Media Institutions You will understand how Media Institutions attract local and national audiences and the issues surrounding marketing You will be able to apply your knowledge of your case studies in greater detail and with greater relevance.
How do Media Institutions attract local and national audiences and what issues surround the marketing of their films?• You need to begin applying knowledge of your film to answer the question, rather than talking about everything you know about Working Title/Film 4.• Use your knowledge of the industry to enhance your answer, rather than using it to attempt to answer the question.• Without knowledge of your own recent film release, you will not be using relevant examples. As a result, you will struggle to achieve higher than Level 2.• I found all of this about Tinker Tailor Soldier Spy in about an hour. You have no excuse for not doing the same.
The trailerTargeting local and national audiencesThe technologies that have been introduced in recent years at the levels of production,distribution, marketing and exchangeThe importance of technological convergence for institutions and audiences
‘With Tinker Tailor Soldier Spy, I think we’ve madea film about loyalty and ideals, values that areextremely relevant – perhaps mostly because theyare so rare these days?’Thomas AlfredsonDirector Why is this quotation important?• Who decided that the values of loyalty and ideals are important?• Does this statement suggest the film has an underlying ideology?• What issues about audience arise from this quotation?
“For me, this secret world was also a metaphor forthe larger world in which we all live; we deceive oneanother, we deceive ourselves, we make up littlestories, and we act life rather than live it.”John Le CarreAuthor, Tinker Tailer Soldier Spy
Gary Oldman• 2011 Empire awards: honoured with the Icon Award for Achievement• 25 years in film industry playing some incredibly iconic roles• Commissioner Gordon (Batman)• Sirius Black (Harry Potter)• 11 movies at number 1 (in last 18 years)
What the IMBD says: Production Studio Canal Karla Films (co-production) Paradis Films (co-production) Kinowelt Filmproduktion (co-production) Working Title Films (co-producer) Canal+ (support) CinéCinéma (support) (as Cinecinema)Ownership and Practice: Commercial company – synergy partnershipsLocal and national audiences: is there a loss of national identity in the film?The ways in which the candidates’ own experiences of media consumption illustratewider patterns and trends of audience behaviour.
What the IMBD says: Distribution • StudioCanal (2011) (UK) (theatrical) • E1 Films Canada (2011) (Canada) (theatrical) • Entertainment One Benelux (2011) (Netherlands) (theatrical) • Focus Features (2011) (USA) (theatrical) • ITI Cinema (2011) (Poland) (theatrical) • Shaw Organisation (2012) (Singapore) (theatrical) • Starway Film Distribution (2012) (Belgium) (theatrical) • StudioCanal (2012) (Germany) (theatrical) • Ascot Elite Entertainment Group (2011) (Switzerland) (all media) • DeA Planeta Home Entertainment (2011) (Spain) (all media) • Deltamac Entertainment (2011) (Hong Kong) (all media)Ownership and Practice: Commercial company – synergy partnershipsLocal and national audiences: is there a loss of national identity in the film?The ways in which the candidates’ own experiences of media consumption illustratewider patterns and trends of audience behaviour.
What the IMBD says: Technical Film negative format (mm/video inches) 35 mm (Fuji Eterna 500T 8573, Reala 500D 8592) Printed film format 35 mm (anamorphic) D-CinemaOwnership and Practice: distribution of 35mm v cheaper independentcompaniesThe technologies that have been introduced in recent years at the levels ofproduction, distribution, marketing and exchangeThe importance of technological convergence for institutions and audiences