Film 4 part 1

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Film 4 part 1

  1. 1. Institutional Research
  2. 2.  A setting in the UK? or A focus on British people abroad? A predominantly British cast? A storyline about some aspect of British life? Based on the work of a British author?
  3. 3.  Significant returns for the UK economy through film making, inward investment, film exhibition, DVD rentals and sales, film exports The UK Film Council estimates that a successful Brit film will make up to 70% of its revenue outside the UK
  4. 4.  If a film addresses a domestic audience about culturally specific themes, is it likely to find wider distribution difficult? Will non British people want to see the film? What significant advantage do British filmmakers have over European filmmakers?
  5. 5.  British film production companies have co- production and distribution with Hollywood studios ‘British’ films can be funded and distributed by US companies Decisions on which British films to produce and how to market them are often based on the tastes of both domestic and American audiences
  6. 6.  Hollywood is built around studios Companies who aim to make money from films Why are Hollywood blockbuster movies so successful?
  7. 7.  In general Hollywood has been able to continually re-invent itself by responding to a changing marketplace and taking advantage of new opportunities offered by new technologies
  8. 8.  British film has become more confident in expanding its range to include a wider cross- section of ethnic groupings, gender groupings and cultural groupings Promoting diversity and offering a more representative and inclusive national identity Slumdog is a recent example!
  9. 9.  180 million tickets sold yearly Inward investment to improve the cinemagoing experience 80% of admissions come out of mainstream American distributors British „themes‟ and values
  10. 10.  Hollywood realised that there is serious money to be made in international distribution so they invest heavily They retain the rights to their films so secure profits for many years British film industry is production led whereby distribution is usually through an American company Any money made is not going back into the British film industry „Cottage‟ industry
  11. 11.  2004 – UK output 27 British film industry unable to respond to increasing audience demand Hollywood has diversified and strengthened to develop links with other media and delivery platforms creating vast media empires Global market at $63 billion in 2003 US takes 80% of this global market
  12. 12.  A British production company – finances British films 1982 – 1998 known as Channel 4 film Part of channel 4s remit was to experiment and innovate and cater for audiences not addressed by other channels Nowadays they fund around 20 films per year A number of films are by first time feature screenwriters or directors They look for distinctive films which will make their mark in a competitive cinema market Television premieres on FilmFour Channel and Channel 4 2 years after theatrical release
  13. 13.  David Rose, commissioning editor, “a preference for contemporary and social political topics” My Beautiful Laundrette (1985) portrayed the homosexual relationship between a white fascist and a Omar, born in Britain to Pakistani parents. Main audiences were contemporary critical audiences in the 20 – 30 age ranges Before Laundrette, a large percentage of the British population went largely unrepresented
  14. 14.  1996 Starring Ewan McGregor in his 2nd film Directed by Danny Boyle a British director A co-production with Figment Films, Polygram and The Noel Gay Motion Picture co. Budget $3,500,000
  15. 15.  David Aukin, Head of Drama at Four Films “it isn‟t really about drugs…it‟s a buddy movie” US critics compared the movie to Kubricks „A Clockwork Orange‟ Both are anti-social-realist films dealing with subjects – gangs, violence, drugs – which are stylised and fast-paced. Both are independent films which shocked the critics and audiences
  16. 16.  However Trainspotting was more an object of youth culture or popular culture than it was cinematic Britpop was Trainspottings main vehicle to integrate youth subculture into popular culture. Polygram put large sums of money into a sophisticated marketing and branding strategy including posters and a soundtrack Knew film would appeal to clubbers and ravers so targeted these – Underworld‟s Born Slippy became a massive hit from the soundtrack Film gained distribution in the US although it did need subtitles!
  17. 17.  The „brand‟ Trainspotting Soundtrack Posters DVDs Copied of the screenplay Reprinting of Welsh‟s novel featuring the poster on the cover Music cross-promotion
  18. 18.  1994 Starring Hugh Grant and Andie MacDowell Co-production with Polygram and Working Title Budget $6,000,000
  19. 19.  Played upon aspects of national identity Played upon the more „naïve‟ elements of Britishness Hugh Grants quintessential fumbling middle class gentleman Appealing to an American audience A universal storyline of romance and a feel good happy ending
  20. 20.  2008 Funded by Film4 Co-production with Celador and Pathe Directed by Danny Boyle Budget $15,000,000
  21. 21.  Typical cost rose from £400k to £1.8million Trainspotting and Four Weddings were hugely successful although appealed to very different audiences Trainspotting was a low budget film which had carved itself a niche audience
  22. 22.  FilmFour films explored and developed ideas of cultural hybridity East is East The first British film representing hybrid and ever changing cultural and social mix in Britain making it into mainstream multiplex cinemas. Brick Lane (2007) won a BAFTA

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