The document provides a history of British cinema since 1984. It discusses the revival of the British film industry in the 1980s and 1990s, with the rise of multiplex theaters drawing larger audiences. Major production companies like Channel 4 and Handmade Films backed influential films during this time period. The costume drama genre became synonymous with British cinema, though the term was later replaced with "heritage film." By the mid-1990s, films like Four Weddings and a Funeral and Sense and Sensibility showed the two directions of British national cinema. Trainspotting in 1996 enhanced British cinema's international profile and influence on youth films through its portrayal of sex, drugs and working class life.
The passage summarizes changes in the British film industry since 1984. It discusses the revival of the cultural and economic fortunes of British cinema in the 1980s and 1990s, including the rise of multiplex theaters. Key production companies during this period included Channel 4, Handmade Films, and Palace Pictures. Genres like art cinema, costume dramas, and social realism flourished. By the mid-1990s, films like Four Weddings and a Funeral and Sense and Sensibility showed the two main directions of British cinema - heritage films and more contemporary adaptations.
1. Social realism has been Britain's most distinctive film genre, showing ordinary British life and experiences on screen and shaping ideas of what British cinema can be.
2. Early British films in the 1900s picked up on themes of everyday social interactions found in authors like Dickens and Hardy to portray everyday life in a realistic style.
3. In the 1940s, British films combined the realism of documentaries with bigger studio productions, creating mass appeal films that reinforced social unity during World War II and the postwar years.
4. The British New Wave of the 1950s-1960s brought a more independent style focused on realist portrayals of working class lives and issues in Britain at the time.
This document provides a quiz with 25 questions and answers that need to be emailed by 2 am on January 5th. It includes questions about a TV character inspired by a Roman empire, a Russian businesswoman who recently married, an Italian aircraft linked to an animation company, and miniature houses given by an airline. Questions also cover punk-style jackets, novelty glasses, a marble set returned to a museum, a profession from Britain's industrial revolution, and shoes worn by a class of people.
This document provides a biography of fashion designer Norman Hartnell. It discusses that he was born in London in 1901 and studied at Cambridge University where he designed costumes. He left school to establish his label in 1923. Some of his most notable designs were for Queen Elizabeth's wedding gown and coronation gown. Hartnell was known for elegant designs using luxurious fabrics and intricate details. He found inspiration from paintings and portraits. The document provides details about various garments and sketches he designed. It discusses his legacy living on through Marc Bohan after Hartnell's passing.
A Little black dress is adding by CocoChanel first launched in 1926, the black belt gives some rebellious, dare to show themselves in spirit. It sounds simple, but it is definitely a classic little black dress has been popular for nearly a century. Whether the Hollywood celebrity superstar, or the political arena first ladies are willing to interpret the little black dress with elegant atmosphere. Here we bring you look at these famous people “little black dress moment.”
The Blackadder sitcom dynasty began in the 1980s as a collaboration between Richard Curtis and Rowan Atkinson. It consisted of four successful TV series set in different historical periods, with Atkinson playing various ancestors of the cunning and self-serving Edmund Blackadder. The series gained acclaim for its witty humour and ensemble casts, which included Miranda Richardson, Stephen Fry, Hugh Laurie, and Tim McInnerny. The finale of the final series set in WWI is considered one of the most memorable TV moments of all time. While the main series concluded in the 1980s and 90s, there was speculation of a potential new installment in 2015.
The document discusses several conventions of soap opera settings, including using a small central location to give a sense of community familiarity to viewers. Examples given are Coronation Street being set on a street and EastEnders set around a town square. Both soaps also feature a central meeting place like the pub. These contained sets help productions save money. The document then provides more details on the specific settings of EastEnders in London, Coronation Street in Weatherfield, and Hollyoaks in a fictional English village, noting how the variety of locations allows for interweaving storylines.
This document outlines the timeline of key developments in the horror film genre from 1896 to 2008. Some of the earliest developments included the creation of the first "true" horror film called The Devil's Castle in 1896 and the introduction of paranormal aspects through films showing ghosts in 1898. Over time, innovations included the use of makeup to make characters scarier, the first horror film with sound in 1928, the introduction of a horror film rating of "H" in 1937, and the first 3D horror film in 1952. Major franchises like Halloween, Friday the 13th, and Interview with the Vampire helped popularize the genre through the latter 20th century, while the 2000s saw remakes and a focus on zombie
The passage summarizes changes in the British film industry since 1984. It discusses the revival of the cultural and economic fortunes of British cinema in the 1980s and 1990s, including the rise of multiplex theaters. Key production companies during this period included Channel 4, Handmade Films, and Palace Pictures. Genres like art cinema, costume dramas, and social realism flourished. By the mid-1990s, films like Four Weddings and a Funeral and Sense and Sensibility showed the two main directions of British cinema - heritage films and more contemporary adaptations.
1. Social realism has been Britain's most distinctive film genre, showing ordinary British life and experiences on screen and shaping ideas of what British cinema can be.
2. Early British films in the 1900s picked up on themes of everyday social interactions found in authors like Dickens and Hardy to portray everyday life in a realistic style.
3. In the 1940s, British films combined the realism of documentaries with bigger studio productions, creating mass appeal films that reinforced social unity during World War II and the postwar years.
4. The British New Wave of the 1950s-1960s brought a more independent style focused on realist portrayals of working class lives and issues in Britain at the time.
This document provides a quiz with 25 questions and answers that need to be emailed by 2 am on January 5th. It includes questions about a TV character inspired by a Roman empire, a Russian businesswoman who recently married, an Italian aircraft linked to an animation company, and miniature houses given by an airline. Questions also cover punk-style jackets, novelty glasses, a marble set returned to a museum, a profession from Britain's industrial revolution, and shoes worn by a class of people.
This document provides a biography of fashion designer Norman Hartnell. It discusses that he was born in London in 1901 and studied at Cambridge University where he designed costumes. He left school to establish his label in 1923. Some of his most notable designs were for Queen Elizabeth's wedding gown and coronation gown. Hartnell was known for elegant designs using luxurious fabrics and intricate details. He found inspiration from paintings and portraits. The document provides details about various garments and sketches he designed. It discusses his legacy living on through Marc Bohan after Hartnell's passing.
A Little black dress is adding by CocoChanel first launched in 1926, the black belt gives some rebellious, dare to show themselves in spirit. It sounds simple, but it is definitely a classic little black dress has been popular for nearly a century. Whether the Hollywood celebrity superstar, or the political arena first ladies are willing to interpret the little black dress with elegant atmosphere. Here we bring you look at these famous people “little black dress moment.”
The Blackadder sitcom dynasty began in the 1980s as a collaboration between Richard Curtis and Rowan Atkinson. It consisted of four successful TV series set in different historical periods, with Atkinson playing various ancestors of the cunning and self-serving Edmund Blackadder. The series gained acclaim for its witty humour and ensemble casts, which included Miranda Richardson, Stephen Fry, Hugh Laurie, and Tim McInnerny. The finale of the final series set in WWI is considered one of the most memorable TV moments of all time. While the main series concluded in the 1980s and 90s, there was speculation of a potential new installment in 2015.
The document discusses several conventions of soap opera settings, including using a small central location to give a sense of community familiarity to viewers. Examples given are Coronation Street being set on a street and EastEnders set around a town square. Both soaps also feature a central meeting place like the pub. These contained sets help productions save money. The document then provides more details on the specific settings of EastEnders in London, Coronation Street in Weatherfield, and Hollyoaks in a fictional English village, noting how the variety of locations allows for interweaving storylines.
This document outlines the timeline of key developments in the horror film genre from 1896 to 2008. Some of the earliest developments included the creation of the first "true" horror film called The Devil's Castle in 1896 and the introduction of paranormal aspects through films showing ghosts in 1898. Over time, innovations included the use of makeup to make characters scarier, the first horror film with sound in 1928, the introduction of a horror film rating of "H" in 1937, and the first 3D horror film in 1952. Major franchises like Halloween, Friday the 13th, and Interview with the Vampire helped popularize the genre through the latter 20th century, while the 2000s saw remakes and a focus on zombie
This document provides a timeline of key developments in the horror film genre from 1896 to 2008:
- The earliest experiments with horror films began in 1896 with the 3-minute film The Devil's Castle. Special effects makeup was introduced in 1913 to make characters look scarier.
- The 1920s saw the first horror film with sound, The Man Who Laughs, while the 1930s introduced musical scores to horror films.
- Throughout the mid-20th century, censorship policies evolved and certain films were banned, while color and 3D technologies advanced the genre. Popular franchises like Halloween and Friday the 13th emerged in the late 1970s-1980s.
- The 1990s adapted Gothic novels
The Virginia Museum of Fine Arts will host an exhibit of over 100 iconic film costumes from the past 100 years. Some highlights featured will include costumes from Marilyn Monroe in Some Like It Hot, Christopher Reeve in Superman, Robert De Niro in Taxi Driver, and Kate Winslet in Titanic. The exhibit aims to showcase the evolution of film through costumes and explore their influence on fashion and culture. It will also provide context for costume designs through quotes and insights from designers, actors, and directors.
Broadway shows have evolved over time from the early 1900s. In the early 1900s, Broadway was developing as a cultural center and attracted large audiences with affordable tickets. By the 1920s, Broadway reached its prime with many productions. However, by the late 1960s and 1970s, Broadway experienced a decline as movies and television became more popular forms of entertainment. Some memorable musicals from this period included West Side Story and The Sound of Music. Today, Broadway remains an important tourist attraction for New York, selling over a billion dollars in tickets annually.
