2. Big Picture
• Candidates should be prepared to understand and discuss the processes of
production, distribution, marketing and exchange as they relate to
contemporary media institutions, as well as the nature of audience consumption
and the relationships between audiences and institutions. In addition,
candidates should be familiar with:
• • the issues raised by media ownership in contemporary media practice;
• • the importance of cross media convergence and synergy in production,
distribution and marketing;
• • the technologies that have been introduced in recent years at the levels of
production, distribution, marketing and exchange;
• • the significance of proliferation in hardware and content for institutions and
audiences;
• • the importance of technological convergence for institutions and audiences;
• • the issues raised in the targeting of national and local audiences (specifically,
British) by international or global institutions;
• • the ways in which the candidates’ own experiences of media consumption
illustrate wider patterns and trends of audience behaviour.
•
4. Working Title
• British film production company, based in London
• 1983 - Founded
• 1992 – Corporate backing from Polygram
• 1999 – Polygram taken over by Seagram and folded into
Universal pictures
• 2000 – Vivendi buys Seagram
• Working Title is now owned by Universal who is in turn
owned by Vivendi
• Implications of this?
5. Implications
• Although Working Title is a British company it can benefit
from large Hollywood support (and the benefits of
conglomerate synergy)
• Universal invest 30% of budgets and offer Hollywood support
• Success include:
• Notting Hill Johnny English Bridget Jones Diary
• Love Actually High Fidelity Bean
• Movie template: ‘Britishness’ of film often mixed with
American star/commercial genre
6. Big Talk Productions
• Big Talk is a multi-award winning British film and TV
production company.
• Its credits include television series Spaced, Black Books, Rev,
Him & Her, Friday Night Dinner
• Feature credits include Shaun of the Dead, Hot Fuzz, Scott
Pilgrim Vs. the World, Paul, Attack the Block, Sightseers
7. Budget
• The World’s End had a budget of $20 million
• Small in comparison to a Hollywood blockbuster, however in
terms of British film industry enormous (average British film
$1-$5 million depending on size)
• Shows importance of having US backing (both in terms of
raising a budget and also the ability for the business to survive
any costly flop – financial security)
• Shot on 35mm film (although more costly it maintain
consistency with other films in trilogy – crucial for exploiting
fanbase)
8. Factors Influencing Production
• The film was the third part of the Cornetto Trilogy, following Shaun
of the Dead and Hot Fuzz
• Shaun of the Dead – budget $6million, box office $30 million
• Hot Fuzz – budget $12 million, box office $80 million
• This shows that previous films in the trilogy were successful –
thereby indicating the type of film produced has a recognisable fan
base that will see the film
• It offers ‘more of the same’ in an attempt to replicate some of the
elements that ensured the previous films were successful
• Repetition and Difference
9. Factors Influencing Production
• Reuniting stars Simon Pegg and Nick Frost (known in US
thanks to previous successes) with director Edgar Wright
• Other known UK talent: Considine, Nighy, Brosnan, Freeman
• Commercial genres explores: comedy, sci-fi, action
• So a combination of distinctly British sensibilities with
crossover international appeal
10. Distribution
• Distribution was handled by:
• Universal Pictures (UPI) internationally
• Focus Features in the US
• Focus pictures is an art house subsidiary of Universal –
although it specialises in arguably less mainstream fare it is
still part of this major chain
• The film therefore can benefit from increased exposure thanks
to conglomerate/major studio backing
11. Poster Campaign
Focus on star names/images
Link to previous successes (Shaun of the Dead/Hot Fuzz)
Focus on popular generic tropes
12. Promo Campaign
• Website provides trailers, galleries, release information, social
media links (Twitter, Facebook, Youtube), affiliated links to buy
DVDs, interactive features including beermat/pub sign
designer
• Focus Features produced merchandise such as
• monikered pub glasses
• The film received extensive media coverage both in print and
TV due to the familiarity of stars and also the success of
previous films in franchise – this built expectation amongst
fans
13. Exhibition: Box Office
• The World's End earned £2,122,288 during its UK opening weekend
• It was second only to Monsters University (an even bigger Hollywood
franchise movie)
• Multiplex saturation release
• It entered the US charts at number four in it’s opening weekend
• The film grossed $26,004,851 in the US
• The rest of the world gross was $20,084,436
• Total Gross: $46,089,287
• Note the importance of international success in order to make profit
– UK takings only accounted for $13,354,358
14. Responses
• Critical response to the film was strong
• Rotten tomatoes has the film at an 89% approval rating, with
fan’s ratings at 72%
• Positive critical reviews will have encouraged audiences to
watch the films
• Audiences/fans can share thoughts and opinions on film using
social aspects of the internet (web 2.0)
• This in turn may encourage more people to seek out and
watch the film
15. Home Release
• The World’s End continues to make profits well after cinema
release
• Traditional Physical Formats
• Blu Ray, Steel Book (limited Edition), DVD
• Convenience factor
• 1080p technology
• 2 disc or 1 disc version
• Extensive special features for fans
• Limited Edition Steelbook version for collectors
• Cornetto Trilogy Box Set
16. Technological Advances
• Web 2.0 advances has allowed the industry to exploit various
platforms for release:
• iTunes – Vudu - Google Play - Target Ticket - Cinema Now
• These cater for different audiences across a number of
formats (PC, Mac, Android)
• Example of Technological Convergence (media platforms
coming together)
• E.g. streaming films utilising internet (or phone) technology onto
a variety of platforms (Apple TV, PC, Android Box etc)
