

Formative Research and Concept Testing at Field Level

A selection of "end recipients" was interviewed to corroborate and enrich insights; preliminary creative material (representing all three routes) was also presented to them for feedback.

An eminent social activist, a psychologist, as well as representatives from the Government and UNICEF, were also interviewed and asked for their feedback regarding the validity and perceived effectiveness of the creative materials. At the end of this stage, one creative route was selected.

Stage 4

Strategy Fine-tuning and Draft Spot (storyboard) Developed

Based on the feedback of respondents in Stage 3, a storyboard was developed by a team of creative persons with the technical assistance of the planning team. This included illustrations of the visual sequence and a script.

Stage 5

Pre-testing of the Storyboard

A research agency (local to Dhaka) was selected based on its credentials; the agency was briefed and provided with guidelines for research. The purpose of the research was to assess comprehensibility of the spot and gain feedback on the potential effectiveness and acceptability of its presentation. Research tools in the form of a flipbook of visuals and a script were provided to the research team by Thompson Social. The research agency conducted a series of focus group discussions (FGDs) with a representative cross-section of the target audience. A research report detailing findings and feedback was prepared and presented to Thompson Social.

Stage 6

Finalisation of Spot and Production

The findings of the research agency were incorporated in the storyboard. A commercial film director was commissioned to film the spot. Detailed briefings were provided to the director and his team, including the actress who was to play the protagonist. Thompson Social was represented in the three phases of: pre-production (planning, creative visualisation and selection of cast), production (fabrication and finalisation of set, costume and props selection, filming) and post-production (audio recording, music and sound effects and film editing) by members of the planning, creative and technical teams. A broadcast copy of the spot was prepared and handed over to UNICEF together with a media implementation plan.

Epilogue

In 2001, an internal panel of Creative Directors, adjudged the CSA spot to be the best piece of creative work to be produced by Hindustan Thompson Associates (HTA), Thompson Social's parent agency. It is noteworthy that the film was in competition with and scored over a range of glamorous and mega-budget commercials for consumer products that were backed by the infrastructures and profit imperatives of multi-national corporates.