The Gold Runner is a customized vehicle created by John Moss's company Brass Junkie located in Southern California. It is described as a fusion of Mad Max and WWI, featuring a Browning automatic rifle and safe for gold storage. The base is a 1929 Ford frame and 1931 Chevy cowl with other parts sourced from various old vehicles and equipment.
The Badlands House Band, a musical group, will tour the United States in their new 45-foot tour bus. It has amenities like 12 bunks with TVs, multiple large screen TVs, internet access, a full bathroom and shower, and a lounge area that converts to a bed.
mithun sharing his collection of quizzes which were left over in his laptop. this is something i have prepared for my own learning or for conducting some quiz in hyd or bglr between 2005 and 2011
Jonny Woo has been a prominent figure in London's LGBT scene for over 20 years, known for his drag performances and cabaret events. He now co-owns The Glory pub in Hackney, which hosts diverse arts programming. Woo discussed the birth of Shoreditch's gay scene in the 1990s and his East London Lecture, which celebrates this history through oral interviews. While some gay bars have closed, The Glory and venues like Dalston Superstore and East Bloc continue London's LGBT culture. Woo remains active as a performer while supporting other artists through events at The Glory.
This document provides a historical overview of pants from the 1400s to present day, highlighting some key events and figures that influenced the adoption and popularization of pants for both men and women. Some of the early milestones included Joan of Arc wearing pants for combat in 1400, pants becoming mandatory for most Russians in 1701, and the French Revolution distinguishing radicals from moderates based on their pants styles. The document then traces the gradual acceptance and popularization of pants for women through styles like bloomers in the 1850s and celebrities like Marlene Dietrich and Katharine Hepburn wearing pants in the 1930s-40s. It highlights various iconic pants styles and brands that emerged in subsequent decades up to the present.
The document summarizes fashion trends during the Roaring 1920s following World War I. Key events included women gaining the right to vote, the rise of the flapper subculture as women embraced newfound freedoms like smoking, drinking, and dancing intimately with men. Automobiles and radio also contributed to social changes. Iconic designers like Coco Chanel, Madeleine Vionnet, and Jeanne Lanvin helped popularize looser silhouettes, shorter hemlines, and simpler styles. Trends included cloche hats, little black dresses, Oxford pants for men, and bold makeup looks as people sought to leave the war behind and embrace the luxuries of the new decade through fashion.
Skyfall was the 23rd James Bond film produced by EON Productions and distributed by MGM and Sony Pictures in 2012. It was directed by Sam Mendes and starred Daniel Craig returning as James Bond alongside Javier Bardem as the villain Raoul Silva. Much of the film was shot on location in London, Scotland, China, and Turkey, with production based at Pinewood Studios. Skyfall went on to be a major commercial success, grossing over $1 billion worldwide.
Rudolf Caracciola was a German racing driver who competed in the 1930s. He won the European Drivers' Championship three times (1935, 1937, 1938) driving for Mercedes-Benz. Known as the "Rainmaster" for his ability to drive fast in wet conditions, Caracciola also won the European Hillclimbing Championship three times between 1930-1932 in both sports cars and Grand Prix cars. He is considered one of the greatest pre-World War II Grand Prix drivers.
The document provides summaries for 10 classic films that are often considered among the greatest films ever made: Citizen Kane, Vertigo, The Rules of the Game, The Godfather Part I, Tokyo Story, 2001: A Space Odyssey, The Battleship Potemkin, Sunrise: A Song of Two Humans, 8 1/2, and Singin' in the Rain. It summarizes the plot of each film in 1-2 sentences and provides some background information about each film's accolades, directors, years of release, and other relevant details.
Bjmc i, dcm,unit-ii, radio jornalism- how did it startRai University
Radio broadcasting began in the early 1900s with experiments transmitting voice and music over radio waves. Reginald Fessenden is considered the first to broadcast, transmitting music and readings on Christmas Eve in 1906. Lee De Forest later helped make radio reception easier with his invention of the vacuum tube. In the 1920s, radio started to become more widespread as a home technology as people built basic crystal radio receivers as a hobby. This led to its evolution as a mass medium.
This document discusses the representation of LGBT characters and storylines in British television from the 1950s to the 2010s. It traces the evolution from implicit references in early shows to more explicit portrayals over time, as social attitudes changed. Key milestones included the first regular gay character in the 1970s sitcom "Are You Being Served?", the biographical film "The Naked Civil Servant" in 1975, and the first gay kiss on "EastEnders" in 1987. By the 2000s, LGBT characters and stories had become more common and mainstream across many genres of British television.
World War 2 had a significant influence on fashion from 1939-1945. Fabric rationing led to simpler, more practical styles using fabrics like wool, cotton and synthetics. Padded shoulders, round necklines and short sleeves were common for women's dresses. Hemlines rose slightly and skirts had pleats or flares. Subdued colors like blue, green and brown predominated. Notable French designers like Lucien Lelong and Norman Hartnell created styles for the Theatre de la Mode fashion shows. Hollywood stars like Betty Grable, Bette Davis and Ingrid Bergman popularized the styles of the era.
John George Bartholomew (1860-1920) brought his family's firm to its zenith through many innovations and academic projects. He changed the emphasis from printing for others to developing their own publications, producing 33 atlases and 40 maps. He co-founded the Royal Scottish Geographical Society and was appointed Cartographer to the King. His grandson John "Ian" Bartholomew (1890-1962) led the firm through two world wars, adding modern printing presses and initiating influential atlas series. The family legacy continued as subsequent generations, including John C. Bartholomew, modernized mapping standards while upholding the firm's traditions before it was eventually sold.
Based on the information provided:
- The still frame shows William Wallace wielding a sword while surrounded by other soldiers. Their positioning and facial expressions convey a sense of unity and solidarity against a common enemy.
- Left-wing politics supports social equality and opposes unjustified social hierarchies and inequalities. In the film, Wallace and the Scottish people are portrayed as fighting for independence and freedom from English rule.
- The composition of the still frame, with Wallace at the center wielding a sword and the other soldiers gathered around him, could symbolize the left-wing idea of the people uniting together against a socially dominant force (England) to reduce inequality and establish self-governance.
- Elements like the
The document provides a rubric to evaluate responses to a question across four levels from minimal to excellent. It evaluates the explanation, understanding of audiences and institutions, use of argument/case studies, relevance to the question, length, use of examples, use of terminology, and general writing. Higher levels are awarded more points and demonstrate clearer understanding, more proficient knowledge of audiences, consistent and broad use of relevant examples, appropriate terminology, complex ideas expressed clearly and fluently with good structure, spelling, punctuation and grammar.
The film production process involves many steps and people from development through distribution. It is both a creative and commercial endeavor. Producers play a key role by developing ideas, securing financing, overseeing production, and ensuring investor expectations are met. Raising financing is challenging and involves creating packages with scripts, budgets, and details to attract investors who hope to achieve returns. The process from initial idea to final film can take many months or years and involve hundreds of people. Success is never guaranteed as public tastes are unpredictable.
This document outlines a research project on the impact of social realism in constructing counter-stereotypical representations of teenagers in film. The researcher will analyze conventions of social realism and how they are used in films like 2.37, Kids, and Fish Tank to portray teenagers in a more realistic, and sometimes extreme, manner compared to stereotypical representations. Key scenes from these films that show dark or horrific aspects of teenage life will be examined. Primary research on audience responses to counter-stereotypical versus stereotypical teen representations is also planned, though the method is still uncertain. Issues identified include the project scope being too broad and uncertainty around relevant primary research approaches.
Fish Tank is a bleak film by Andrea Arnold about a 15-year-old girl named Mia living in a run-down housing estate with her mother and sister, who finds brief moments of hope and joy through dancing and bonding with her mother's new boyfriend, though the film takes some dark turns and ends on a depressing note.
This document provides a timeline of key developments in the horror film genre from 1896 to 2008:
- The earliest experiments with horror films began in 1896 with the 3-minute film The Devil's Castle. Special effects makeup was introduced in 1913 to make characters look scarier.
- The 1920s saw the first horror film with sound, The Man Who Laughs, while the 1930s introduced musical scores to horror films.
- Throughout the mid-20th century, censorship policies evolved and certain films were banned, while color and 3D technologies advanced the genre. Popular franchises like Halloween and Friday the 13th emerged in the late 1970s-1980s.
- The 1990s adapted Gothic novels
The Virginia Museum of Fine Arts will host an exhibit of over 100 iconic film costumes from the past 100 years. Some highlights featured will include costumes from Marilyn Monroe in Some Like It Hot, Christopher Reeve in Superman, Robert De Niro in Taxi Driver, and Kate Winslet in Titanic. The exhibit aims to showcase the evolution of film through costumes and explore their influence on fashion and culture. It will also provide context for costume designs through quotes and insights from designers, actors, and directors.
Broadway shows have evolved over time from the early 1900s. In the early 1900s, Broadway was developing as a cultural center and attracted large audiences with affordable tickets. By the 1920s, Broadway reached its prime with many productions. However, by the late 1960s and 1970s, Broadway experienced a decline as movies and television became more popular forms of entertainment. Some memorable musicals from this period included West Side Story and The Sound of Music. Today, Broadway remains an important tourist attraction for New York, selling over a billion dollars in tickets annually.
