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1. CASE STUDIES
Michelle Grace

2. GLOSSARY
• Conglomerate – a group/institution which owns several smaller companies
• Subsidiary company – a company that has been set up by a larger
company
• Vertical integration – a strategy in which a company extends its operations
onto one or more aspects of the production path – when the production
company also has ownership of distribution/exhibition
• Horizontal integration – when a production company expands into other
areas of one industry/when two firms in the same industry, at the same stage
of production, come together
• Independent company – a company producing films outside of major studio
systems

3. ROGUE ONE
Production Company – Lucasfilm, Walt Disney Studios
Motion Pictures
Distributor: Walt Disney Studios Motion Pictures
Budget: $200,000,000 (estimated)
Revenue: $1,041,442,512 (Worldwide)
Marketing:
• Personal relationships (uses and gratifications theory) –
references to previous films in trailers etc, encourages
audience to watch in order to find out what happens to
these characters
• Star appeal – director (Gareth Edwards) is highly
credited/leading actress Felicity Jones is a popular actress
• Posters – first poster released is different to that of
previous Star Wars instalments (i.e no cast seen)/series of
close-up cast posters (star appeal)
• Trailers – first trailer debuted on Good Morning
Britain/second trailer debuted during Olympics (synergy)
• Online – website shows short clips/downloadable
wallpapers/social media links
Distribution:
• Only distributed to cinemas so far – audiences must visit
the cinema to watch it, generating a larger box office profit
Exhibition:
• Exhibited in IMAX, 2D and 3D
• Shown in

4. FANTASTIC BEASTS AND WHERE TO
FIND THEM
Production company: Warner Bro’s/ Heyday Films
Distributor: Warner Bro’s
Budget: 180 million USD
Revenue: $807,622,943
Marketing:
• Posters, Trailers, social media- Facebook, twitter and
Instagram pages/hashtags.
• Personal Relationships – existing Harry Potter fans
attracted through use of same font/style etc, promoted by
Harry potter websites/actors/author (i.e mention of JK
Rowling on poster)
• ‘A new era of the wizarding world’ suggests continuation of
the franchise – engages previous fans
Distribution:
• Currently released within the cinema, meaning this is
where majority of profits are generated
• Will be released on DVD on March 7th.
Exhibition:
• Exhibited primarily in Europe/countries include Portugal,
Ukraine, Turkey, South Korea, Hungary, Denmark, Chile,
Brazil, the UK and USA.
• Use of IMAX and 3D

5. THE GIRL WITH ALL THE GIFTS
Production Company – Poison Chef, BFI Film fund,
Altitude Film Sales
Distributor: Warner Home Video (UK DVD)/Warner Bros
(UK Theatrical)
Budget: $4,000,000 (estimated)
Revenue: $1,894,773 (Worldwide)
Funding: BFI Creative Film Funding
Marketing:
• Star Appeal – Gemma Aterton
• Trailer shown in cinemas, prior to movies of a similar
genre/storyline
• ‘Exclusive unseen footage’ promised on DVD cover
Distribution:
• Theatrical distribution in UK, USA, Singapore, Austria,
Germany, Hungary, Spain etc – individual distributors
for each
• Distributed to DVD in the UK only, via Warner Home
Studio
Exhibition:
• Primarily exhibited in 2D, in cinemas (countries listed
above)
• Released on DVD in the UK

6. FLORENCE FOSTER JENKINS
Production Company – Qwerty films, Pathé Pictures International,
BBC Films
Distributor: Paramount Pictures (USA, Theatrical), 20th Century Fox
(UK, Theatrical),
Budget: $29,000,000 (estimated)
Revenue: $44,272,267 (Worldwide)
Funding: Funded by EU’s ‘Creative Europe MEDIA Programme’,
which ‘supports the audio-visual sector during a time of
transformation by digital technology’
Marketing:
• Aimed towards upper classes (i.e A/B socio-economic groups),
due to iconography (costumes, setting etc) on poster/in trailer
• Aimed towards British Audiences – strong accents used in
trailer/typical British setting
• Audience identification – idea of being bad at something/having a
dream to do it
• Star Appeal – actors and their names displayed on poster (Meryl
Streep/Hugh Grant)/cast interviews, and ‘From the director of The
Queen and Philomena’ promises a degree of quality (names of
these films are more recognisable than the directors name)
• Social media celebrating/promoting the actors
• TV Spots – show short clips, using star appeal and humour
Distribution:
• Theatrical distribution in UK, USA, Argentina, Canada, Greece,
Italy, Portugal, Philippines, France, China etc – individual
distributors for each
Exhibition:
• Theatrical exhibition in countries listed above
• Exhibited in cinemas/on DVD

