Powerpoint Draft 2

1. WHAT KIND OF MEDIA
INSTITUTION MIGHT
DISTRIBUTE YOUR MEDIA
PRODUCT AND WHY?
EVALUATION QUESTION 3

2. SOCIAL REALISM DISTRIBUTORS &
THEIR FILMS
ARTIFICIAL EYE:
o FISH TANK (2009
o LAST RESORT (2000)
o THE SON (2002)
o THE CHILD (2005)
VERVE PICTURES:
o THE ARBOR (2010)
o BULLET BOY (2004)
o RED ROAD (2006)
PATHÉ DISTRIBUTION:
o RATCATCHER (1999)
o ADULTHOOD (2008)
o SLUMDOG MILLIONAIRE (2008)
o SUFFRAGETTE (2015)
OPTIMUM RELEASING:
o TYRANNOSAUR (2011)
o THIS IS ENGLAND (2006)
o BLIND SHAFT (2003)
ICON DISTRIBUTION:
o SWEET SIXTEEN (2002)
o LOOKING FOR ERIC (2009)
o PRECIOUS (2009)
o AE FOND KISS (2004)

3. ARTIFICIAL EYE
FILMS, GENRE, STYLE,
THEMES/ISSUES,
PRODUCTION STYLE, MEDIA
LANGUAGE CONVENTIONS,
NARRATIVE CONVENTIONS,
TARGET AUDIENCE AND
CULTURAL VALUE

4. ARTIFICIAL EYE
VALUES:
“ARTIFICIAL EYE HAS BEEN COMMITTED TO DISTRIBUTUING THE BEST IN EUROPEAN AND WORLD CINEMA
SINCE ITS FOUNDATION IN 1976 BY ANDI ENGEL.”
EXHIBITION AND CONSUMPTION:
“ARTIFICIAL EYE RELEASES ABOUT 20 NEW THEATRICAL FILMS, AND ANOTHER 30 NEW DVD AND BLURAY
TITLES, EVERY YEAR. IT IS ALSO COMMITTED TO A STRONG PROGRAMME OF DIGITAL RELEASES VIA CURZON
HOME CINEMA, SKY BOX OFFICE AND SKY PLAYER, ITUNES, VIRGIN FILMFLEX, LOVEFILM AND OTHER
PLATFORMS, ITS LIBRARY INCLUDES MORE THAN 300 FILM TITLES.”
“WE ARE THE UK’S LEADING INDEPENDENT CINEMA GROUP, COMBINING LUXURY VENUES AND AN
INNOVATIVE HOME CINEMA OFFERING WITH A PASSION FOR HIGH-QUALITY FILM PROGRAMMING. WE OFFER
THE VERY BEST IN FILM, EVENTS AND ALTERNATIVE CONTENT FOR A DISCERNING AUDIENCE”
THERE ARE CURRENTLY 10 CURZON CINEMAS IN THE UK. CURZON CINEMAS ALSO WORK WITH OTHER
ESTABLISHMENTS TO PROVIDE UNIQUE EXPERIENCES AND THE FINEST IN FILM TO AS MANY PEOPLE AS
POSSIBLE.
TARGET AUDIENCE:
CONSIDERING THIS, CURZON ARTIFICIAL EYE’S TARGET AUDIENCE WOULD BE THOSE WHO HAVE A TASTE IN
A WIDE RANGE OF FILM, SPECIFICALLY THOSE THAT ARE INDEPENDENT. CURZON ARE CURRENTLY WORKING
WITH DIGITAL CINEMA MEDIA TO CREATE ADVERTISING THAT APPEALS TO THE “HIGHBROW FILM AUDIENCE
WHO GENERALL SEEK OUT INDEPENDENT AND FOREIGN FILMS”. DCM’S CHIEF EXECUTIVE, KAREN STACEY,
DESCRIBES CURZON’S AUDIENCES AS “LOYAL, INFLUENTIAL AND PASSIONATE.”