The Gold Runner is a customized vehicle created by John Moss's company Brass Junkie located in Southern California. It is described as a fusion of Mad Max and WWI, featuring a Browning automatic rifle and safe for gold storage. The base is a 1929 Ford frame and 1931 Chevy cowl with other parts sourced from various old vehicles and equipment.
The Badlands House Band, a musical group, will tour the United States in their new 45-foot tour bus. It has amenities like 12 bunks with TVs, multiple large screen TVs, internet access, a full bathroom and shower, and a lounge area that converts to a bed.
mithun sharing his collection of quizzes which were left over in his laptop. this is something i have prepared for my own learning or for conducting some quiz in hyd or bglr between 2005 and 2011
Jonny Woo has been a prominent figure in London's LGBT scene for over 20 years, known for his drag performances and cabaret events. He now co-owns The Glory pub in Hackney, which hosts diverse arts programming. Woo discussed the birth of Shoreditch's gay scene in the 1990s and his East London Lecture, which celebrates this history through oral interviews. While some gay bars have closed, The Glory and venues like Dalston Superstore and East Bloc continue London's LGBT culture. Woo remains active as a performer while supporting other artists through events at The Glory.
This document provides a historical overview of pants from the 1400s to present day, highlighting some key events and figures that influenced the adoption and popularization of pants for both men and women. Some of the early milestones included Joan of Arc wearing pants for combat in 1400, pants becoming mandatory for most Russians in 1701, and the French Revolution distinguishing radicals from moderates based on their pants styles. The document then traces the gradual acceptance and popularization of pants for women through styles like bloomers in the 1850s and celebrities like Marlene Dietrich and Katharine Hepburn wearing pants in the 1930s-40s. It highlights various iconic pants styles and brands that emerged in subsequent decades up to the present.
The document summarizes fashion trends during the Roaring 1920s following World War I. Key events included women gaining the right to vote, the rise of the flapper subculture as women embraced newfound freedoms like smoking, drinking, and dancing intimately with men. Automobiles and radio also contributed to social changes. Iconic designers like Coco Chanel, Madeleine Vionnet, and Jeanne Lanvin helped popularize looser silhouettes, shorter hemlines, and simpler styles. Trends included cloche hats, little black dresses, Oxford pants for men, and bold makeup looks as people sought to leave the war behind and embrace the luxuries of the new decade through fashion.
Skyfall was the 23rd James Bond film produced by EON Productions and distributed by MGM and Sony Pictures in 2012. It was directed by Sam Mendes and starred Daniel Craig returning as James Bond alongside Javier Bardem as the villain Raoul Silva. Much of the film was shot on location in London, Scotland, China, and Turkey, with production based at Pinewood Studios. Skyfall went on to be a major commercial success, grossing over $1 billion worldwide.
Rudolf Caracciola was a German racing driver who competed in the 1930s. He won the European Drivers' Championship three times (1935, 1937, 1938) driving for Mercedes-Benz. Known as the "Rainmaster" for his ability to drive fast in wet conditions, Caracciola also won the European Hillclimbing Championship three times between 1930-1932 in both sports cars and Grand Prix cars. He is considered one of the greatest pre-World War II Grand Prix drivers.
The document provides summaries for 10 classic films that are often considered among the greatest films ever made: Citizen Kane, Vertigo, The Rules of the Game, The Godfather Part I, Tokyo Story, 2001: A Space Odyssey, The Battleship Potemkin, Sunrise: A Song of Two Humans, 8 1/2, and Singin' in the Rain. It summarizes the plot of each film in 1-2 sentences and provides some background information about each film's accolades, directors, years of release, and other relevant details.
Bjmc i, dcm,unit-ii, radio jornalism- how did it startRai University
Radio broadcasting began in the early 1900s with experiments transmitting voice and music over radio waves. Reginald Fessenden is considered the first to broadcast, transmitting music and readings on Christmas Eve in 1906. Lee De Forest later helped make radio reception easier with his invention of the vacuum tube. In the 1920s, radio started to become more widespread as a home technology as people built basic crystal radio receivers as a hobby. This led to its evolution as a mass medium.
This document discusses the representation of LGBT characters and storylines in British television from the 1950s to the 2010s. It traces the evolution from implicit references in early shows to more explicit portrayals over time, as social attitudes changed. Key milestones included the first regular gay character in the 1970s sitcom "Are You Being Served?", the biographical film "The Naked Civil Servant" in 1975, and the first gay kiss on "EastEnders" in 1987. By the 2000s, LGBT characters and stories had become more common and mainstream across many genres of British television.
World War 2 had a significant influence on fashion from 1939-1945. Fabric rationing led to simpler, more practical styles using fabrics like wool, cotton and synthetics. Padded shoulders, round necklines and short sleeves were common for women's dresses. Hemlines rose slightly and skirts had pleats or flares. Subdued colors like blue, green and brown predominated. Notable French designers like Lucien Lelong and Norman Hartnell created styles for the Theatre de la Mode fashion shows. Hollywood stars like Betty Grable, Bette Davis and Ingrid Bergman popularized the styles of the era.
John George Bartholomew (1860-1920) brought his family's firm to its zenith through many innovations and academic projects. He changed the emphasis from printing for others to developing their own publications, producing 33 atlases and 40 maps. He co-founded the Royal Scottish Geographical Society and was appointed Cartographer to the King. His grandson John "Ian" Bartholomew (1890-1962) led the firm through two world wars, adding modern printing presses and initiating influential atlas series. The family legacy continued as subsequent generations, including John C. Bartholomew, modernized mapping standards while upholding the firm's traditions before it was eventually sold.
Based on the information provided:
- The still frame shows William Wallace wielding a sword while surrounded by other soldiers. Their positioning and facial expressions convey a sense of unity and solidarity against a common enemy.
- Left-wing politics supports social equality and opposes unjustified social hierarchies and inequalities. In the film, Wallace and the Scottish people are portrayed as fighting for independence and freedom from English rule.
- The composition of the still frame, with Wallace at the center wielding a sword and the other soldiers gathered around him, could symbolize the left-wing idea of the people uniting together against a socially dominant force (England) to reduce inequality and establish self-governance.
- Elements like the
The document provides a rubric to evaluate responses to a question across four levels from minimal to excellent. It evaluates the explanation, understanding of audiences and institutions, use of argument/case studies, relevance to the question, length, use of examples, use of terminology, and general writing. Higher levels are awarded more points and demonstrate clearer understanding, more proficient knowledge of audiences, consistent and broad use of relevant examples, appropriate terminology, complex ideas expressed clearly and fluently with good structure, spelling, punctuation and grammar.
The film production process involves many steps and people from development through distribution. It is both a creative and commercial endeavor. Producers play a key role by developing ideas, securing financing, overseeing production, and ensuring investor expectations are met. Raising financing is challenging and involves creating packages with scripts, budgets, and details to attract investors who hope to achieve returns. The process from initial idea to final film can take many months or years and involve hundreds of people. Success is never guaranteed as public tastes are unpredictable.
This document outlines a research project on the impact of social realism in constructing counter-stereotypical representations of teenagers in film. The researcher will analyze conventions of social realism and how they are used in films like 2.37, Kids, and Fish Tank to portray teenagers in a more realistic, and sometimes extreme, manner compared to stereotypical representations. Key scenes from these films that show dark or horrific aspects of teenage life will be examined. Primary research on audience responses to counter-stereotypical versus stereotypical teen representations is also planned, though the method is still uncertain. Issues identified include the project scope being too broad and uncertainty around relevant primary research approaches.
Fish Tank is a bleak film by Andrea Arnold about a 15-year-old girl named Mia living in a run-down housing estate with her mother and sister, who finds brief moments of hope and joy through dancing and bonding with her mother's new boyfriend, though the film takes some dark turns and ends on a depressing note.
This document outlines a research project on the social realism genre and its impact on representations of teenagers in film. The research question asks to what extent the conventions of social realism allow for true representations of teenagers. The investigation will define social realism, examine its conventions, analyze films through a textual approach, consider stereotypical vs. counter-stereotypical representations, and explore audience responses and director intentions. The focus film is 2.37, which depicts dark themes of suicide and abuse in a documentary style. Supporting films include Kids and Fish Tank, which also portray teenagers in explicit, horrific ways not usually associated with them. Initial research has begun on social realism themes, stereotypes in "chick flicks,"
The document discusses various aspects of film production, including the roles of producers, financiers, and audiences. It notes that film is both a creative and commercial endeavor, requiring significant financing to fund production, distribution, and marketing. Producers are responsible for securing financing, overseeing budgets, and ensuring films appeal to audiences to be profitable. Securing name actors and directors can help "bankability" but success is never guaranteed. Films require complex financing deals involving multiple investors like studios, distributors, and broadcasters. The goal is for films to earn 2.5 times their production budgets to become profitable after accounting for all costs.
Representation of White Working Class In Fish Tankhannahmedia123
The document summarizes how the white working class is portrayed in the movie Fish Tank. It shows teenage girls drinking alcohol and dancing provocatively. Family members are depicted as aggressive, fighting, and disrespectful towards each other. Scenes portray a lack of hygiene and care for their living environment as empty alcohol bottles and cigarettes are left around the home. Overall, the white working class is represented negatively as unemployed, aggressive, and disrespectful in the movie.
