Working Title films target British audiences by portraying an idealized version of Britain that is overwhelmingly white, middle-class, and avoids contemporary social issues. This "comfortable" portrayal differs from films by British auteurs like Mike Leigh that are more provocative. The films also seem to appeal to notions of Britishness represented by characters like Hugh Grant's bumbling Englishmen. When targeting international audiences, Working Title films emphasize stereotypical British settings and landmarks that foreign audiences would recognize to make the films more appealing and marketable overseas.

1. FILM INDUSTRY: USING YOUR CASE
STUDY
PART 6: The issues raised in the targeting of
national and local audiences (specifically, British)
by international or global institutions
Working Title and a British audience
 It could be argued that many of the films appeal to an
audience who want to indulge in a rather comfortable, often
nostalgic sense of Britain and Britishness.
 Characters in the films are overwhelmingly white, educated,
middle-class (and often middle-aged).
 The tone of many of the more successful films is generally
upbeat and the films do not really explore contemporary
social-political issues and debates.
 The films are generally much more ‘comfortable’ and less
provocative and demanding than films by significant British
auteurs Mike Leigh, Ken Loach and, in recent years, Shane
Meadows. Many of the characters seem to conform with old-
fashioned ideas of Britishness (ie Hugh Grant’s performance in
a number of films as a slightly bumbling, awkward but
nonetheless charming Englishman).
Working Title Films and Multi-Cultural Britain
 It is interesting to consider whether these films are
particularly attractive to certain strands of the British
audience when the new multi-cultural Britain seems to throw
out any certainty about what Britishness is.
 It could be seen as comforting and re-assuring for sections of
the audience to wallow in a version of Britain that actually
bears increasingly little relation to the Britain outside their
doors. The area of London called Notting Hill has for a number
of years been associated with black culture – most notably the
Notting Hill Carnival – but the film Notting Hill does not
feature a single black character. There is also pleasure for
audiences in watching a film which has British stars and
British locations. This should not be underestimated.
Working Title and an American, or international audience.
 All British films must, to a certain extent, try top secure
some level of success overseas.
 Now that Universal Pictures have a majority stake, this is
perhaps particularly true of Working Title. They have not
enjoyed huge success in the USA, but it is significant that

2. their biggest success, Notting Hill, plays on a particular
type of Britishness.
 American audiences are perhaps particularly drawn to
British films which seem to corroborate their own sense of
Britishness.
 It is notable that a film like Notting Hill actually features
many of the landmarks of London that Americans would be
most familiar with. Atonement recently secured an Oscar
nomination for best film. It is interesting to reflect how this
film also includes features that American audiences might
most easily associate with Britain (stately homes, pale
elegant girls, domestic staff etc).
 Getting international audiences to watch a British film is
not always easy. Perhaps the best way is to make sure that
the film is seen to be in some way quintessentially English.
 Could we argue then that much of Working Title’s list
packages a comfortably version of Britishness for
consumption overseas? What do you think?