5. ARTIFICIAL EYE
FISH TANK
ISSUES/THEMES: WORKING CLASS
LIFE, RELATIONSHIPS, SINGLE
PARENTING, VIOLENCE
CHARACTERS: MOTHER, DAUGHTER,
BOYFRIEND
EVENTS: LOVE TRIANGLE
GENRE: DRAMA, COMING-OF-AGE
PRODUCTION STYLE: ACTORS WITH
MIXED LEVELS OF EXPERIENCE, REAL
LOCATIONS
KEY REPRESENTATIONS: AGE, GENDER,
SEXUALITY
LAST RESORT
ISSUES/THEMES: IMMIGRATION,
INCARCERATION
CHARACTERS: MOTHER, SON, LOVE
INTEREST
EVENTS: REFUGE, BREAK UP,
CONFINEMENT, NEW RELATIONSHIPS
GENRE: DRAMA, ROMANCE
PRODUCTION STYLE: REAL LOCATIONS,
ACTORS WITH MIXED LEVELS OF EXPERIENCE
KEY REPRESENTATIONS: ETHNICITY,
REGIONALITY, CLASS AND STATUS

6. ARTIFICIAL EYE
NARRATIVE CONVENTIONS:
THE NARRATIVE IN BOTH FISH TANK AND LAST RESORT BOTH FOCUS ON SOME SORT OF
RELATIONSHIP, IN WHICH THERE IS ANOTHER PERSON INVOLVED OR HAS JUST LEFT. THIS
MIGHT BE CONVENTIONAL TO A FEW OTHER TITLES THAT ARTIFICIAL EYE HAS
DISTRIBUTED, BUT MORE RESEARCH WOULD NEED TO BE CARRIED OUT.
MEDIA LANGUAGE CONVENTIONS:
THE MISE-EN-SCENE CAN BE LINKED IN THESE TWO FILMS, AS THE STORY OF EACH OF
THESE TEXTS OCCURS IN AND AROUND A HIGH RISE BLOCK OF FLATS, AS A PART OF SOME
SORT OF HOUSING PROGRAMME.
THIS CONSTRUCTS A REPRESENTATION OF CLASS AND STATUS, AS EITHER THE
CHARACTERS LIVING IN THIS HOUSING ARE OF WORKING CLASS OR OF IMMIGRANT STATUS.
ALTHOUGH MY FILM INTRO DOES NOT FEATURE ANY HOUSING, IT STILL CONSTRUCTS
REPRESENTATIONS OF THE WORKING CLASS THROUGH THE USE OF THE SETTING.
ARTIFICIAL EYE MIGHT BE AN APPROPRIATE DISTRIBUTOR FOR MY FILM AS IT USES REAL,
WORKING CLASS AREA LOCATIONS, MUCH LIKE FISH TANK AND LAST RESORT.

7. VERVE PICTURES
FILMS, GENRE, STYLE,
THEMES/ISSUES,
PRODUCTION STYLE, MEDIA
LANGUAGE CONVENTIONS,
NARRATIVE CONVENTIONS,
TARGET AUDIENCE AND
CULTURAL VALUE