1. The document lists the production companies, distributors, and other companies involved in the making of the 2012 animated film "The Pirates! In an Adventure with Scientists!" produced by Aardman Animations and Sony Pictures Animation.
2. Columbia Pictures, a subsidiary of Sony, helped produce and distribute the film worldwide based on the book by Gideon Defoe.
3. The film was distributed internationally but the title was changed for North American audiences, and some voice actors were recast between versions, reflecting differences in cultural references.
This document provides context and analysis about the 2009 British drama film "Fish Tank". It notes that the film was filmed on real locations known for crime and deprivation in East London and Essex. It also used non-professional actors like Katie Jarvis who was discovered arguing with her boyfriend. The film presents a bleak and dystopian view of a social deprived area between London and Dagenham where community and family have disappeared. It charts the rise and fall of hope and despair of its characters as the protagonist Mia wants to escape her circumstances.
The document discusses the representation of different social factors in the British TV show The Inbetweeners. It addresses the representation of age, ethnicity, gender, and social class in the show. Regarding age, the show focuses on 17-18 year olds and portrays some stereotypes of teenagers. For gender, the four main characters are male and females are often portrayed as sex objects. In terms of social class, the characters come from middle-class backgrounds.
This document provides an overview of the film industry, focusing on production, distribution, and exhibition. It discusses how films are funded and made (production), marketed and released in cinemas and other formats (distribution), and consumed by audiences paying to view films (exhibition). The document outlines the key roles of major studios and distributors in controlling distribution deals and prioritizing large Hollywood blockbusters over independent and foreign films. It also notes the challenges that increased costs of production and distribution pose to Hollywood studios and independent filmmakers.
The film Fish Tank had a budget of £2 million pounds and was shot in 30 days, with partial funding of £70,000 from the UK Film Council. It was directed by Andrea Arnold and starred Katie Jarvis, who won a BAFTA Award for her breakthrough role. The film received critical acclaim and awards after being screened at numerous film festivals internationally. It had a limited arthouse release in UK theaters, grossing over £400,000 in its first few weeks.
Film Four is a British film studio owned by Channel 4. It relies on partnerships with other companies for production and American studios for international distribution. As its films target Western audiences, they have smaller budgets and audiences than major American films. Film Four uses its digital TV channel to exhibit films to promote new releases and generate audiences. Shorter windows between theatrical and home release, and internet piracy, reduce revenue, especially for smaller British films. However, new technologies also provide low-cost marketing through social media and websites to build wide awareness. Film Four has successfully promoted films through these online methods and international star power.
The document discusses film exhibition in the UK cinema industry. It provides statistics on the number of screens and cinemas in the UK in 2012, as well as box office figures showing growth that year. It also examines the roles and activities of film exhibitors, who work with distributors to book, market, and screen films. Exhibitors manage cinema buildings, undertake local marketing like newspaper ads and promotions, and rely on concession sales to earn profits beyond box office revenues. Their goal is to attract audiences, especially 16-24 year olds who make up the bulk of cinema goers.
This document discusses key concepts for a media studies exam focusing on the film industry, including:
1. Exam questions may focus on areas like media ownership, synergy, new technologies, or audiences.
2. Media conglomerates own film studios, TV stations, music labels, and other assets, allowing them to synergistically market and distribute films.
3. Independent films often have smaller budgets than major studio films but can still find success through partnerships with larger distributors.
AS Media Studies G322 TV Drama introductionSianField81
This document provides information about the AS G322 exam on key media concepts related to TV drama. The exam consists of two sections:
Section A (1 hour 15 minutes) involves analyzing representations in an unseen TV drama extract. Students will watch a drama clip and take notes, then answer an essay question analyzing how representations of topics like class, gender, or ethnicity are constructed through production elements.
Section B (45 minutes) involves one compulsory essay question on a pre-prepared case study related to media institutions and audiences.
The document outlines the skills students must demonstrate, including analyzing representations and how they are constructed through filming techniques, as well as showing an understanding of institutional and cultural contexts. It also briefly defines
Warp Films is an independent British film production company that produces low-budget films, often in the genre of social realism. They co-fund their films through sources like the National Lottery and BBC Films. Their films target UK audiences and art houses. In contrast, Working Title Films is a large, Hollywood studio-backed producer that makes mid-to-large budget films in genres like romcom and heritage drama. They aim their films at both US and UK multiplex audiences. The essay will discuss and compare the production and distribution practices of these two case studies.
The document defines key editing terms used in filmmaking, including continuity editing techniques like the 180 degree rule, match on action, shot reverse shot, and eyeline match. It also covers types of shots like inserts and cutaways, ways to manipulate pace and time, different transition effects, and special editing effects like slow motion and montage editing. Mastering these concepts is important for understanding how editing constructs narrative and meaning in films.
This case study examines the 2010 low-budget independent film Monsters. It details how the film was made for only $500,000 using digital cameras and guerrilla filmmaking techniques. It premiered at the SXSW Film Festival and was immediately acquired for distribution in the US and Mexico. Though it only played in 25 screens domestically, it was profitable through international distribution. The case study explores the innovative marketing campaign utilizing the social media platform Foursquare to promote the film's theatrical release.
This document provides a summary of representations of social issues in British TV drama over time, including:
1) Social class was traditionally depicted through drawing room comedies but plays by the Angry Young Men in the 1950s brought working class experiences to the forefront.
2) Regional identity became prominent in the 1960s with shows like Coronation Street depicting working class life in the North. Regional dialects and cultures have since shaped many TV shows.
3) Representations of race historically involved offensive stereotypes but shows from the 1980s like Desmond's were produced by Black British people and depicted Black British identity without focusing on otherness.
British social realism developed over the 20th century to depict the lives and experiences of ordinary British people. Key moments included early films showing everyday life in the early 1900s and documentaries from the 1930s-40s that influenced later mainstream films. The 1950s Free Cinema movement and 1960s British New Wave brought social issues like class, gender, and economic challenges to the forefront through films focused on working class characters. Directors like Mike Leigh and Ken Loach examined the impact of policies like Thatcherism and consumerism on communities and family life. While formulas emerged, many films provided complex portraits of British society.
Social realism has been Britain's most distinctive film genre, showing ordinary British people and pushing boundaries. Early British films picked up on realism found in Dickens and Hardy. In the 1940s, films combined documentary realism with studio resources to appeal to mass audiences. The British New Wave of the 1960s brought realism to stories of working class lives, addressing issues like class, gender roles and social change. Contemporary British filmmakers like Ken Loach and Mike Leigh have examined the impact of issues like Thatcherism and consumerism on families and communities through emotionally dramatic stories.
Costume dramas have been an important genre in British cinema since the early 20th century, adapting works of Shakespeare and Dickens. In the 1930s, producers like Alexander Korda and Michael Balcon made lavish historical films. During World War II, some costume dramas took on propaganda roles while others provided escapism. In the post-war years, the genre declined but was revived by American funding of British productions in the 1960s-70s. Period films have since represented "the best of British" cinema.
Social realism has been Britain's most distinctive film genre, showing real British experiences on screen and shaping ideas of British cinema. Early British films picked up on social realism found in Dickens and Hardy, capturing everyday interactions. In the 1940s, combining documentary techniques with studio resources, British films appealed to mass audiences during WWII by portraying camaraderie and smoothing class tensions. The British New Wave of the 1960s brought wide shots and plain language to stories of ordinary Britons negotiating postwar society, addressing issues like prostitution, abortion and alienation. Filmmakers like Ken Loach and Mike Leigh later assessed the impact of Thatcherism and consumerism on family life and the erosion of the welfare state.
Michael Balcon was a British film producer who was influential in the development of British cinema in the 1930s-1960s. He helped establish studios like Ealing Studios and focused on realistic films that explored social issues and depicted ordinary lives. During World War 2, his films promoted national unity and challenged class divisions. In the 1950s, a new wave of British films depicted working-class lives and issues like poverty, unemployment and changing social values in a way that had not been seen before. By the 1980s and 1990s, British films continued to grapple with issues of class, marginalization, and national identity under changing economic and political circumstances.
Michael Balcon was a British film producer who was influential in the development of British cinema in the 1930s-1960s. He helped establish studios like Ealing Studios and focused on realistic films that explored social issues and depicted ordinary lives. During World War 2, his films promoted national unity and challenged class divisions. In the 1950s, a new wave of British films depicted working-class lives and issues like poverty, unemployment and changing social values in a way that had not been seen before. By the 1980s and 1990s, British films continued to grapple with social issues but also incorporated elements of triumph over adversity stories to appeal to broader audiences.
The genre of British social realism developed after World War I and focused on location shooting, non-professional actors, and exploring wider social issues through individual stories. During World War II, films reflected how society was changing with women working in factories and greater state intervention in people's lives. In the postwar period, tensions emerged between traditional communities and new private enterprise. The British New Wave of the 1960s brought wide shots and plain speaking to stories of ordinary Britons negotiating social changes in the postwar era. Films by directors like Mike Leigh and Ken Loach assessed the impact of consumerism on family life and the erosion of the welfare state.
Here are a few key points about how British national identity is portrayed in This is England:
- It shows how fragile and open to manipulation British identity can be for young, impressionable people seeking belonging. Shaun is led into the NF due to feeling ignored by society.
- Britishness is depicted as complex and contested, with the flag taking on different meanings for Shaun as his views change. It doesn't present a single, fixed definition.
- While set in the past, it explores contemporary issues of racism, extremism and disenfranchised youth that still resonate today. In this way it interrogates history rather than just displaying it.
