Pathé would be a suitable media institution to distribute the film due to its British studio allowing it to appeal to a UK audience, its artistic heritage relating to themes in the film, and its success providing credibility. Studiocanal would also be a good fit as the producer since it has a link to the BFI funding body and a 'commitment to creativity', matching the film's unique idea. However, fully partnering with these companies would not be guaranteed without creative funding or their agreement. The production does not fully communicate the companies' styles yet and would need to incorporate their technical aspects.

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

2. INTRODUCTION
Media institutions – for example, production or distribution companies – play a vital
role within the life cycle of a film. Whilst production companies are involved in the
initial creation of a movie (i.e scripting, budgeting, scheduling and post-
production), distribution companies are directly responsible for marketing the film,
and ensuring it is exhibited and ready for public viewing. Our production has been
created solely for the purpose of an AS course; however if we chose to
professionally produce and distribute the full movie, we would require collaboration
with a production and distribution company. Within this task, I will outline the
companies we have selected for this, as well as our suitability to their ethos.

3. PATHÉ
The company we have chosen to distribute our film is Pathé. Pathé originate in France, however have since
opened studios in the UK. This is applicable to our movie, which takes place in a conventionally British setting,
thus appealing to a British target audience - the fact that Pathé have a studio situated in London makes them
more recognisable and identifiable to our target audience. The fact that the company originate in France can
further be related to our production, as the country is internationally known for its art and artistic heritage, in
possession of paintings such as ‘The Mona Lisa’, or ‘Starry Night’. This establishes an artistic culture within the
country, which can be linked to strong artistic themes within our narrative. Furthermore, Pathé are a highly
successful company; however remain relatively niche in comparison to other conglomerate studios (20th Century
Fox). As a result, this is suited to the smaller scale of our own production, making the choice increasingly
realistic in terms of opportunity. In terms of credibility, the company have won 15 BAFTAs and 13 Oscars, thus
providing a higher likelihood of success.
Without the institutional logo, our production would not be distinctly recognisable to Pathé. There are,
however, some aspects of cinematography which are conventional to the company; particularly during the title
sequence, in which the arrangement of drawings and camerawork throughout appears visually pleasing and
vibrant in nature.

4. STUDIOCANAL
Studiocanal are a production company, whom we have selected to hypothetically produce our film. The company are
closely linked with the BFI, who we would use to fund our movie (through application for their creative funding process).
This is an ideal partnership which would link two vital elements of production, thus allowing us to work in a more
collaborative and co-operative manner. Studiocanal were originally a French production company who, like Pathé, have
studios situation in London. The ease and accessibility of this links to the previous point surrounding collaboration, and
further attracts a British target audience, as intended. This would be achieved through the recognition of a familiar
company, which would both reassure them of the film’s quality; whilst also providing identification through Studiocanal’s
creation of typically British movies. Furthermore, the similarities between both Studiocanal and Pathé allow us to ensure
that our product is being created by the producers/distributors best suited to it – for example, the French origin of both
companies links to the theme of art, as mentioned on the previous slide.
Studiocanal describe themselves to have a ‘commitment to creativity’ and a desire to ‘introduce new ideas’. Through
audience feedback, we learnt that our film is viewed, by consumers, as unique, with respondents claiming that they have
‘not seen anything like it’, despite having ‘watched a lot of horror or thriller movies’. As a result, it is implied that the
narrative and sole idea of our movie acts as it’s unique selling point, thus fitting the previously mentioned ethos of
Studiocanal. Much like Pathé, the company are more niche than other mainstream, conglomerate companies with whom
they have previously collaborated. This, alongside their intentions to ‘introduce new ideas’ suggest that they would be
suited to the production of our movie, despite us being ‘new’ creators.

5. CONCLUSION
Overall, I think that both Pathé and StudioCanal would be highly suited to the production of our
film. This is due to their ethos, as well as company background – for example, StudioCanal’s desire
to ‘introduce new ideas’ (which is essentially what we are propsing), as well as the French
origin/British setting of both companies relating to themes within our production/the geographical
location of our target audience. The main issue we would face in this process, however, would be
that of acquiring collaboration. Despite our intentions to receive creative funding from the BFI,
there would be no guarantee of this, nor of Pathé or StudioCanal agreeing to distribute/produce
our film.
Furthermore, I do not think that we have yet communicated either of these organisations fully
within our production. To do so, we would need to observe other movies created by both
companies, and incorporate cinematographic or technical aspects conventionally used by the
organisations, into our own production (as well as including their institutional titles within the
opening sequence).