8. VERVE PICTURES
VALUES:
“AT VERVE PICTURES, WE SPECIALISE IN THE RELEASE OF INDEPENDENT FILM IN CINEMAS AND ON
DVD, OFFERING AUDIENCES THE CHANCE TO ENJOY ORIGINAL AND THOUGHT PROVOKING
CINEMA FROM THE UK AND AROUND THE WORLD. WE ARE PASSIONATE ABOUT FILM AND
DISCOVERING NEW TALENT, AND ARE COMMITTED TO RELEASING FILMS THAT HAVE BECOME
INCREASINGLY LOST IN TODAY’S MULTIPLEX CULTURE.”
EXHIBITION AND CONSUMPTION:
“OUR SUBSIDIARY DRAKES AVENUE DISTRIBUTES ACQUIRED TITLES, SPECIALISING IN
DOCUMENTARIES ABOUT ICONS AND HAS ALLIANCES WITH ORGANISATIONS SUCH AS NEW WAVE
FILMS, ICA FILMS, BUNGALOW TOWN PRODUCTIONS AND GREEN LIONS TO RELEASE CUTTING EDGE
WORLD CINEMA PROGRAMMING IN CINEMAS AND ON DVD.”
TARGET AUDIENCE:
VERVE PICTURES TARGET AUDIENCES THAT AGREE WITH THEIR STATEMENT ABOUT RELEASING
FILMS THAT HAVE BECOME LOST IN TODAY’S MULTIPLEX CULTURE. MEMBERS OF THIS AUDIENCE
WILL KNOW WHERE TO LOOK FOR THESE TYPES OF FILM, AS THEY WOULDN’T BE COMMONLY
SHOWN IN MAINSTREAM CINEMAS.

9. VERVE PICTURES
THE ARBOR
ISSUES/THEMES: SUBSTANCE ABUSE,
DOMESTIC VIOLENCE, TEENAGE PREGNANCY,
PROSTITUTION, POVERTY
CHARACTERS: FAMILY, NEIGHBOURS, EX-
BOYFRIENDS OF ANDREA DUNBAR
EVENTS: FAMILY BREAKDOWN, GRIEF,
ALCOHOLISM, DRUG TAKING, ABUSIVE
RELATIONSHIPS
GENRE: BIOGRAPHY, DOCUMENTARY,
DRAMA
PRODUCTION STYLE: REAL LOCATIONS,
EXPERIMENTAL
KEY REPRESENTATIONS: CLASS AND
STATUS, GENDER, ETHNICITY, SEXUALITY
BULLET BOY
ISSUES/THEMES: GUN CRIME, GANG
VIOLENCE
CHARACTERS: TWO BROTHERS,
GIRLFRIEND, OLD FRIEND, MOTHER
EVENTS: IMPRISIONMENT, CAR ACCIDENT,
CRIME
GENRE: DRAMA
PRODUCTION STYLE: REAL LOCATION,
ACTORS WITH MIXED LEVELS OF EXPERIENCE
KEY REPRESENTATIONS: CLASS AND
STATUS, REGIONALITY, ETHNICITY

10. VERVE PICTURES
NARRATIVE CONVENTIONS:
THERE ARE A FEW SIMILARITIES IN THE NARRATIVES IN THE ARBOR AND BULLET BOY,
INCLUDING THAT OF THE PEOPLE BEING, OR BEING VICTIMS TO, VIOLENCE. STORYLINES
THAT INCLUDE VIOLENCE MIGHT BE CONVENTIONAL TO THE FILMS DISTRIBUTED BY VERVE
PICTURES.
MEDIA LANGUAGE CONVENTIONS:
THE LOCATIONS OF BOTH OF THESE FILMS SUGGEST THAT OF A COMMUNITY, AS THEY ARE
BOTH SET IN A PLACE WHERE ALL OF THE CHARACTERS ARE FAMILIAR WITH ONE ANOTHER,
SUCH AS A NEIGHBOURHOOD OR HOUSING PROGRAMME.
A COMMUNITY FEEL AMONGST THE CHARACTERS IN EACH OF THESE FILMS MAY ALSO BE A
CONVENTION IN MY INTRO. THE LOCATION OF A FOOTBALL PITCH HOLDS ASSOCIATIONS
OF WORKING WITH A TEAM TO WIN THE GAME. A TEAM IS SIMILAR TO A COMMUNITY IN
THAT EVERYONE KNOWS ONE ANOTHER. THIS MIGHT SUGGEST THAT VERVE PICTURES IS A
GOOD DISTRIBUTOR FOR MY FILM AS IT SHOWS A SIMILAR SCENARIO TO OTHER FILMS THAT
THEY’VE DISTRIBUTED.