- It takes a gritty, realistic approach rather than a
The British film industry has experienced periods of boom and recession over the last century as it has competed with Hollywood for audiences. Notable British films from different eras include "kitchen sink" dramas of the 1960s, comedies during the 1960s boom, and prestige films in the 2000s that found international success. British cinema has developed various cultural movements and genres over time while receiving both private and public investment to support domestic production.
Adapting Dickens Narratology And Interaction With Quot The Boy And The Conv...Sabrina Green
The document discusses an early film adaptation of Charles Dickens' novel Great Expectations titled The Boy and the Convict from 1909. It analyzes the film's narrative structure and how it adapted elements from the novel given constraints of the one-reel format. The film condensed the relationship between Pip and Magwitch and simplified the plot and characters. It introduced a happy ending not present in the novel and omitted other subplots and characters to streamline the narrative into its short runtime. The document examines how the film navigated limitations of adapting the complex novel into a brief silent film.
The document discusses the genre of British social realism in film. Some key conventions include location shooting instead of studios, use of non-professional actors, and exploring wider social issues through individual stories. Directors like Mike Leigh and Ken Loach are noted for their portrayal of working class lives and examination of the erosion of regional and class identities in Britain over the 20th century. Their films provide complex representations of men and women navigating social and economic changes.
The document discusses the genre of British social realism in film. Some key conventions include location shooting instead of studios, use of non-professional actors, and exploring wider social issues through individual stories. Directors like Mike Leigh and Ken Loach are noted for their portrayal of working class lives and examination of the erosion of regional and class identities in Britain over the 20th century. Their films provide complex representations of men and women navigating social and economic changes.
The document discusses British national identity and how it is represented and constructed through British cinema. It notes that British identity is complex with regional, ethnic, and other identities. British cinema plays a key role in portraying Britain to the world. Some films promote a nostalgic "heritage culture" view of Britain, while others represent youth culture, regional and ethnic communities, and a more modern, multicultural Britain. More recently, British films have had both cultural and commercial success by appealing to international as well as domestic audiences.
The roots of working class representation in britishHeworthMedia1
This document discusses the representation of the working class in British popular film and television from the 1960s onward. It notes that working class culture and lives were typically portrayed through certain established tropes and stereotypes involving northern English settings, industrial imagery, and accents. Several key films from the 1950s/60s like Room at the Top, Saturday Night and Sunday Morning helped bring working class stories and voices to the screen. Television shows like Coronation Street and The Likely Lads also drew upon these filmic tropes to depict working class life. Representation is shaped by earlier cultural works, and tropes become ingrained over time.
The document provides a historical overview of cinematography and the British film industry from the late 19th century to present day. It discusses key early innovators, the growth of the industry in the silent film era and with the introduction of sound, major studios and films from different eras, and the British New Wave movement of the 1950s-60s. It also notes Hollywood's influence on British cinema and the commercial success of many British-themed films globally.
The document discusses the history of social realism films in Britain from the 1930s to the present. It notes that British documentaries of the 1930s and 1940s influenced later films by combining objective perspectives with studio resources to appeal to mass audiences. Films of the 1950s and 1960s depicted ordinary British people and addressed social issues through works influenced by Italian neo-realism and the French New Wave. More recent British films have examined the decline of industry and traditional regional/class identities against a backdrop of increasing consumerism.
The document discusses the history of social realism films in Britain from the 1930s to the present. It notes that British documentaries of the 1930s and 1940s influenced later films by combining objective perspectives with studio resources to appeal to mass audiences. Films of the 1950s and 1960s depicted ordinary British people and addressed social issues through works influenced by Italian neo-realism and the French New Wave. More recent British films have examined the decline of industry and traditional regional/class identities against a backdrop of increasing consumerism.
This document summarizes the adaptation of British literature into film over time. It notes that early films in the 1900s adapted novels and plays as cultural exports. From the 1930s-1950s, novels and plays were widely adapted as genre films that prioritized entertainment over historical accuracy. In the 1960s-1970s, "art films" brought social realism and auteur directors to adaptations of works like Look Back in Anger and Saturday Night and Sunday Morning. The 1980s-1990s saw the rise of the "heritage film," prioritizing historical settings and costumes. Notable cycles included Merchant-Ivory adaptations of Austen and Forster. More recent adaptations from the late 1990s blend historical realism
The document discusses the history and evolution of British social realist cinema from the early 1900s to the 1990s. It covers key movements like documentary-style location shooting in the early 1900s, Michael Balcon's contributions in the 1920s-1950s that helped establish a national cinema focused on stoicism and verisimilitude, the kitchen sink dramas of the 1950s-1960s influenced by Italian neo-realism and French New Wave, and the works of filmmakers like Ken Loach and Mike Leigh that explored social issues through individual stories and examined the impacts of deindustrialization and Thatcherism. By the 1990s, British films combined realist streets and cityscapes with triumph
Similar to 04 g322 section b a history of british cinema since 1984 (20)
The document discusses the process of film production from development to distribution. It notes that film production requires significant financing to fund all stages of development, production and distribution. The key roles of producer and financier are discussed. Producers are responsible for securing financing, overseeing the project and ensuring it meets the expectations of financiers. Securing financing is a lengthy process that can take years and involves creating packages to convince multiple investors to fund production costs in the hopes of generating profits.
1) The document analyzes and summarizes the filmmaker's short horror film called "The Chalet".
2) The film tells the story of three teenage friends who go to make a film near an abandoned house based on a supposed murder that occurred there. They soon discover their imagination has become a dark reality.
3) The analysis discusses how the film uses techniques like sound, editing, and cinematography to build tension and establish its horror genre. Elements like ominous music and isolating the characters contribute to its unsettling aesthetic and align the viewer with the characters' fear.
1) Short films are typically under 40 minutes and focus on a simple idea or message in a concise way. They allow ideas to be expressed quickly.
2) The documentary "Lost" follows a man struggling with dementia as he believes his wife is missing, but the audience learns it is his memories that are lost.
3) The film uses poetic transitions between scenes and manipulated storytelling to reflect the experience of dementia and create confusion similar to the protagonist.
This document provides an analysis of a short film titled "Contact" made by the filmmaker. The film is about a young woman who encounters a mysterious presence when she arrives home alone. It falls under the horror genre with elements of psychological horror and science fiction. Through cinematography and editing techniques, the filmmaker aims to create a sense of tension, isolation, and ambiguity without dialogue. An open ending is used to leave the resolution ambiguous and require an active interpretation from the audience. The analysis discusses how genre conventions, visual style, narrative structure, and audience reception were considered in the film's production.
1) Short films are defined as original motion pictures under 40 minutes that are often screened at film festivals. They must draw audiences in quickly by compressing narratives and are more likely to have open endings that leave questions.
2) The student's short film "Luna" falls under the crime mystery genre about a girl searching for her missing cousin. It uses unconventional editing between dream sequences and reality to explore themes like life and death.
3) The film has an open ending through the use of an "enigma code" where the audience is left questioning what happened to the missing cousin, similar to other short films analyzed. This leaves room for different interpretations of the narrative.
The document provides an analysis of Evie Stylianou's short film "Dear Tony". It summarizes that the film tells the story of a cancer patient Grace on her physical and metaphorical journey. It uses elements of dark comedy early on before transitioning to tragedy. The film borrows techniques from documentary like breaking the fourth wall. It follows Grace chronologically on one day using jump cuts between locations. Visual elements like muted tones and the increasing use of the color green are used to reflect Grace's internal struggle and decision to reject treatment. The analysis discusses how various techniques were used to elicit an emotive response from audiences and effectively tell the story within the short time frame.
The document provides an analysis and summary of the short film "The Lottery" by the filmmaker. It discusses the film's narrative structure, characters, themes, filming techniques, and reception. The film uses surreal elements and nonlinear storytelling to depict a man whose life changes when he wins the lottery but squanders the money due to arrogance. It was influenced by other short films and combines drama with comedy. Audience feedback was positive about the characters, story, and visual effects, though some found the plot predictable. Overall the filmmaker was pleased with the technically challenging project and how it brought the comedy to life.
- The document discusses a short psychological thriller film created by the author that follows a male character's daily routine which is disrupted by a female character.
- The film uses montage editing to show the passage of time and develop the characters' repetitive routines. It also incorporates audio motifs and leaves some elements, like what is in the basement, ambiguous.
- At the end, it is unexpectedly revealed that the female character, not the male, is the one who attacks the man, playing with audience expectations of the "serial killer" character type. The open ending leaves the audience to imagine what happens next.
1) Short films have a specific structure that focuses on conveying a story with succinct scope. They allow creative freedom and the chance to be discovered.
2) The student made a short film called "Unexpected Item" on a low budget using natural lighting. It tells the story of a boy ambushing his friend to tell a joke story.
3) The film uses shifts in color tones, editing styles, and an unreliable narrator to create comedy and suspense, surprising the audience with a twist ending like other similar short films. The audience responded positively to the film.
Crystal Chan analyzes several short films and her own short film "Happy Birthday" in relation to short film conventions. She discusses how her film conforms to conventions like runtime, natural lighting, location filming, and character development. Her film tells a coming-of-age story through a series of flashbacks from the perspective of the female protagonist. She uses techniques like color grading and editing to convey emotion and establish tone. While her film has a resolution, some discussed shorts like "Echo" and "Operator" end without resolution, a convention more common in short films.