7. 71
Production company: Warp Films/Creative Scotland
Distributor: Studio canal, Studio Canal UK, Roadside attractions.
Budget: £8.1million
Revenue: $2, 170,847
Funding:
• Funded by the BFI (British film institution) creative film funding
• Could mean the production is more likely to be aimed at those within the
UK as the BFI is a UK based company
Marketing:
• Marketed through many different platforms, such as posters, trailers,
and social media (i.e Facebook pages)
• Star Appeal – i.e main actor Jack O’Connell
• Reviews/Awards on poster – suggest a higher quality movie
Distribution:
• Can be seen on platforms such as YouTube, google play, DVD and Blu-
ray, as well as film 4 and the BFI player – link to technological
convergence
• Originally shown within cinemas
Exhibition:
• Shown at film festivals (i.e BFI film festival 2014/Sundance Film Festival,
as shown on poster) - implies it was created more independently, as
film festivals are for more niche audiences
• Can be seen within multiple countries - including Germany, France, UK,
USA, Canada, Brazil, Norway, Spain and Australia (primarily exhibited
within Europe)

8. WARP FILMS
Type of company – British Independent
Films Produced:
• Submarine (2010) – Comedy/Drama/Romance
• This Is England (2006) – Crime/Drama
• The Midnight Beast (TV Series, 2012)
• 71 (2014) – Action/Drama/Thriller
Most Successful –
• This is England (2006) – earned $8,739,576 worldwide gross,
and won a BAFTA for Best British Screenplay
Values/Aims:
• Describe themselves to make ‘distinctive, amusing and
thought-provoking content’
• Aim to ‘support creative people’ and hope that, in 10 years,
they will be counted as ‘among the best anywhere’
• ‘Offer an alternative point of view to the mainstream’
Working Relationships:
• Supported by a partnership with ITV Global - signed a
‘development deal’
• Created with financial support from NESTA (an ‘innovation
foundation’) and receive funding from the BBC and Film 4 to
aid distribution

9. HEYDAY FILMS
Type of company – British private Company
Films Produced:
• Harry Potter series (2001-2011)
• Gravity (2013)
• Fantastic Beasts and Where to Find Them (2016)
• Paddington (2014)/Paddington 2 (2017)
• We’re The Millers (2013)
Most Successful –
• Harry Potter series – known worldwide, total movie
sales for all films was approximately $7,216,000,000
Values/Aims:
• Make both films and TV Dramas
• Aim to work with big studios
Working Relationships:
• Have worked with distributors such as Warner Bros,
Lionsgate, Studiocanal, Walt Disney Motion Picture
• Currently on a ‘joint venture’ with NBCUniversal

10. LUCAS FILM
Type of company – American Subsidiary Company
Films Produced:
• Chicken Little
• Star Wars Franchise
• Robots
• Indiana Jones Franchise
• ZombieLand
Most Successful –
• Indiana Jones – total income of approximately
$697,258311
Values/Aims:
• Create work that ‘spans the entire entertainment spectrum’
• Help guide projects through all the evolutionary phases -
including creative development, psychological production,
post productions, and technological enhancements
Working Relationships:
• Owned by Disney, and are in a working partnership with
them

11. THE BFI
Type of company – British Independent
Films Contributed To (i.e through funding):
• Carol (2015)
• 12 Years A Slave (2013)
• The Girl With All The Gifts (2016)
Values/Aims:
• Support high-quality, British independent releases/new
creatives – i.e by investing funding into projects, for
production, distribution or exhibition
• International strategy – aim to help films achieve
‘maximum economic growth and cultural reach’
• Aim to be representative and diverse, and to reflect
changing attitudes/people- i.e Steven McQueen
became the first black director to win Best Picture, for
12 Years A Slave
Working Relationships:
• Award funds from the National Lottery
• Funding Partners include – British Film Commission,
Creative England, Creative Skillset, Film London
• Partnership with Arts Council England