11. PATHÉ DISTRIBUTION
FILMS, GENRE, STYLE,
THEMES/ISSUES,
PRODUCTION STYLE, MEDIA
LANGUAGE CONVENTIONS,
NARRATIVE CONVENTIONS,
TARGET AUDIENCE AND
CULTURAL VALUE

12. PATHÉ DISTRIBUTION
VALUES:
“WITH A REPUTATION BUILT ON INDEPENDENCE, INNOVATION AND QUALITY, PATHÉ IS THE
WORLD'S LONGEST ESTABLISHED FILM COMPANY, AND NOW ENCOMPASSES A DIVERSE RANGE
OF MEDIA AND ENTERTAINMENT INTERESTS.”
EXHIBITION AND CONSUMPTION:
“FOLLOWING THE TAKEOVER OF GAUMONT THEATRES, PATHÉ IS CONTINENTAL EUROPE'S
LEADING CINEMA EXHIBITOR, WITH OVER 1000 SCREENS IN FRANCE, THE NETHERLANDS AND
SWITZERLAND. PATHÉ IS ONE OF THE LEADING DISTRIBUTORS AND PRODUCERS OF FILMS IN
FRANCE.”
TARGET AUDIENCE:
PATHÉ’S TARGET AUDIENCE IS MUCH LARGER COMPARED TO SOME OF THE OTHER
DISTRIBUTORS MENTIONED HERE. THEY HAVE THEIR OWN MULTIPLEX CINEMAS ACROSS THE
REST OF EUROPE, AND DISTRIBUTES A WIDER RANGE OF GENRES THAN MOST DISTRIBUTORS.

13. PATHÉ DISTRIBUTION
RATCATCHER
ISSUES/THEMES: POVERTY, FAMILY
BREAKDOWN, ALCOHOLISM, WORKING CLASS
LIFE, DEATH, GRIEF
CHARACTERS: MOTHER, FATHER, SON,
DAUGHTERS, FEMALE FRIENDS, OLDER MALE
FRIENDS
EVENTS: DEATH/GRIEVANCE, DUSTMEN
STRIKE, NEW FRIENDSHIPS
GENRE: DRAMA, COMING-OF-AGE,
PRODUCTION STYLE: ACTORS WITH
MIXED LEVELS OF EXPERIENCE, REAL
LOCATIONS
KEY REPRESENTATIONS: AGE, CLASS
AND STATUS, REGIONALITY
ADULTHOOD
ISSUES/THEMES: VIOLENCE, CRIME,
GANG CULTURE, DEATH, GRIEF
CHARACTERS: PROTAGONIST, GANG
MEMBERS, EX-FRIENDS
EVENTS: PHYSICAL ATTACKS, CAR
ROBBERY, BEING HELD AT GUNPOINT,
ANTAGONISTS ARRESTED
GENRE: CRIME, DRAMA
PRODUCTION STYLE: REAL LOCATIONS
KEY REPRESENTATIONS: AGE, CLASS
AND STATUS, REGIONALITY

14. PATHÉ DISTRIBUTION
NARRATIVE CONVENTIONS:
BOTH FILMS FEATURE THE DEATH OF THE PROTAGONIST’S FRIEND. DEATH WITHIN
A CLOSE COMMUNITY, SUCH AS A GANG OR A FRIENDLY NEIGHBOURHOOD MAY BE
A CONVENTION WITHIN FILMS THAT PATHE DISRIBUTES.
MEDIA LANGUAGE CONVENTIONS:
ONCE AGAIN, BOTH NARRATIVES ARE SET IN AN AREA WHERE EACH PERSON LIVES
IN AN AREA WHERE EVERYONE KNOWS EACH OTHER, WHETHER THEY LIKE ONE
ANOTHER OR NOT.
SIMILARLY TO VERVE PICTURES, PATHÉ MIGHT BE A GOOD DISTRIBUTOR FOR MY
FILM AS IT IS ABOUT A FOOTBALL TEAM IN WHICH THERE IS A SENSE OF
COMMUNITY AND BELONGING.