The document provides an analysis of the film "The Exam" in comparison to other short films based on various criteria such as narrative structure, genre, characters, and intended audience reaction. It examines how "The Exam" uses techniques like flashbacks, editing pace, and character performances to establish certain genres and elicit laughter from viewers. However, it notes some viewers decoded elements differently and did not find parts funny due to how certain issues were portrayed lightly. The analysis draws on theories around narrative, representation, and decoding of texts to understand how "The Exam" was both conventional and unconventional in certain aspects for short films.
This document provides a summary and analysis of a short film created by the author. The short film follows the process of creating a song from sampling an existing song to writing lyrics and recording. It aims to have a documentary style with minimal dialogue. The author analyzes how various film techniques like camera work, editing, sound, and cinematography were used to shape the narrative and create realism. Audience reaction confirmed that the film succeeded in engaging viewers and focusing their attention on the song creation process rather than the characters.
This document provides an analysis of the student's short film "Till Death Us Do Part". It summarizes the plot, which follows the deterioration of a married couple, Rose and Stanley, over 20 years until Rose implies murdering Stanley. The student discusses how they drew inspiration from other short films in terms of genre, narrative structure, editing techniques, and use of sound and mise-en-scene. Feedback from peers is also mentioned, which led to clarifying edits. In analyzing their own film, the student compares elements like genre, locations used, narrative approaches, and how their film fits structural models of storytelling.
Despite similar themes, the endings of ‘Echo’ and ‘Tea Party’ are vastly different. ‘Echo’ leaves the viewer with little hope through its depressing final shot, while ‘Tea Party’ provides a more ambiguous and romantic ending through Noah becoming a guardian angel, granting viewer satisfaction. The film is broken into three clear parts influenced by Tzvetan Todorov’s three-act model: a setup of Noah’s disorientation; a confrontation where Noah tries to understand his situation; and a resolution where Noah realizes his new role. Microelements like Noah’s positioning in light and cinematography position the viewer with Noah to understand his connection to Evie. Doors in the film symbolize passageways
Tim and Tiffany are forced to retake an exam under the supervision of their strict teacher, Mr. Jones. As Tim works through the exam, he has flashbacks providing clues and context for the questions. These flashbacks depict his school experiences and home life. Mr. Jones grows frustrated with Tim's flashbacks, believing them to be cheating. Tiffany also complains. After quickly finishing the exam thanks to his flashbacks, Tim smiles, confident he has passed, while Mr. Jones and Tiffany are startled by the final question.
This document provides a summary of a short film script titled "Lost". It follows an elderly mixed-race man as he goes about his day in his home. Scenes show him in different rooms of the house, interacting with his daughter Claire and an unseen woman named Laura. The man goes up to the attic to search for old photos at Laura's request. While in the attic, he finds a photo album and looks through old blurred photos. Later he goes to the supermarket, where he runs into an old friend. Throughout the script, music is heard which seems to trigger memories or moments of confusion for the man.
1) Joe tells Alice a story about going to the supermarket where he was followed by a strange woman who claimed he looked like her deceased son. She hugged Joe and then told the cashier Joe would pay for her items.
2) When Joe realized what was happening, he abandoned his shopping and chased after the woman in the parking lot.
3) Joe caught up to her and grabbed her leg to stop her from leaving as she tried to get in her car. He tells this story to Alice, eating the biscuit Alice had been eating earlier.
I used a variety of media technologies at different stages of my coursework, including:
- Blogger to document my work and share videos and presentations from other sites.
- Prezi and PowerPoint to plan and explain topics. These were embedded in Blogger.
- After Effects to create graphics for my trailer ident.
- SurveyMonkey and Excel to collect and analyze audience feedback.
- Facebook to get feedback on rough cuts from a private group.
- YouTube to host and share videos and for research.
- iPhone for location footage and voice memos during construction and evaluation.
- Photoshop and FinalCut to construct, edit, and evaluate my work.
1) Film production involves many stages from development to distribution. It is a commercial venture that requires significant financing to be successful.
2) The producer oversees the entire filmmaking process from developing the initial idea through distribution. This includes securing financing, hiring key crew, and ensuring the film meets investor expectations.
3) Making a film is an uncertain process. Many ideas do not make it past development due to creative or financial challenges. Successful producers must have a good sense of public taste and the ability to convince skeptical investors to take on financial risks.
The UK film industry had total revenues of over £4.1 billion in 2016, up from £4 billion in 2013. Cinema admissions were down 2% year-over-year but have remained relatively stable since 2007. Public funding for film in the UK reached £523 million in 2016, up 26% from 2015, largely due to an increase in film tax relief. The top two films of 2016 were Rogue One: A Star Wars Story and Fantastic Beasts and Where to Find Them.
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Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
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ملزمة تشريح الجهاز الهيكلي (نظري 3)
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تتميز هذهِ الملزمة بعِدة مُميزات :
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6- تحتوي الملزمة في اول سلايد على خارطة تتضمن جميع تفرُعات معلومات الجهاز الهيكلي المذكورة في هذهِ الملزمة
واخيراً هذهِ الملزمة حلالٌ عليكم وإتمنى منكم إن تدعولي بالخير والصحة والعافية فقط
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Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Iván Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
How Barcodes Can Be Leveraged Within Odoo 17Celine George
In this presentation, we will explore how barcodes can be leveraged within Odoo 17 to streamline our manufacturing processes. We will cover the configuration steps, how to utilize barcodes in different manufacturing scenarios, and the overall benefits of implementing this technology.
Andreas Schleicher presents PISA 2022 Volume III - Creative Thinking - 18 Jun...EduSkills OECD
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Gender and Mental Health - Counselling and Family Therapy Applications and In...PsychoTech Services
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04 g322 section b a history of british cinema since 1984
1. AS Media Studies
Study Notes
Unit G322 Section B
Audiences and Institutions
The Film Industry
Part 4
A History of British Cinema
Since 1984
52
2. A History of British Cinema since 1984
Changing Fortunes: 1984-1996
The 1980s and early 1990s saw a revival of both the cultural and economic fortunes of
British cinema, and laid a foundation of production values, a visual aesthetic and a thankfully
fluid definition of what British culture means that continues to this day.
Perhaps the desperate days of 1984 with the lowest annual cinema admissions ever recorded
in the UK proved that the only way was up and resurgence began almost immediately with
regard to admissions, mainly due to the arrival of a bright shiny American import ...the
multiplex.
The UK's first multiplex was The Point, opened by American corporation AMC in
November 1985 in Milton Keynes and soon audiences began to rise, enthralled by this new
gleaming cinema experience. Multiplexes were a world away from the dingy, slightly seedy
feel of a lot of high street cinemas and they had the latest sound technology, a huge array of
sweets and drinks (or `concessions' as they are known in multi-speak), between 10-15
screens, lots of parking and up to 5 or 6 screenings a day of each title.
In terms of film production, one of the major
players in the UK production sector during the
1980s and 1990s proved to be Channel Four,
which provided backing to a number of films that
have proved the test of time, including The
Draughtsman's Contract (1982), The Company of
Wolves (1984) and Dance with a Stranger
(1986).
George Harrison's company Handmade Films also
proved itself in the film arena with a series of
witty and original films such as Withnail and I
(1986), Monty Python's Life of Brian (1979) and
A Private Function (1984). Another vibrant
young company, Palace Pictures appeared on the
scene in the early 80s with titles such as, Scandal (1988) and Letter to Brezhnev (1984).
A new strand of independent art cinema began to gain popularity, with directors like
Peter Greenaway, Derek Jarman, Terence Davies and Sally Potter all producing a range of
innovative and challenging work that allowed British cinema to be judged as an artistic and
culturalforce, rather than simply desperately trying to beat Hollywood at its own game at the
box office.
One particular genre rose to great prominence during the 1980s and beyond, and became
almost synonymous with British cinema itself, certainly in the USA: the costume
drama. Typified by a successful series of Merchant/Ivory titles such as A Room with a
View (1984), and Maurice (1987) the films were attacked by some critics for their
seemingly unquestioning acceptance of the upper-class and aristocratic values they
portrayed.
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3. British cinema had always had this type of film – the Gainsborough melodramas from the
1940s and a host of adaptations of Shakespeare and English literature classics since the
1930s – but it wasn't until the 1990s that critical debate around the genre's content and style
widened. Critics replaced the phrase 'costume drama' with `heritage film', a slightly
dismissive description which has caused debate in critical and academic circles, where it first
appeared in the late 1980s and early 1990s, for its pejorative connotations.
Although the 1980s and early 1990s were dominated politically by the harsh economic
policies of Thatcherism, British social realistcinema seemed to rise to the challenge,
with a series of defiant political works giving voice to the working class such as Ken Leach's
Riff Raff (1992) and Raining Stones (1993), MikeLeigh's Naked (1992) and the slightly
more audience-friendly Brassed Off (1995).
By the mid-1990s, Four Weddings and a
Funeral had become the yardstick with which
to measure success in British cinema with its
massive box office take both here and in the
USA. However, along with Kenneth
Branagh's Shakespearian adaptations and the
Merchant/Ivory classic costume dramas, Four
Weddings... could be said to inhabit the world
of the Edwardian heritage film in terms of its
plot and content (social and romantic
complications of the Southern upper middle-
classes, set against a background of country
hotels, stately homes and castles) even if it
did have a contemporary 90s setting.
