Communication insights

Notice what connects.
Then ask why.

Short explorations of how audience, language and context change the way a message lands.

Communication experiment · 01

How do you explain a rocket
to three generations?

No matter how old you are, you deserve to understand how science works. The challenge is choosing language and examples that make sense without talking down to anyone.

Head

Identify the one scientific truth that must remain accurate.

Heart

Choose an example the particular listener can recognise.

Action

Ask the listener to explain it back in one clear sentence.

Communication observation · 02

What can a cinema crowd tell us
about language?

Days of Being Wild is not a new film, and it can be found online. Yet I still paid S$24 to watch the restored Cantonese version in a cinema. Why?

Days of Being Wild poster photographed by Chan
Days of Being WildPoster photographed by Chan. The photograph was cropped, straightened and enhanced for clarity.
A queue at Golden Village photographed by Chan, with visible faces obscured for privacy
People still chose to gatherQueue photographed by Chan at Golden Village. Visible faces have been obscured for privacy.
Nearly fullDays of Being Wild
Restored Cantonese screening · S$24 ticket
Sold out onlineBecause of You Ka Kui
Observed while attempting to book at Shaw Lido
More than half fullThe Snowball on a Sunny Day
Personal observation at Shaw Lido

Partly, I wanted to experience the film as it was meant to be seen. I wanted the restored images on a large screen, the familiar voices filling the cinema and the feeling of being completely present with the story. But something else caught my attention when I arrived. I was not alone.

The screening was nearly full. People had chosen to leave their homes, queue for tickets and sit together in a cinema for a film more than three decades old.

These three screenings do not prove that there is a mass market for Cantonese films in Singapore. They are only observations from a small number of screenings. Still, seeing the queue and the turnout made me wonder what language can mean to an audience, especially when that language is not the one most commonly heard in public life.

The audience was willing to pay a higher-than-usual ticket price for films that could potentially be found elsewhere. This suggests that they were not gathering simply because they needed access to the content. The restored picture and cinema sound were certainly part of the attraction, but the experience also offered something that watching alone at home could not provide. People could hear the original voices, respond to familiar expressions and experience the humour, pauses and emotional rhythm of the language together.

We often treat language primarily as a tool for transferring information from one person to another. However, language also affects how that information is felt. A translated sentence may communicate the same basic meaning, but it may not carry the same tone, cultural associations or emotional texture as the original.

Perhaps that was part of what brought people to these screenings. The films offered more than stories on a screen. They offered recognition, memory and a temporary sense of connection with others who found meaning in the same voices. The size of a community does not necessarily determine the depth of its response. An audience can be relatively small and still care enough to show up, pay more and experience something together.

A message can be factually correct and perfectly translated, yet still fail to connect with the people receiving it.

Screening capacity statements are personal observations. Event details: Days of Being Wild and Hong Kong Film Gala Presentation.

Does your team know what to say,
but struggle to make it land?

Let's make their knowledge easier to follow, remember and use.