15. OPTIMUM RELEASING
FILMS, GENRE, STYLE,
THEMES/ISSUES,
PRODUCTION STYLE, MEDIA
LANGUAGE CONVENTIONS,
NARRATIVE CONVENTIONS,
TARGET AUDIENCE AND
CULTURAL VALUE

16. OPTIMUM RELEASING
VALUES:
“SINCE ITS INCEPTION IN 1999, OPTIMUM RELEASING HAS STEADFASTLY ADHERED TO ONE
MANTRA: SUPPORTING FILMMAKERS WITH A VISION, AND BRINGING THESE VISIONS TO THE
WIDEST AUDIENCE POSSIBLE.”
EXHIBITION AND CONSUMPTION:
“WITH A COMMITMENT TO DEVELOPING OPTIMUM RELEASING IN THE FUTURE THE COMPANY
WILL BE FURTHER EXPLORING ITS ACTIVITIES THROUGH PRODUCTION, OPTIMUM HOME
ENTERTAINMENT WHILST ALSO LOOKING AT NEW MEANS OF DISTRIBUTING FILMED
ENTERTAINMENT.”
TARGET AUDIENCE:
OPTIMUM RELEASING MENTION THAT THEY WANT TO BRING FILMMAKER’S VISIONS TO THE
WIDEST AUDIENCE POSSIBLE. THIS SUGGESTS THAT THEY WILL WORK TO MARKET SEVERAL
DIFFERENT GENRE TO FIT EACH INDIVIDUAL FILM’S TARGET AUDIENCE. THIS HAS IT’S
ADVANTAGES BECAUSE THEY WOULD HAVE EXPERIENCED ADAPTING THEIR DISTRIBUTION TO
NICHE TARGET AUDIENCES AS WELL AS WIDER, MAINSTREAM TARGET AUDIENCES.

17. OPTIMUM RELEASING
TYRANNOSAUR
ISSUES/THEMES: VIOLENCE,
ALCOHOLISM, DOMESTIC ABUSE
CHARACTERS: PROTAGONIST, LOVE
INTEREST
EVENTS: FIGHT, MEETING LOVE
INTEREST
GENRE: DRAMA
PRODUCTION STYLE: REAL
LOCATIONS
KEY REPRESENTATIONS: CLASS
AND STATUS, GENDER,
SEXUALITY
THIS IS ENGLAND
ISSUES/THEMES: WORKING CLASS LIFE,
RACISM, XENOPHOBIA, DEATH/GRIEF
CHARACTERS: PROTAGONIST, SKINHEAD
GANG,
EVENTS: PROTAGONIST JOINS GANG,
SKINHEAD RELEASED FROM PRISON AND JOINS
RACIST POLITICAL PARTY, BINARY
OPPOSITION BETWEEN PARTY AND GANG
GENRE: DRAMA
PRODUCTION STYLE: REAL LOCATIONS,
ACTORS WITH MIXED LEVELS OF EXPERIENCE
KEY REPRESENTATIONS: AGE,
ETHNICITY, CLASS AND STATUS, REGIONALITY

18. OPTIMUM RELEASING
NARRATIVE CONVENTIONS:
WHILST BOTH FILMS ARE VERY DIFFERENT, THEIR NARRATVIES CAN BE LOOSELY CONNECTED
THROUGH THE DISCRIMINATION FACED BY SOME OF THE CHARACTERS. IN TYRANNOSAUR,
HANNAH IS INSULTED FOR BEING CHRISTIAN, WHILST THE POLITICAL PARTY IN THIS IS
ENGLAND IS OPENLY RACIST.
MEDIA LANGUAGE CONVENTIONS:
THE COLOUR PALETTES WITHIN BOTH OF THE FILMS FEATURE MUTED, NEUTRAL COLOURS.
RARELY, THERE ARE SCENES THAT ARE VERY COLOURFUL. HOWEVER, TYRANNOSAUR
FEATURES DARKER COLOURS AND LIGHTING THAT THIS IS ENGLAND TYPICALLY DOES. THE
DARK, MUTED TONES IN TYRANNOSAUR CONSTRUCT THE REPRESENTATION OF GENDER AS
WELL AS CLASS AND STATUS, AS HANNAH IS PLACED IN A SITUATION IN WHICH SHE IS
PORTRAYED AS LESS SIGNIFICANT THAN THE MALE CHARACTERS. THE PALE COLOURS IN
THIS IS ENGLAND CONSTRUCTS THE REPRESENTATION OF WORKING CLASS LIFE AS BLAND,
AND REPETITIVE, AS A LOT OF BEIGE AND GREY IS SEEN. THESE COLOURS PORTRAY A DULL