Then, on the same day in February 1996, two
films were released that showed with almost
surreal synchronicity the two main directions
that the British national cinema would take –
one was a sumptuous version of a Jane
Austen novel about love, hidden passions and
the English reserve, starring Emma
Thompson & Kate Winsletcalled Sense and
Sensibility. The other was a scorching
adaptation of Irvine Welsh's novel about heroin, drink and the Scot's hatred of the English
and themselves – Trainspotting.
Britpop, BritLit & BritGrit: British Cinema since 1996
Through the 1990s and up to the present day there has again been a roller coaster ride for
British cinema with huge international box office successes being set against an increasingly
competitive financial world for independent and cultural producers, distributors and
exhibitors.
During the late nineties and early years of the 21st century, the traditional themes and genres
prevalent in British cinema over the last century are still there, but many have been given
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4. new dimensions and twists. For example, the costume drama, that staple of middle-class,
middle-England cinema, is now the 'heritage film' and recent titles have moved away from
merely portraying Victorian and Edwardian aristocracy at home and abroad, but have
reflected elements ofcontemporary society (class conflict, the role of women) and tried to
capture the youth market of Hollywood blockbusters.
Trainspotting did seem to give British cinema a shot in the arm (so to speak) and help
enhance its international profile, not only against the more traditional British genres
(costume dramas, social realism) but to show that film from thiscountry could be a vibrant,
exciting stylistic cinema that wasn't afraid to market itself to international audiences.
Trainspotting was released in February 1996 against the rise of the cult of Britpop, which
began as a manufactured Stones vs. Beatles battle between Oasis and Blur (North vs. South,
posh vs. working class, clever vs. ignorant), culminating in the fight for the number one
single slot in August 1995 between Blur's Country House and Oasis' power rocker Roll With
It.As an influence on youth cinema, Trainspotting had an immediate affect, with the
inevitable comparisons used by other films in their marketing campaigns, such as Twin
Town (1996) and The Acid House (1998), which was also based on stories by Irvine Welsh
and starring Trainspotting alumni Ewen Bremner and Kevin McKidd.Twin Town shares a
number of elements with Trainspotting – non-English setting, the uncompromising sex and
drugs lifestyle of young working-class males, the dark humour, the non-tourist portrayal of a
major town, in this case Swansea ‘a pretty shirty city' to quote the film, a response to Dylan
Thomas' description of thecity – and also plays on Welsh stereotypes the same way
Trainspotting does with Scottish ones. The opening monologue can be compared with
Renton's rant against consumerism and his blast against the Scots themselves:
`Rugby. Tom Jones. Male voice choirs. Shirley Basset'. Prince
of Wales. Daffodils. Sheep shaggers. Coal. Now if that's your
idea of Welsh culture, you can't blame us for trying to liven
the place up abit, can you?'
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5. Another interesting film usually classed as being in the tradition of Trainspotting is Boston
Kickout (1995), written and directed by Paul Hills, set in the bleak townscape of
Stevenage. Empire magazine described it as 'the snotty nosed kid brother to Trainspotting'
but although it was released in October 1996, 8 months after Trainspotting it was conceived
and shot in 1994/1995 and premiered in the USA in October 1995. The teenagers portrayed
in Boston Kickout have similar lives to Renton et al (boredom, lack of opportunities,
problems with a violent sociopath in the Begbie mould) but director Hills gives the film a
style and an energy that deserves to see it break away from its Trainspotting shadow.It also
has a cast of (then) unknowns that are now some of the new generation of British cinema and
television actors, including John Simm (The Lakes, State of Play), Andrew Lincoln
(Teachers, This Life) and Marc Warren (Hustle).
Human Traffic (1999) continued the
Trainspotting tradition of mixing 90s club culture
and music, a disparate bunch of teens and twenty-
somethings indulging in sex and drugs and a
mixture of realism/surrealism side by side. The
film followed an acclaimed BBC TV film, Loved
Up starring Lena Heady and Ian Hart (and also
Danny Dyer who starred in Human
Traffic).Human Traffic hasn't aged well as the
'loved up' language and characters seem very
dated – it was filmed in June 1998 andreleased in
July 1999but it does capture the excitement and
sheer noise of the late 90s UK club scene and has
an excellent young cast, particularly John Simm
and Danny Dyer as the paranoid Moff, swinging
from high ecstasy to deep depression. It also has a
sharp dig at the tabloid coverage of the drug and
club culture in the scene where a BBC
documentary crew stops Lulu and Nina in a club
to talk to 'real' clubbers. The girls say they don't
take ecstasy just heroin – 'we never used to but
then we saw Trainspotting and they just made us want to do it'.
During the 1990s and early 2000s, it wasn't just the youth film that seemed to be going
through a metamorphosis. Traditional genres such as comedy, social realism and the costume
drama began to evolve and hybrids were formed, proving highly successful both in the UK
and abroad. The social realist drama, once the
domain of only one or two film-makers such as
Ken Loach and Mike Leigh, began to flower
with young directors such as Shane
Meadows exploring the world outside London
(Nottingham rather the Notting Hill) with
highly personal portraits of young working-
class protagonists set in the East Midlands
beginning with the low budget
TwentyFourSeven (1997) and A Room For
Romeo Brass (1998) (costing £4.5 million
between them) with unknowns and non-
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6. professional actors and up to recently with This is England (2009)
With reference to the cycle of social realist dramas at this time, 'the working underclass'
is a phrase developed froma description used by American academic Charles Murray in The
Emerging British Underclass, which according to Claire Monk sought to 'portray(ing) a class
seen as parasitically dependent and work-shy rather than work-less'.Monk goes on to look at
a series of films that, in continuing the work of the British New Wave and the films of Ken
Loach and Mike Leigh during the 1980s and 80s, show a series of working class (mainly)
males in situations where their guile, a canniness and earthy humour, and sometimes a
dangerous veer towards the criminal, help to alleviate the fact that they are unemployed,
disenfranchised by society, lacking in education, social status and wealth.
Two films in particular, released
within a year of each other and
usually spoken and written about
in these terms. The Full Monty
(1997) and Brassed Off (1996) are
on the surface very similar, but
they also have elements that set
them apart.Released nine months
apart, the two films have obvious
similarities. They were both sold
as comedies, with Brassed Off
having an additional romantic
element through the relationship
between Gloria (a good old-
fashioned 'northern' name) and Andy. Both were set in Yorkshire and based round traditional
industries (mining and steelworking). Both attacked the Thatcherite policies of the
Conservative government and both showed a group of men trying to find ways out of their
predicament – one traditional (using brass band music), one 'unnatural' (male stripping).The
Full Monty is played mainly for laughs with a mixture of visual gags and jokes, Carry On-
type innuendo and a number of comedy set pieces, most famously the dole queue dance to
Donna Summers' Hot Stuff.
Brassed Off, although
containing amusing
sequences and dialogue, is
much darker in tone and is
a much more political film
in the sense that blame is
given out to the (then
current) Tory government
directly, first by Phil
(Stephen Tompkinson) as
he's having a breakdown at
a children's party, and then
in the impassioned final
speech by the dying Danny
(Pete Postlethwaite) at the
band concert in the Albert
Hall.
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7. Significantly this speech takes place in the centre of London, the centre of the film world as
well as the political and commercial world in the UK, and could be seen as throwing
London's metro-centred culture of Four Wedding/Notting HQ/Bridget Jones/Love Actually
back in its face.
Not as successful The Full Monty in box office success,Brassed Off is actually a much more
interesting film in terms of themes and content than its romcom marketing image sets it up to
be, and is certainly worth closer examination. Regionalism became the thing in British
cinema features during the 1990s, with locations across Britain being used as 'the real thing'
rather than just backdrops to pad out footage between London based sequences. Apart from
Grimethorpe, Halifax (Brassed Off) and Sheffield (The Full Monty) we have been treated to
big screen views of Newcastle Upon Tyne (Purely Belter(2000)), East Durham (Billy Elliot
(1999)), Manchester (24 Hour Party People (2001)) and Cardiff (Human Traffic).
There was also a rise in new talent coming from the regions including the aforementioned
Shane Meadows from Nottingham, Lynne Ramsay from Glasgow, and Michael
Winterbottom from Manchester, who have all made a mark on the national and
international scene, but have also kept their local perspective, making films either in their
region or about local subjects.
Perhaps the most recent successful
British genre internationally (apart
from the USA co-production
franchise of James Bond and the
Harry Potter series) has been
comedy, particularly the films
produced by the Working Title
Company. Based in London, and co-
funded by Universal Studios in
Hollywood and StudioCanal in
France, they have international
distribution deals for their films
across Europe, US and other key
territories, so before the film is even
made, it is 'booked' into screens
across the world. This is obviously a
massive plus in creating an audience
for the films and has helped them
build a worldwide box office of over
$2.5 billion dollars.
Following on from Four Weddings
and a Funeral there was the 'Hugh
Grant + a Hollywood actress to
attract the US audience' series of
Notting Hill, BridgetJones's Diary
and Love Actually, all which proved hugely popular at the UK and international box office.
In the US and UK to date (April 2004) these four films alone have taken at least
£333,000,000. For the USA and the rest of the world then, with a few international
exceptions (Billy Elliot, The Full Monty), British cinema is Working Title and London based
romantic comedy.
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8. Sliding Doors (1997) was not a Working
Title picture but had a Four Weddings...
connection in the casting of John Hannah,
and also had a bankable US star (Gwyneth
Paltrow) playing a London girl, complete
with a (rather good, in fact) accent.One of
the interesting aspects of Sliding Doors was
its rather tragic denouement (for one of
Paltrow's characters at least) which comes as
a shock to the audience, but fits perfectly
with the randomness of the 'what could have
happened if...' plotline.
Looking at the UK cinema admissions for
the last 20 years, there is certainly a
correlation between the opening of the new
multiplexes in 1985 and a massive return of
people back to the cinema. There was a
steady rise of admissions until 1994, then
there was a step backwards from 123 million
to 114 million in 1995 and another drop in
1998 from 139 million to 135 million. 2003
saw a drop from 175 million to 167 million,
for which the unusually hot and long
summer could be claimed as a factor. Apart
from the blip in 2006, cinema admissions in the UK have grown steadily in the last ten to
twelve years.
Q1. What are the main genres produced by the UK film industry in the last 25 years?
Try and think of some more recent examples from the last few years. Who do you think
goes to see these types of films?
Case Study - DNA Films & 28 Days Later (2002)
Owned by Duncan Kenworthy and
Kevin MacDonald, DNA Films
was bolstered greatly when it
secured a distribution deal with
Fox Searchlight in 2001, and is
thus another example of a British
film success story being dependent
on collaboration with an American
major. Prior to the merger the
company had success with 28
Days Later. Since the deal was struck it has had a run of success with such films as The
Last King of Scotland, Notes on a Scandal and The History Boys (all 2006), all finding
an audience both domestically and internationally for a focus on British cultural issues.
DNA Films is a company with a 50/50 ownership split between The UK Film Council and
Fox, and offers a great example of how the contemporary 'boom' in British film is
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9. contextualised by both Government backing and American confidence, as a result of a tax-
break policy. DNA Films play different roles on different projects. For example, it was
creative producer on the film Sunshine (2007), but provided finance and distribution only
for Notes on a Scandal. This flexibility is another feature of the contemporary film
industry.
28 Days Later (2002) is a hybrid genre film (combining horror, thriller and science fiction)
that explores the theme of total devastation caused by a deadly virus, known as `the rage',
that is spread after animal rights activists release an infected monkey from a research facility
in Cambridge. In 28 days the virus spreads, killing all but a few survivors including Jim
(Cillian Murphy), who awakes in hospital from a coma to discover that the virus has claimed
thousands of lives, spreading all over the world.
The unfamiliar sight of London devoid of cars and
people is conveyed by digital video technology,
one of the earliest uses of this format in British
feature films. Jim explores the post-apocalyptic
world, meeting survivors who journey with him
across the country, eventually settling with others in
a military encampment outside Manchester. Rather
than creating solidarity, the survivors' terror of
becoming infected makes them ruthless, and they
turn against one another as the film develops a
devastating exploration of human nature in crisis.
The film's generic hybridity and location shooting
combine to produce a nightmare scenario that is
rooted in realism. The scenario tapped into
contemporary fears about experimentation on
animals, genetic engineering andAIDS. The stylistic
energy that was evident inTrainspotting was
repeated here and the cast (including Christopher
Eccleston, who had starred in Boyle's successful
thriller Shallow Grave (1994) and was associated
with other British revivalfilms such as Elizabeth (1998) ensured that the film was a box-
office success in Europe and the US, confirming the transnational appeal of much of recent
British cinema.
For the seven films the company has made roughly a fifth of outlay has been returned, but
this is expected to rise as 28 Weeks Later was produced taking advantage of the
aforementioned 20 % tax relief. Perhaps ironically, given his success in the film industry,
MacDonald is pessimistic about the public's interest in UK film:
My theory of the British film and TV business is that if there were no more British films in the
cinema, nobody would care. But if you turned off Coronation Street and Match of the Day,
they'd be rioting in the street.(Source: Guardian Finance 2007)
Q2. DNA Films last two productions were Dredd 3D (2012) and Never Let Me Go
(2010). What kind of films are they? How are they different from earlier films? Have
they been successful at the box office?
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10. Case Study –Momentum Pictures
Momentum Picturesis one of the leading motion picture distributors in the UK and releases
about 20 theatrical films a year, with another 25+straight to video titles using a fully-
integrated distribution operation.Momentum has a diverse output with recent successes
includingthe Ian Curtis biopic Control (2007), foreign language films like Amelie (2001)
and Downfall (2004), British films like Vera Drake (2004) London to Brighton (2006)
as well as ‘Indiewood’ breakthrough films like Lost in Translation (2003).
Theydistribute across all genres –
family, upscale, foreign-language,
action, horror and quality TV. Their
slate for 2011/12includedhorror
movie The Woman in Black, teen
romcom Chalet Girl, heritage film
The King’s Speechand the caper -
comedy Gambit.It is owned by
Alliance Filmswhich is a major
motion picture
distribution/production company
serving Canada, the UK and Spain
and has, as its major shareholder, the
Quebec regional government!
Changes in the UK Market since 2000
The UK film market has changed significantly since 2000 (when Momentum began). In that
year: Film4 and Sky Pictures were very active; Granada Film was in full flow; the UK Film
Council’s Premiere Fund and New Cinema Fund were not yet active, and the German
Neumarkt was booming, providing financiers with plenty of money to invest in the media
sector.
Granada Film, which recently won the 2002 Golden Bear at the Berlin Film Festival for Bloody
Sunday, is to close as a separate operation. The film-making arm of the TV and media group
Granada will be brought in-house to become part of the comedy and drama department. The
news comes soon after the closure of Film Four and will leave the BBC as the only British
broadcaster with a significant stand-alone film-making operation. (BBC News)
By the end of 2003 a mini-crisis enveloped the UK film industry. Film4had all but
disappeared due to £20 million of cutbacks; Sky Pictures, Granada Films and British Screen
had disappeared; even French broadcaster Canal+ was scaling back. Furthermore, the rental
window was being closed due to decreasing profits creating greater potentialfor
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11. filmsreleased straight to the rental and retail markets.
In 2004 Momentum Pictures' turnover had grown to around £30 million a year and their
strategy shifted from buying more expensive films which offered a higher chance of being
successful in the UK market, to having a broader buying strategy which might unearth some
less likely successes. This included becoming more involved in films at the production stage,
and investing in the production budget, to develop a strong relationship with the producer
and director which will help them in creating their distribution strategy.
Since the 2003 blip there is a bright side - the BFIs production funds (see last section) are
very active and the proportion of budgets being covered by tax breaks has risen to around
15%. The independent distribution sector in the UK is stronger than for many years with
companies like Momentum, Pathe, Icon and Entertainment (with outside help from
Hollywood and government) increasing their share of the market.
Current Acquisition Strategy
Momentum’s acquisition
strategy is all about finding
titles that the distributor
thinks they can make
money from. This requires
a combination of buying the
film at the right price and
generating sufficient
revenues from it to cover
the costs of acquisition and
marketing.
Another strand of the
strategy is to try to acquire
a blend of titles that
includes some top quality
films that will help to keep
the staff motivated alongside those titles that are bought purely for their potential to generate
significant revenues (hopefully the two are not always mutually exclusive).
Once a title has been identified as a possible acquisition, they will run low, wide and
saturation scenarios to test the implications of different levels of performance for revenues
and profits. This analysis can also help to influence the level of marketing spend that they
put behind each title to give it the best chance of performing to the desired level in the
market. If the numbers stack up, the next step is to meet the people involved in the film to
check that the relationships will work over the course of the campaign - the success of the
film can be severely affected if these relationships do not work out.
Momentum will get involved in a film at any stage of its development, from treatment to
after its first festival screening. Their budget of $15 - $20 million per annum is rarely fully
used - it is more important that they buy the right films - and the right blend of films - than
just use up their budget. They also seek to strike a balance across the different types of rights
they have and the markets that particular films will play in. Some films are bought more for
the home market than theatrical release.
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12. Building Awareness
The awareness building campaign will depend to some extent on how the title was acquired.
If it was bought following a successful festival screening, and therefore, already has some
recognition in the press and the public, then this can be built using different techniques than
if the film has not yet had any exposure.
Audience research - This is usually done by setting up different screenings of the film and
inviting a range of people to get their opinions and reactions to the film. From these screenings
the distributor is able to get a good indication of which types of audience will like the film.
Research is often undertaken in the US and their findings would be passed to the UK
distributor for consideration when planning their campaign. The UK distributor would
however also undertake their own research since the US findings can only be used as a rough
guideline to audience reaction in the UK.
They will usually arrange early screenings of their films to key critics and exhibitors before
rolling out to a broader audience over time. Screening results are helpful in developing the
appropriate strategy but do not always tell the whole story. Critical reaction is particularly
important in the UK as negative press coverage can adversely affect almost any release. Only
horror films tend to be critic-proof.
Tips
1. No one ever really knows where the hits are going to come from. But if the
distributor believes in the project and gives it the right backing, it will perform.
2. The UK distribution sector is stronger now than for many years - but the lack of
investment in films by the broadcasters means there are fewer good films coming
through.
3. Acquisition strategy should try to ensure the right balance between different genres
and films that will perform in different exploitation windows. It is also important to
release some high quality titles to boost staff morale and the company's standing.
Q3. Summarise in your own words what kinds of films Momentum Pictures look to
distribute and why? Go to their website for more recent examples.
(http://www.momentumpictures.co.uk/)
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