19. ICON DISTRIBUTION
FILMS, GENRE, STYLE,
THEMES/ISSUES,
PRODUCTION STYLE, MEDIA
LANGUAGE CONVENTIONS,
NARRATIVE CONVENTIONS,
TARGET AUDIENCE AND
CULTURAL VALUE

20. ICON DISTRIBUTION
VALUES:
“FORMED IN 1999, ICON FILM DISTRIBUTION IS ONE OF THE UK’S LEADING INDEPENDENT FILM
DISTRIBUTORS GENERATING IN EXCESS OF £150M AT THE BOX OFFICE WITH A LIBRARY OF OVER
200 TITLES RANGING FROM MAINSTREAM HITS SUCH AS PARANORMAL ACTIVITY AND
TRANSPORTER 3 TO SPECIALIST BREAK-OUT TITLES SUCH AS TOM FORD’S A SINGLE MAN, AND
MULTIPLE BAFTA AND OSCAR®NOMINEE NICOLAS WINDING REFN’S DRIVE.”
EXHIBITION AND CONSUMPTION:
“ON 23 SEPTEMBER 2013 IFD WAS RE-LAUNCHED BACKED BY INVESTMENT COMPANY NEW SPARTA
FOUNDED BY DR JEROME BOOTH. THE ACQUISITION , WHICH INCLUDES TITLES RELEASED THOUGH
IFD’S OUTPUT DEAL WITH LIONSGATE AND THE UK LIBRARY, WILL SEE IFD ACQUIRING AND
RELEASING FILMS IN ALL MEDIA. IFD WILL WORK WITH EXISTING AND NEW PARTNERS TO DELIVER
EFFECTIVE CAMPAIGNS FOR QUALITY DISTINCTIVE MATERIAL.”
TARGET AUDIENCE:
ICON WILL BE TARGETING THOSE WHO ARE INTERESTED IN INDEPENDENT FILMS IN GENERAL, AS
THEY DO NOT DISTRIBUTE A SPECIFIC GENRE. SOME MEMBERS OF THE AUDIENCE WILL JUST VISIT
MULTIPLEX CINEMAS TO SEE THE ‘MAINSTREAM HITS’ WHILST OTHERS WILL VISIT INDEPENDENT

21. ICON DISTRIBUTION
SWEET SIXTEEN
ISSUES/THEMES: DRUG USE, WORKING
CLASS LIFE, POVERTY
CHARACTERS: PROTAGONIST, MOTHER,
MOTHER’S BOYFRIEND, GRANDFATHER
EVENTS: DRUG DEALING, HOMELESSNESS,
IMPRISONMENT, VIOLENCE
GENRE: DRAMA, COMING-OF-AGE
PRODUCTION STYLE: ACTORS WITH
MIXED LEVELS OF EXPERIENCE, REAL
LOCATIONS
KEY REPRESENTATIONS: AGE, CLASS,
REGIONALITY
LOOKING FOR ERIC
ISSUES/THEMES: DRUG USE, CRIME, FAMILY
CRISIS
CHARACTERS: PROTAGONIST, EX-WIFE,
STEPSON, DAUGHTER, GRANDDAUGHTER,
FOOTBALL HERO
EVENTS: CONSIDERING SUICIDE, DRUG
CONSUMPTION WHICH LEADS TO
HALLUCINATION, REBUILT RELATIONSHIPS
GENRE: DRAMA, COMEDY. THIS IS A SOCIAL
REALISM HYBRID.
PRODUCTION STYLE: REAL LOCATIONS
KEY REPRESENTATIONS: CLASS,
REGIONALITY, DISABILITY

22. ICON DISTRIBUTION
NARRATIVE CONVENTIONS:
BOTH NARRATIVES INCLUDE THE USE OF DRUGS. THIS MIGHT BE CONVENTIONAL
TO THE FILMS THAT ARE DISTRIBUTED BY ICON.
MEDIA LANGUAGE CONVENTIONS:
THE MISE-EN-SCENE FOR BOTH FILMS USUALLY INCLUDES COMFORTABLE AND
BAGGY CLOTHES THAT LOOKS AS IF THEY WERE DESIGNED TO BE WORN FOR
SPORTS. THESE CLOTHES SUGGEST THAT THE WEARER IS OF WORKING CLASS AS
THEY ARE VERY CASUAL.
THIS MISE-EN-SCENE FOR MY FILM IS VERY SIMILAR AS IT ALSO SURROUNDS
SPORTS. THE SUBJECT MATTER FOR LOOKING FOR ERIC IS ALMOST THE SAME AS
THE SUBJECT MATTER FOR MINE, AND SO THIS MIGHT IMPLY THAT ICON
DISTRIBUTION IS A GOOD CHOICE FOR A DISTRIBUTOR FOR MY FILM.

23. MY FILM
GENRE, THEMES/ISSUES,
PRODUCTION STYLE,
REPRESENTATION, TARGET
AUDIENCE

24. MY FILM
ISSUES/THEMES: GENDER DISCRIMINATION, VIOLENCE, SUBSTANCE
ABUSE, WORKING CLASS LIFE
CHARACTERS: PROTAGONIST, FRIENDS, FOOTBALL TEAM MEMBERS
EVENTS: FOOTBALL MATCH, FIGHT, ALCOHOL/DRUG USE, FAILED EXAMS
GENRE: DRAMA, COMING-OF-AGE
PRODUCTION STYLE: REAL LOCATIONS, UNTRAINED ACTORS
REPRESENTATIONS: GENDER, CLASS, AGE
TARGET AUDIENCE: THOSE WHO IDENTIFY WITH THE KEY REPRESENTATIONS

25. EVALUATION
FROM LOOKING AT THE ISSUES/THEMES, CHARACTERS, EVENTS, GENRE,
PRODUCTION STYLE AND KEY REPRESENTATIONS OF THE FILMS THAT I HAVE
EVALUATED, IT SEEMS THAT THE ARBOR AND FISH TANK ARE THE MOST
SIMILAR TO MINE, IN THAT THEY LOOK AT SIMILAR THEMES/ISSUES, AND
HAVE SIMILAR KEY REPRESENTATIONS.
THE ARBOR AND FISH TANK WERE DISTRIBUTED BY VERVE PICTURES AND
ARTIFICIAL EYE RESPECTIVELY.
ACCORDING TO THE CONVENTIONS THAT I IDENTIFIED, VERVE PICTURES
SOUNDS THE MOST SUITABLE TO DISTRIBUTE MY FILM, AS THE NARRATIVE
INCLUDES VIOLENCE, AND THE MEDIA LANGUAGE CONVENTIONS WILL
INCLUDE A SETTING THAT SUGGESTS A WORKING CLASS ENVIRONMENT, AND
A SENSE OF COMMUNTIY. ARTIFICIAL EYE’S CONVENTIONS WERE SIMILAR,
ALTHOUGH I SUGGESTED A NARRATIVE CONVENTION OF HAVING A LOVE
INTEREST, AND I HAVE DECIDED THAT MY FILM DOES NOT HAVE ONE.